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Chris Sawin (602 KP) rated Lightyear (2022) in Movies
Jun 17, 2022
Visually gorgeous animation (2 more)
Sox
Designs of the insects, robots, and especially Zurg
Too much Star Wars influence (1 more)
Writing is a bit underwhelming
A Visually Gorgeous Nod to Science Fiction
Lightyear has a simple premise that fits it into the Toy Story timeline while also giving the film the freedom to creatively do just about whatever it wants. This on-screen version of Buzz Lightyear is what inspired the toy and this film was Andy’s favorite film.
Test pilot Buzz Lightyear (now voiced by Chris Evans) wakes up from hyper sleep to research and explore a nearby planet that is off the course of his ship’s destination. The mission results in Buzz’s entire crew being marooned on a planet overrun by giant insects and bothersome vines. With guilt weighing heavily on his shoulders, Buzz takes it upon himself to be the pilot responsible for hyper speed tests.
After spending a year on the planet, there’s finally enough resources for a test flight. But the mission fails and when Buzz returns, four years have passed. Intending to finish the mission despite the consequences, Buzz pilots test flight after test flight as each mission results in years passing while he’s away. He watches his friends age and die until he finally returns to a planet that now cowers to the ominous Zurg and his battalion of relentlessly inhuman robots.
After co-directing Finding Dory and while working as an animator for Pixar since 1998’s A Bug’s Life, Lightyear is the directorial debut of Angus MacLane. Written by MacLane, Matthew Aldrich (Coco), and Jason Headley (Onward), Lightyear is receiving a lot of backlash for including a same sex relationship as well as an on-screen lesbian kiss (some countries are refusing to release the film in theaters because of it). The relationship involves another Space Ranger named Alisha Hawthorne (Uzo Aduba, Orange is the New Black, Steven Universe). Hawthorne and the life she builds on a planet she is essentially stuck on ends up being the inspiration for not only Buzz, but as well as Alisha’s granddaughter, Izzy (Keke Palmer). Even if you’re against homosexuality, Alisha’s relationship is undeniably the most sentimental aspect of the film. Lightyear wouldn’t be the same without its inclusion.
The film does some different stuff with Zurg as far as who he is and how he relates to Buzz that may or may not retcon what was established in Toy Story 2. Both the story and the writing of the film seem to play it safe as they take a predictable approach to what essentially could have been something more unique. The discussion that’s been floating around about the film is that the jokes, sillier moments, and more absurd lines of dialogue seem to always disrupt the film whenever it tries to take a step towards being a thrilling sci-fi film. It’s difficult to argue with this statement, especially since Mo Morrison’s (Taika Waititi) whole purpose in the film is to broadcast his incompetence and the film revolves around a team of misfits attempting to save the planet despite their shortcomings.
The film is visually one of the year’s best looking films; animated or otherwise. Taking inspiration from early sci-fi films and space operas like Star Wars, Angus MacLane wanted Lightyear to look, “cinematic,” and, “chunky.” If you see the film in IMAX, this is the first animated film to ever have sequences shown in the 1.43:1 aspect ratio (it’s usually 2.39:1) as visual effects supervisor Jane Yen states that a virtual IMAX camera was developed to shoot said sequences, which were then cropped to standard definition. The film is gorgeous and even looks different in comparison to other Pixar films. With its lush colors, heavy use of shadows, bright lighting for highlights, and character designs for insects and robots that seem to be directly inspired by the likes of Starship Troopers and Gundam, Lightyear is a visually delicious treat.
Angus MacLane has his love for Star Wars showcased a bit too often in Lightyear as certain sequences seem to be directly lifted from the George Lucas created franchise. Many of Zurg’s scenes are a direct homage to various Darth Vader sequences in the Star Wars films. When Buzz is carried upside down by a Zyclops as Izzy and the others try to help him free borrows heavily from The Empire Strikes Back when Luke is hanging upside down in the icy Wampa cave; Buzz is even wearing an orange and white outfit that resembles Luke’s when he pilots the X-Wing. The love for Star Wars is as much a hindrance as it is an inspiration. The film spends more time referencing its origins rather than putting more of a focus on establishing its own identity.
