Prototype is 'at least' twice as powerful as before
Full spoilers for Marvel's Agents of SHIELD: Season 4 and speculation about how the show may tie to Marvel's Inhumans continue below.
It's not easy being the Director of SHIELD in the Marvel Cinematic Universe. Every time Phil Coulson overcomes one problem, another one rears its head. That was very much the case with the recent Agents of SHIELD: Season 4 finale. Just as Coulson and his team sat down to enjoy some well-deserved R&R, they found themselves kidnapped and dragged to a mysterious space station. As far as cliffhangers go, it was a biggie.
And while at first glance it might seem hard to glean much from this sudden plot twist, we have a theory about where the series is heading in Season 5. We think Agents of SHIELD is gearing up to introduce the organization SWORD to the Marvel Cinematic Universe. For more on SHIELD's finale, make sure to check out our Q&A with the showrunners about Season 5 and heading to space.
Full spoilers for Marvel's Agents of SHIELD continue below. Make sure to check out our review of the Season 4 finale, "World's End."
Marvel's Agents of SHIELD wrapped up its fourth season with a strong ending and one heck of a cliffhanger, which promises that the recently announced Season 5 will be out of this world.
To tie up some loose ends with Season 4 and get a sense of what we can expect from next year's SHIELD adventures -- and if there are any plans for this to be a final season -- I got on the phone with showrunner Jed Whedon and executive producer Jeff Bell to ask all the pressing questions.
As one of the ideas behind the game is to journey through the 40 years of Motörhead, we wanted to feature a mix of old and new tracks, as well as a mix of must-have classics like ‘Ace of Spades’ and hidden gems like ‘Jailbait’.
At the time of closing all the contracts with the band and various record labels, ‘Aftershock’ was Motörhead’s most recent masterpiece – a brilliant album that will surely live on! That’s why the three tracks from that album are the newest in the game.
‘Aftershock”s masterpiece ‘Queen of the Damned’ was high on our must-have list from the start. From the very beginning of writing the game’s concept I wanted to bring the Queen to life, as she perfectly represents the battle between Rich and Poor, apart from also being one of my all-time-favourite Motörhead tracks!
Early concept art for the Pub at the End of Time – with Motörhead classic ‘End of Time’ the natural backing.
What was generally important to us was to get as many instrumental versions as possible. One reason was a drive for even more exclusive fan-fest material that hadn’t been released, but the main reason was that listening to lyrics all the time during gameplay, can get distracting. Now we have the perfect mix – 13 tracks, old & new, plus 12 instrumentals, plus the crazy remixed “Monument of Rock” versions.
The interest of the band in the project was what started it all. We originally intended to license a couple of tracks and that was it. But the more we talked, the more the question was raised “Why not do more than just the music? Let’s do a Motörhead GAME!” It was a close collaboration from the first minute.
The band was also deeply involved in the process of creating the story and which quotes and anecdotes to include. Naturally, they also created the costumes that Victor Vran can wear.
Lemmy was involved the most, due to his major role in the game. And of course, when it came to the weapons – as everybody knows he was an avid collector of swords and knives. So, we got a lot of comments from him about the weapons concepts we created. It was a lot of fun to get Lemmy’s direct feedback which was, of course, never censored… couldn’t be more direct in fact, like “this one is total nonsense! It would f**king break in a few seconds when you use it! Make this part thicker!!”… “This is silly!! Scrap it!”
Because of the trust between band, management and developers we were given access to all the original recordings, even for the songs that go back almost 40 years. That means that we were able to mess around with every separate layer, or stem, of each song. I can’t express how proud I am that we were allowed to use those. Working on them and listening to them is like time travel, like walking right into the Roundhouse Studios sessions, back in the 70s.
Bomber and Iron Fist are iconic tracks that need to be in the game. These are transformed in game to special attacks to smash your enemies.
In the game there are many special locations that feature a so-called “Monument of Rock”. When Victor activates such a monument, we are muting whatever track the general soundtrack is playing, and activate the monument’s own individual remix. That may start with just the bass playing, after a successfully defeated monster wave, another instrument gets added – or the vocals. It is always different and it makes the sound experience absolutely unique.
The monster-spawning phases are intertwined with the rhythm of the chosen song, thus making some “Monuments of Rock” escalate faster than others. In the end, when Victor defeats all the monsters, the song is complete and the monument spits out tons of treasures. A very fulfilling feeling which makes you long for the next one.