Sox is legitimately the most fun character of the film. He’s humorous and resourceful; a robot cat that is Buzz’s most useful tool and companion. If Disney doesn’t resurrect Teddy Ruxpin technology for a new Sox animatronic toy then it will end up being wasted potential to a soul crushing extent.
Like Toy Story 4, Lightyear is an unnecessary installment to the Toy Story franchise, but is enjoyable nevertheless. Its homage to science fiction makes the animated film feel more like a sci-fi actioner rather than an animated film the majority of the time. It has a rich and palpable atmosphere that is gorgeously animated and is filled with the laugh out loud and heartfelt moments Pixar is typically known for.
Test pilot Buzz Lightyear (now voiced by Chris Evans) wakes up from hyper sleep to research and explore a nearby planet that is off the course of his ship’s destination. The mission results in Buzz’s entire crew being marooned on a planet overrun by giant insects and bothersome vines. With guilt weighing heavily on his shoulders, Buzz takes it upon himself to be the pilot responsible for hyper speed tests.
After spending a year on the planet, there’s finally enough resources for a test flight. But the mission fails and when Buzz returns, four years have passed. Intending to finish the mission despite the consequences, Buzz pilots test flight after test flight as each mission results in years passing while he’s away. He watches his friends age and die until he finally returns to a planet that now cowers to the ominous Zurg and his battalion of relentlessly inhuman robots.
After co-directing Finding Dory and while working as an animator for Pixar since 1998’s A Bug’s Life, Lightyear is the directorial debut of Angus MacLane. Written by MacLane, Matthew Aldrich (Coco), and Jason Headley (Onward), Lightyear is receiving a lot of backlash for including a same sex relationship as well as an on-screen lesbian kiss (some countries are refusing to release the film in theaters because of it). The relationship involves another Space Ranger named Alisha Hawthorne (Uzo Aduba, Orange is the New Black, Steven Universe). Hawthorne and the life she builds on a planet she is essentially stuck on ends up being the inspiration for not only Buzz, but as well as Alisha’s granddaughter, Izzy (Keke Palmer). Even if you’re against homosexuality, Alisha’s relationship is undeniably the most sentimental aspect of the film. Lightyear wouldn’t be the same without its inclusion.
The film does some different stuff with Zurg as far as who he is and how he relates to Buzz that may or may not retcon what was established in Toy Story 2. Both the story and the writing of the film seem to play it safe as they take a predictable approach to what essentially could have been something more unique. The discussion that’s been floating around about the film is that the jokes, sillier moments, and more absurd lines of dialogue seem to always disrupt the film whenever it tries to take a step towards being a thrilling sci-fi film. It’s difficult to argue with this statement, especially since Mo Morrison’s (Taika Waititi) whole purpose in the film is to broadcast his incompetence and the film revolves around a team of misfits attempting to save the planet despite their shortcomings.
The film is visually one of the year’s best looking films; animated or otherwise. Taking inspiration from early sci-fi films and space operas like Star Wars, Angus MacLane wanted Lightyear to look, “cinematic,” and, “chunky.” If you see the film in IMAX, this is the first animated film to ever have sequences shown in the 1.43:1 aspect ratio (it’s usually 2.39:1) as visual effects supervisor Jane Yen states that a virtual IMAX camera was developed to shoot said sequences, which were then cropped to standard definition. The film is gorgeous and even looks different in comparison to other Pixar films. With its lush colors, heavy use of shadows, bright lighting for highlights, and character designs for insects and robots that seem to be directly inspired by the likes of Starship Troopers and Gundam, Lightyear is a visually delicious treat.
Angus MacLane has his love for Star Wars showcased a bit too often in Lightyear as certain sequences seem to be directly lifted from the George Lucas created franchise. Many of Zurg’s scenes are a direct homage to various Darth Vader sequences in the Star Wars films. When Buzz is carried upside down by a Zyclops as Izzy and the others try to help him free borrows heavily from The Empire Strikes Back when Luke is hanging upside down in the icy Wampa cave; Buzz is even wearing an orange and white outfit that resembles Luke’s when he pilots the X-Wing. The love for Star Wars is as much a hindrance as it is an inspiration. The film spends more time referencing its origins rather than putting more of a focus on establishing its own identity.