And here’s the track list for the game. Make sure to crank the volume up good and loud – it’s the only way to listen to Motörhead and to play the loudest video game in the world!:
- ‘Motörhead – Motörhead, 1977
- ‘Overkill’ – Overkill, 1979
- ‘Stay Clean’ – Overkill, 1979
- ‘Bomber’- Bomber, 1979
- ‘Ace of Spades’- Ace of Spades, 1980
- ‘Jail Bait’ – Ace of Spades, 1980
- ‘Love Me Like a Reptile’ – Ace of Spades, 1980
- ‘We are the Road Crew’- Ace of Spades, 1980
- ‘Killed by Death’ – No Remorse, 1984
- ‘Iron Fist’ – Iron Fist, 1985
- ‘End of Time’ – Aftershock, 2013
- ‘Paralyzed’ – Aftershock, 2013
- ‘Queen of the Damned’ – Aftershock, 2013
Additionally, there are countless instrumentals and Monument-of-Rock remixes of the tracks in the game as well.
The post How Motörhead’s music, plus Lemmy’s weapon expertise, shaped action RPG Victor Vran appeared first on PlayStation.Blog.Europe.
After six seasons, CBS has cancelled the comedy series 2 Broke Girls.
Deadline reports that CBS and Warner Bros. TV, who produced 2 Broke Girls, couldn't come to an agreement over the financials of the aging series. With negotiations down to the wire, there was talk of potentially shortening Season 7 down to 13-18 episodes, but ultimately a deal couldn't be made.
Though 2 Broke Girls started off notably strong in its first 2011-2012 season, its viewership did decline, but it was still a decent performer for CBS - and the network's youngest-skewing comedy.
Florence Nightingale Was Born 197 Years Ago, and Her Infographics Were Better Than Most of the Internet's
When someone mentions Florence Nightingale, who was born this week in 1820, one particular image likely comes to mind: A caring presence, head covered by a shawl, holding a lamp as she ministers to patients in the dark. The "Lady with the Lamp," as she was known, still serves as a symbol for nurses everywhere.
But for every hour Nightingale spent burning the midnight oil to help a sick soldier, she likely spent another up late doing something else: working on some of the world's first explicitly persuasive infographics. In addition to caretaking and advocating, Nightingale was a dedicated statistician, constantly gathering information and thinking up new ways to compare and present it.
In August of 1856, Nightingale headed home from her famous stint at Scutari hospital in Crimea, where she had successfully lobbied to improve conditions and to expand the role of nurses. Upon her return to Britain, she was greeted as a hero—the press knew her as "a 'ministering angel'," and luminaries were eager to donate to training funds established in her name.
But in private, she had two things on her mind: death and statistics. Even if the most recent war had ended, there would be more, she reasoned, and without some kind of permanent reform, Nightingale feared all future wars would look much the same—full of needless deaths, even off the battlefield. "Oh, my poor men who endured so patiently," she wrote to a friend in late 1856, thinking back on the soldiers she had treated who hadn't made it. "I feel I have been such a bad mother to you, to come home and leave you lying in your Crimean graves, 73 percent in eight regiments during six months from disease alone."
Nightingale had always had an affinity for math—as a child, she filled notebooks with tables of data about the fruits and vegetables in her garden, and according to one of her contemporaries, Francis Galton, she believed that statistics were the most effective way to "understand God's thoughts."
Her months in the war hospitals of Crimea provided her with plenty of opportunities to gather information, something that, in her view, those in charge had been fairly lax about. "The Army Medical Statistics… do not appear hitherto to have contemplated the necessity of [tabulating the sick at a given time]," she later wrote. "It cannot be ascertained correctly even for the Crimean Army."
When she returned, sheafs of stats in tow, it was to a Britain gripped by its own numerical fervor. In 1834, scientists there founded the London Statistical Society, which aimed at "procuring, arranging and publishing facts," in order "to illustrate the condition and prospects of society." Three years later, the country set up a General Register Office to record births, deaths, and marriages. Soon, journalists and politicians were comparing sets of numbers in order to demonstrate particular correlations—between education and crime, say, or relationship status and longevity.
When, in February of 1857, the Secretary of War reached out to Nightingale and asked her to "communicate her opinions" about hospital treatments in Crimea, she saw her chance. Rather than drawing up some brief notes, she quickly began work on what would become Notes on Matters Affecting Health, Efficiency, and Hospital Administration in the British Army, an 850-page report that combines stories and observations with tables, graphs, and charts.
The report took her two years of near-constant work: peers, she wrote, accused her of "making my pillow of Blue-books." It also taught her something surprising—far more Crimean War soldiers had died from preventable diseases than from anything else, including combat. What's more, after a sanitary commission was sent to Crimea to clean up the hospital, death rates plummeted. These conclusions—and the data that supported them—were "like light shining in a dark place," wrote her mentor and collaborator, the epidemiologist William Farr.