Sox is legitimately the most fun character of the film. He’s humorous and resourceful; a robot cat that is Buzz’s most useful tool and companion. If Disney doesn’t resurrect Teddy Ruxpin technology for a new Sox animatronic toy then it will end up being wasted potential to a soul crushing extent.
Like Toy Story 4, Lightyear is an unnecessary installment to the Toy Story franchise, but is enjoyable nevertheless. Its homage to science fiction makes the animated film feel more like a sci-fi actioner rather than an animated film the majority of the time. It has a rich and palpable atmosphere that is gorgeously animated and is filled with the laugh out loud and heartfelt moments Pixar is typically known for.
Anna Marie Green (7 KP) rated the Xbox One version of Monster Hunter World in Video Games
Jul 3, 2018 (Updated Jul 3, 2018)
Fantastic Gameplay Possibilities (4 more)
Intelligent Monster AI
Climbing Difficulty
Good Community Management
It's Damn Good Fun (If you have $30, buy it.)
Feels Incomplete (2 more)
Experienced Players Lack Challenge
Mediocre Story
Monster Hunter, One Year Later
Monster Hunter: World was Capcom's fiest big success in the Western market. After years of cult status on the DS, they finally broke through to the world of consoles and had so much success that they dubbed MH:W their benchmark for future games.
But should they?
MH:W is, at its core, is a dungeon crawler designed to feel open-world within its own constraints. With beautiful environments such as the Coral Highlands and the toxic areas festering beneath the Rotten Vale, MHW looks and feels much more massive than the trodden paths you follow. Your first hunts feel thrilling as you take different paths to chase your limping prey, and a cycle of different weather, monsters, and endemic life keep you invested in immersion.
But after hunting a tempered Nergigante for the 20th time, things do begin to fall out of place. You experience the malaise of a Saitama-like hero. Have you become too strong?
Challenging fights become the norm. The occasional arch-tempered monster appears, but scaled damage isn't always the same thing as new difficulty.
In the handheld games, there were dozens of monsters with distinct abilities and variations. MH: Generations had 73 large monsters to hunt. You could even play as a palico.
But that variety just isn't in MH:W.
Granted, the game is an experiment and has provided some good content for no extra cost to the players, which is a feat of its own in comparison to all the other big game developers (EA, Microsoft, Square Enix, Bethesda). They also do an excellent job managing weekly challenges and encouraging community between players. Kulve Taroth hunts were a blast and the free meal in the Hub was an excellent bribe.
MH:W still needs more monsters and at least one new environment. Since its release in January 2018, only three monsters have been added to the game: Deviljho, Kulve Taroth, and Lunastra. Behemoth from Final Fantasy is also making an appearance this July. That's a monster every two months. Don't get me wrong here— that's a fair schedule for content release. Overwatch clocks in at about three months for every hero, so two months is a respectable jog for the quality of the quality of the game. Still, even Overwatch -with it's full player-controlled roster- can become a bit of a slog without those regular updates.
The easiest fix? Capcom needs to finally add in G-Ranks with weapon rarities 9 and 10, and the terrifying monsters to match. The other MH games have generally had these ranks, and the MH:W G updates have been teasing us in rumors since the release, yet we haven't seen any evidence of their existence. A massive content update containing new unique weapons trees, rarity 8 varieties of dead-end trees, armor transmogs, new endemic life and monsters, better armor designs, and more material choices... Capcom has incredible potential on their table that could rekindle gamers' interest in helping the Fifth solve the new mysteries of the New World.
Or, god forbid, suffer the gamers by making them by Monster Hunter: World 2 just to feel like they actually completed the first game.
But should they?
MH:W is, at its core, is a dungeon crawler designed to feel open-world within its own constraints. With beautiful environments such as the Coral Highlands and the toxic areas festering beneath the Rotten Vale, MHW looks and feels much more massive than the trodden paths you follow. Your first hunts feel thrilling as you take different paths to chase your limping prey, and a cycle of different weather, monsters, and endemic life keep you invested in immersion.
But after hunting a tempered Nergigante for the 20th time, things do begin to fall out of place. You experience the malaise of a Saitama-like hero. Have you become too strong?
Challenging fights become the norm. The occasional arch-tempered monster appears, but scaled damage isn't always the same thing as new difficulty.
In the handheld games, there were dozens of monsters with distinct abilities and variations. MH: Generations had 73 large monsters to hunt. You could even play as a palico.
But that variety just isn't in MH:W.
Granted, the game is an experiment and has provided some good content for no extra cost to the players, which is a feat of its own in comparison to all the other big game developers (EA, Microsoft, Square Enix, Bethesda). They also do an excellent job managing weekly challenges and encouraging community between players. Kulve Taroth hunts were a blast and the free meal in the Hub was an excellent bribe.
MH:W still needs more monsters and at least one new environment. Since its release in January 2018, only three monsters have been added to the game: Deviljho, Kulve Taroth, and Lunastra. Behemoth from Final Fantasy is also making an appearance this July. That's a monster every two months. Don't get me wrong here— that's a fair schedule for content release. Overwatch clocks in at about three months for every hero, so two months is a respectable jog for the quality of the quality of the game. Still, even Overwatch -with it's full player-controlled roster- can become a bit of a slog without those regular updates.
The easiest fix? Capcom needs to finally add in G-Ranks with weapon rarities 9 and 10, and the terrifying monsters to match. The other MH games have generally had these ranks, and the MH:W G updates have been teasing us in rumors since the release, yet we haven't seen any evidence of their existence. A massive content update containing new unique weapons trees, rarity 8 varieties of dead-end trees, armor transmogs, new endemic life and monsters, better armor designs, and more material choices... Capcom has incredible potential on their table that could rekindle gamers' interest in helping the Fifth solve the new mysteries of the New World.
Or, god forbid, suffer the gamers by making them by Monster Hunter: World 2 just to feel like they actually completed the first game.
Neon's Nerd Nexus (360 KP) rated The Invisible Man (2020) in Movies
Mar 3, 2020 (Updated Mar 3, 2020)
See no evil
The Invisible Man is not a movie about an Invisible Man and certainly not the horror movie its being promoted as, instead its a tight little scifi esq thriller about domestic violence and the lingering effects domestic abuse can bring. Directed by the same director of the absolutley fantastic film Upgrade The invisible man could almost be a companion piece in a sense or even take place in the same world as Upgrade. From the titles its clear tension and impending dread is absolutely nailed here and as we look in on our lead character we can see just how extreme and unsafe her situation/relationship has become. Shes a victim trapped by an abusive and obsessive partner and before her life becomes any more at risk she escapes, but what she then leaves herself open to is a life of paraninoia, mental scaring, trauma, torture and living life in constant fear that her partner will come for her again. Shes never free from him and the way the film uses the invisible man as a metaphor is extremely clever as it shows her trying to live a normal life while clearly completely damaged by the hold one man had on her and by the echoes of the abuse she recived from him (in a sense its like hes still there constantly breathing over her shoulder). Everything is done well and the film really benefits from its slow pace as it helps us as a viewer really get invested into this character and shows just how damaged she has become from past events. Its score is phenomenal too helping ramp up the fear and tension with its intense futuristic droning and screeching. When violence hits its impactful, brutal and shocking as the long build up for it makes it seem like it comes out of nowhere preserving shock value perfectly. Fight scenes are filmed just like the ones from Upgrade full of energy/style and are just as unique/cool while making subtle nods to that film too. Acting is really good especially Elisabeth Moss watching her evolve as a character and in sense use the traits of the person she hates to become stronger is riviting and Eldis Hodge gives a great support role too. Its to bad at times the acting its hurt unnecessarily however by very exposition heavy dialog. If youve seen the trailer for this movie the invisible man reveal will have been spoilt for you as will too a crucial story point however overall as a film what Leigh Whannell has achieved here with this film is certainly very very brave and vastly diffrent from the way these films usually play out. Hes given a very clever and unique take on a character that has already been done to death in films and while it was predictable to a certain extent I applaud him for not going for the lazy done to death almost supernatural approach to this character. The Invisible man is a breath of fresh air amongst crap like fantasy island/the boy 2 and while by no means perfect its brave and realistic portrayals of the after effects of domestic abuse are shocking, well represented and tuff to watch at times. Invisible man is a pleasant surprise but will no doubt be far to slow and intelligent for those just looking for mere jump scares. That being said if this director keeps up this great track record I wouldnt be surprised if bigger film companies start seeking him out very soon.