With such a massive tome on offer, though, Nightingale feared that this most vital conclusion might be overlooked. So she developed a series of charts meant to make it even clearer to the reader. Her most famous graph, displayed at the top of this article, shows the number of soldier deaths per month from various causes. Each pie slice represents a different month, from April 1854 through March 1856, and each color stands for a different cause of death. It takes just a quick glance to achieve the two main takeaways: that disease, colored blue, killed far more soldiers than either "wounds" (red) or "other" (black), and that it was reduced greatly in 1855.
Nightingale called this chart type—which she seems to have invented— "the coxcomb," due to its shape and color. Although she wasn't the first person to present statistics in chart form—that honor goes to William Playfair of Scotland, who published a book of infographics in 1786—"she may have been the first to use them for persuading people of the need for change," writes the historian Hugh Small.
After she completed her report, Nightingale worked hard to turn its conclusions into common knowledge, privately distributing it to influential people and writing several more reports, many of which included coxcombs. When she received pushback from Army doctors, who thought sanitary measures a waste of money, she even leaked some of her charts to the press.
Eventually, Nightingale defeated said critics, and her findings won out. By the 1880s, sanitation standards in the British Army had greatly improved—soldiers were given the space and time to wash their clothing, bedding, and selves more regularly, among other reforms—and these gains had spilled over into the general population as well. As the statistician Jil Matheson told the Guardian in 2010, "the 'Lady with the Lamp' was also a lady with powerful ideas"—and it's those ideas that truly helped Britain shine.
In advance of its 25th anniversary this September, Syfy has announced a self-proclaimed network "reboot" focused on a "renewed commitment to the genre and fandom at large" - which includes the Superman prequel Krypton officially being ordered as a series.
Included in the Syfy reboot are an all-new look and feel, an expansion of its news division Syfy Wire, and more additions to the network’s original programming slate.
If you've watched the first two episodes of American Gods and still find yourself confused about what this show's actually about, we've got you covered. Here's a general spoiler-free breakdown of what's happening:
In a word, Bryan Fuller and Michael Green's adaptation of Neil Gaiman's modern fantasy novel is about "belief." But the exploration of that concept is set against a backdrop of a massive battle for America's belief -- even if the TV show hasn't been so explicit about it yet. To get you in the loop on the Big Picture of American Gods, here's a general spoiler-free breakdown of what's happening:
Many of the characters we've met so far on American Gods are what's considered "Old Gods": Mad Sweeney, Bilquis, Anansi/Mr. Nancy, Czernobog, and the Zoryas among others. These Gods are essentially immigrants; they came to America with their loyal subjects, as we see in the "Coming to America" vignettes. Think of it like the Hitchhiking Ghosts who jump in the ride vehicle with you at the end of Disney's Haunted Mansion attraction and follow you.
Following its debut on April 30, Starz has renewed its critically-acclaimed series American Gods for a second season.
According to the network's announcement, the premiere of American Gods garnered over five million multiplatform viewers and placed number one on Nielsen Social Ratings for all scripted broadcast and cable television series.
"Bryan Fuller, Michael Green and Neil Gaiman have evolved the art form of television narratively, structurally and graphically with American Gods, and we're thrilled to be working again with these artists as they continue to build the worlds and wars of the gods," said Carmi Zlotnik, president of programming for Starz.
Based on Neil Gaiman's award-winning novel of the same name, American Gods tells the story of a war brewing between the Old Gods and the New. The Old Gods have mythological roots around the world and find themselves seduced by the New Gods' technology and money.
It appears that the rumored Assassin's Creed Empire was just a codename. The real title will be Assassin's Creed: Origins, with the eternal struggle between the Assassins and Templars this time set around the Fifth Dynasty in Egypt, and there is a shaky cam screenshot to go with it all, according to a report.
The screenshot was leaked on the game's official reddit by a user named shoutouttoashraf, according to Eurogamer, but the account has since been deleted. The name could be a reference to an Ubisoft employee named Ashraf Ismail, who is listed as working on an announced project at the Montreal studio, and had worked previously on Assassin's Creed: Black Flag. Eurogamer said it was able to confirm the authenticity of the game's name, and that it would be prequel coming later this year for PC, Xbox One and PlayStation 4.
The screenshot shows a mission called Assassinate the Crocodile, where the player must "follow Shadya to Khenut's villa." A quick search of Wikipedia shows that Khenut was one the queens to King Unas in Egypt during the Fifth Dynasty. It shows the main character on a boat, although whether they will make a return in the capacity they did in Black Flag remains a mystery.
Of course, E3 is next month, and Ubisoft is expected to have its usual pre-E3 press conference again this year, although it hasn't made the official announcement yet. A new Assassin's Creed after a year's hiatus would be a nice addition to the show, with the only question being whether Ubisoft would open or close with it, and how much Aisha Tyler will fawn all over it.