Decked Builder
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Decked Builder is the premium deck building app for Magic the Gathering -- providing a sleek user...
Bob Mann (459 KP) rated Passengers (2016) in Movies
Sep 29, 2021
Guilt trip.
“Passengers” is not a film that you can really talk about in much depth without straying into spoiler territory, so I will break my normal tradition of my reviews being entirely “Spoiler Free” and add a further discussion (but below the Fad Rating, so you are safe ‘til there).
The backdrop for “Passengers” is the spaceship “Avalon”, on a 120 year trip taking Earth colonists to the new world of “Homestead 2”. Following an ‘incident’ the story finds two individuals – Jim Preston, played by Chris “Jurassic World” Pratt, and Jennifer “Joy” Lawrence – as the only passengers awake on the automated ship among 5000+ other slumbering souls. It rather goes without saying that with two attractive and bankable Hollywood stars and nothing else to do, the two ‘get it on’. With things on the ship going from bad to worse, the two must work as a team to try to save the ship, crew and fellow passengers from disaster.
As a fan of sci-fi, I’ll start with a positive that the Avalon is a gloriously rendered spacecraft, and many of the scenes of space walking present beautiful cinematography (by Rodrigo Prieto of “The Wolf of Wall Street” and “Argo”). Many of the other special effects in the film – led by special effects supervisor Daniel Sudick, of the Marvel franchise – are spectacularly good, especially one which demonstrates why the lifeguards closed the pool on the International Space Station!
The overall premise of the film is also original and well-conceived, setting up the backdrop for some serious post-watch ethical debate (see spoiler section).
Where the wheels came off for me though is with the script by Jon Spaihts (“Prometheus”, “Doctor Strange”). Some of the dialogue is just appallingly trite, and some of the supposed capabilities of our hero, Preston, are laughable. For example, he possesses an uncanny ability as “an engineer” to open a cabinet of electronics, scan the circuits and say “Nope – that all looks fine”: the next time my washing machine controller packs in, he’s going to be on my speed-dial for sure! And (cue trite line – “every component on the ship has a spare”) Preston immediately finds the required part (curiously, it’s right next to the failing component and not in Bay 67 on cargo deck 327!) and knows how to plug and play it as required.
Chris Pratt; Jennifer Lawrence
Pratt and Lawrence, with Pratt about to debug my washing machine controller just by looking at it.
But, for me, there was one particularly dire point in the script where Spaihts obviously forgets which film he’s writing the scene for and ‘goes superhero’: oh, hang on, Preston doesn’t HAVE any superhero powers! For me, any goodwill the story had built up through to that point get vented into space.
The director is Morten Tyldum, whose “Headhunters” I really enjoyed but who is probably more famous for “The Imitation Game”. Not overawed by the production’s scale, he does a great job of getting good performances out of the rather wooden action hunk that is Chris Pratt and the reliable Oscar-winner Jennifer Lawrence who (apart from one dramatic and emotional scene) the script doesn’t really stretch. Michael Sheen is also a great watch as the witty and dry android bar-tender.
In summary, this was a nice premise with great special effects and gorgeous production design, but frustratingly let down with a weak screenplay. With a better script and another 10% of tweaking, this could have been a real sci-fi classic.
The backdrop for “Passengers” is the spaceship “Avalon”, on a 120 year trip taking Earth colonists to the new world of “Homestead 2”. Following an ‘incident’ the story finds two individuals – Jim Preston, played by Chris “Jurassic World” Pratt, and Jennifer “Joy” Lawrence – as the only passengers awake on the automated ship among 5000+ other slumbering souls. It rather goes without saying that with two attractive and bankable Hollywood stars and nothing else to do, the two ‘get it on’. With things on the ship going from bad to worse, the two must work as a team to try to save the ship, crew and fellow passengers from disaster.
As a fan of sci-fi, I’ll start with a positive that the Avalon is a gloriously rendered spacecraft, and many of the scenes of space walking present beautiful cinematography (by Rodrigo Prieto of “The Wolf of Wall Street” and “Argo”). Many of the other special effects in the film – led by special effects supervisor Daniel Sudick, of the Marvel franchise – are spectacularly good, especially one which demonstrates why the lifeguards closed the pool on the International Space Station!
The overall premise of the film is also original and well-conceived, setting up the backdrop for some serious post-watch ethical debate (see spoiler section).
Where the wheels came off for me though is with the script by Jon Spaihts (“Prometheus”, “Doctor Strange”). Some of the dialogue is just appallingly trite, and some of the supposed capabilities of our hero, Preston, are laughable. For example, he possesses an uncanny ability as “an engineer” to open a cabinet of electronics, scan the circuits and say “Nope – that all looks fine”: the next time my washing machine controller packs in, he’s going to be on my speed-dial for sure! And (cue trite line – “every component on the ship has a spare”) Preston immediately finds the required part (curiously, it’s right next to the failing component and not in Bay 67 on cargo deck 327!) and knows how to plug and play it as required.
Chris Pratt; Jennifer Lawrence
Pratt and Lawrence, with Pratt about to debug my washing machine controller just by looking at it.
But, for me, there was one particularly dire point in the script where Spaihts obviously forgets which film he’s writing the scene for and ‘goes superhero’: oh, hang on, Preston doesn’t HAVE any superhero powers! For me, any goodwill the story had built up through to that point get vented into space.
The director is Morten Tyldum, whose “Headhunters” I really enjoyed but who is probably more famous for “The Imitation Game”. Not overawed by the production’s scale, he does a great job of getting good performances out of the rather wooden action hunk that is Chris Pratt and the reliable Oscar-winner Jennifer Lawrence who (apart from one dramatic and emotional scene) the script doesn’t really stretch. Michael Sheen is also a great watch as the witty and dry android bar-tender.
In summary, this was a nice premise with great special effects and gorgeous production design, but frustratingly let down with a weak screenplay. With a better script and another 10% of tweaking, this could have been a real sci-fi classic.
Purple Phoenix Games (2266 KP) rated Tiny Epic Defenders in Tabletop Games
Jun 12, 2019
The Tiny Epic series. Where do we begin? They’re tiny and they’re epic – need I say more? Oh, I do have to say more? Ok then, here I go. Tiny Epic Defenders was the first of these games that I ever played, so I think it’s appropriate that it is the first one we review!
DISCLAIMER!! This review is for vanilla Tiny Epic Defenders, first edition. We have since added the second edition and The Dark War expansions, so we will revisit this game again including those additions for a nice contrast. -T
A kingdom at peace, finally, after years of war. All is calm across the lands, but the quiet never lasts. Reports start to come in of monsters spotted in the surrounding regions. If they manage to take over the Capital City, all will be lost. But there is still hope! A group of mighty warriors bands together to defend their kingdom at all costs! Only by working together can this group (the only line of defense between peace and destruction) defeat the monsters and save the realm!
In Tiny Epic Defenders, you play as one of the heroes trying to defend the kingdom. You and your comrades must travel between the outer regions of the kingdom and fend off the advancing monsters! Communication and cooperation are key – one small misstep could be the difference between victory and defeat. All of the heroes have unique special abilities, and all of the regions of the kingdom offer either a bonus or penalty for the heroes defending them. On your turn, you get 3 actions to either move, defend, or use a special ability. Once per round, there will be a group turn, where you must collectively decide how to best use the 3 actions between all players. New monsters surface every round, and eventually the Epic Foe will begin its final assault on the realm! If you manage to slay the Epic Foe before the Capital City falls, you win! But if you are overrun with monsters, unfortunately it’s game over for your kingdom.
The thing about Tiny Epic Defenders is that it starts off seemingly super easy, but then suddenly everything is on fire and you lose. I think that disparity comes from the turn order. The turn deck is shuffled anew every round, so the hero turns are not always evenly spaced throughout the deck. Sometimes all of the hero turns occur early in the round, which allow monsters who emerge later to attack undefended regions (players can move only on their turn), and overwhelm the heroes. The same happens if all the hero turns occur too late in the round – the monsters have already done their worst and the heroes must scramble to rectify the situation. And on top of that, a more menacing monster is added to the deck every round as well, so that just creates more of an imbalance between player turns and monster turns.
Even though the game can get a little overwhelming, I do really like the cooperative aspect of it! Everyone is working towards the same goal and all communication is open and free. Need advice for what to do on your turn? Just ask! Have an idea about how to deal with a certain monster? Tell the group! No single player bears all of the pressure because it really is a group effort!
Someday soon we will get the Second Edition to the table. And get that expansion added in too. But for the time being, our thoughts based solely on the original base game, Purple Phoenix Games give Tiny Epic Defenders a 16 / 24.
https://purplephoenixgames.wordpress.com/2018/12/05/tiny-epic-defenders-review/
DISCLAIMER!! This review is for vanilla Tiny Epic Defenders, first edition. We have since added the second edition and The Dark War expansions, so we will revisit this game again including those additions for a nice contrast. -T
A kingdom at peace, finally, after years of war. All is calm across the lands, but the quiet never lasts. Reports start to come in of monsters spotted in the surrounding regions. If they manage to take over the Capital City, all will be lost. But there is still hope! A group of mighty warriors bands together to defend their kingdom at all costs! Only by working together can this group (the only line of defense between peace and destruction) defeat the monsters and save the realm!
In Tiny Epic Defenders, you play as one of the heroes trying to defend the kingdom. You and your comrades must travel between the outer regions of the kingdom and fend off the advancing monsters! Communication and cooperation are key – one small misstep could be the difference between victory and defeat. All of the heroes have unique special abilities, and all of the regions of the kingdom offer either a bonus or penalty for the heroes defending them. On your turn, you get 3 actions to either move, defend, or use a special ability. Once per round, there will be a group turn, where you must collectively decide how to best use the 3 actions between all players. New monsters surface every round, and eventually the Epic Foe will begin its final assault on the realm! If you manage to slay the Epic Foe before the Capital City falls, you win! But if you are overrun with monsters, unfortunately it’s game over for your kingdom.
The thing about Tiny Epic Defenders is that it starts off seemingly super easy, but then suddenly everything is on fire and you lose. I think that disparity comes from the turn order. The turn deck is shuffled anew every round, so the hero turns are not always evenly spaced throughout the deck. Sometimes all of the hero turns occur early in the round, which allow monsters who emerge later to attack undefended regions (players can move only on their turn), and overwhelm the heroes. The same happens if all the hero turns occur too late in the round – the monsters have already done their worst and the heroes must scramble to rectify the situation. And on top of that, a more menacing monster is added to the deck every round as well, so that just creates more of an imbalance between player turns and monster turns.
Even though the game can get a little overwhelming, I do really like the cooperative aspect of it! Everyone is working towards the same goal and all communication is open and free. Need advice for what to do on your turn? Just ask! Have an idea about how to deal with a certain monster? Tell the group! No single player bears all of the pressure because it really is a group effort!
Someday soon we will get the Second Edition to the table. And get that expansion added in too. But for the time being, our thoughts based solely on the original base game, Purple Phoenix Games give Tiny Epic Defenders a 16 / 24.
https://purplephoenixgames.wordpress.com/2018/12/05/tiny-epic-defenders-review/
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