After revisiting the adorable Doctor Strange of the Moon Girl and Devil Dinosaur comic last week, I found myself craving more Strange stuff. And while I don’t know if I’ll ever be able to bring myself to watch the MCU movie, I do own a few trades’ worth of Doctor Strange comics. I remembered enjoying them well enough when I first read them, so I figured the time was nigh to revisit one and see if older, woker Saika still thought they were any good. And that’s how I ended up rereading the 2007 comic Doctor Strange: The Oath, by Brian K. Vaughan and Marcos Martin. Turns out, while it’s a good standalone story to read if you’re interested in the good Doctor, it’s also full of some tired tropes and isms.
For this installment of Throwback Thursdays, I decided to revisit Indiana Jones and the Raiders of the Lost Ark (1981)—the first installment in the Indiana Jones trilogy—since I didn’t realize how long rewatching the whole trilogy would take. The movie trilogy and the character of Indiana Jones were some of my formative influences as a child. I dreamed of unlocking the world’s mysteries and these movies showed an academic leading a glamorous life of adventure, hunting mysterious artifacts and overcoming difficulties using his knowledge and reasoning powers. However, watching Raiders of the Lost Ark as an adult rather requires that I turn my brain off if I want to actually enjoy it because of the number of glaring issues regarding racial and cultural representation, as well as gendered character tropes.
Spoilers for the movie below, obviously.
I’ve played quite a few video games in my day, often coming back to the really good ones repeatedly over the years. But only a select few have crossed over into “I set my Steam profile to private so my friends don’t know how much I play this game” territory. Of all those titles, perhaps the most enduring are the Bioware Star Wars: Knights of the Old Republic games from 2003/2004.
There’s something about KOTOR that gives it a staying power very few story-driven games, even the truly great ones, have ever achieved. The two games combine a massive narrative depth with a mature treatment of the Star Wars universe that sets a gold standard for the franchise, at least in the realm of gaming. They have proved so enduring in their popularity, in fact, that KOTOR was re-released for mobile and KOTOR II was recently patched (after over a decade) to support modern PCs, add Steam Workshop support, fix bugs, and officially support the Restored Content Mod. For those who are not familiar, KOTOR II was rushed to make a physical release date, and as a result, a great deal of content was cut. Rather than removing it, however, the devs left it there for modders to find. Over the years, that resulted in a near complete restoration of that content. The game has remained popular enough to justify a complex, years-long project involving dozens of coders and artists, and it has continued to sell well enough to justify an updated Steam release with official support for that mod.
Falling thousands of years before the events of the Star Wars prequels, KOTOR showed us a universe where the galaxy is plunged into massive and bloody conflict with the Mandalorian Wars and then almost immediately into the universally disastrous Jedi Civil War, in which Jedi are not trusted, are hated by many, and are ultimately hunted to near extinction. It’s dark and chock full of moral ambiguity and some of the best Star Wars content out there. While these games are technically no longer canon, the general framework and many of the characters from this period, KOTOR games included, did “make the cut.”
The KOTOR franchise also serves as a clear spiritual predecessor to the best of both the Mass Effect franchise and Fallout: New Vegas. Many of the same people worked on many of those titles, and there are themes that almost seemed to carry over directly. While far from perfect, these games dealt with complex racial, ethical, and sexuality/gender identity issues in ways that were often groundbreaking, if occasionally facepalm worthy.
The comic book series that I come back to over the years tend to be the ones with the most memorable and well fleshed out characters. I generally also re-examine these treasured tomes from a more critical perspective as time goes on, often from an explicitly feminist one. Of these all-time favorites, one that particularly warrants that reexamination is Y: The Last Man.
I won’t lie, I’ve been wanting to write about Y since I survived the Jedi/Sith training required to write for LGG&F; I’ve also been absolutely dreading it. For those of you not familiar with the series, Last Man is a story by Brian K. Vaughan that ran from 2002–2008 in which all the characters aside from the titular protagonist are women, as is nearly every other human being alive. It’s a story, written by a man, about the last man alive in a world full of women. To say that there are some inherently problematic issues in the series from that information alone is an understatement. Many of my favorite comic book authors are men and many of my favorite comic book characters are women; that critical angle is one I encounter frequently, but Y takes it to a whole new level as nearly every character you encounter or see is female (or AFAB).
In looking back at The Last Man here, let’s explore how it inverts exploitation narratives in order to undermine them and how it uses gender as a lens through which to examine human nature.
Spoilers for the whole series, including the end, follow.
Being the resident Sonic fan here at Lady Geek Girl & Friends, I feel like it’s my duty to do as much justice to the franchise as I can. Since my last look at Sonic’s escapades was the original trilogy, I’d like to remember the series that brought a lot of millennials into the mix: Sonic Adventure 1 & 2. These two games (and their subsequent remakes) set the foundation for where the gameplay and story of the franchise would go for the next 18 years. The Sonic Adventure games were the proper introduction of the Blue Blur and his friends to the 3D world. Although there were Sonic games that were 3D or had 3D elements before, these two were the first to feel like a proper continuation of the original trilogy.
The recent controversy over the bullshit Death Note whitewashing has caused me to crave the original version of Death Note, specifically the animated series. I will admit that while I am a fan of this anime, I have never actually finished it, thanks to L’s untimely death. To this day, I still don’t know much about how the show ends. Now, however, on top of my own desire to watch it again, my husband wants to watch it for the first time. So after many years I am set to finally finish this series, but it has been so long since I have watched this anime that upon beginning my re-watch, I immediately noticed things I missed the first time around. I still adore this anime and think it is extremely well done, but I couldn’t help but dislike the treatment of the character Naomi Misora.
Spoilers for Death Note below.
In my grand tradition of rewatching old Scooby-Doo movies for this column, I sat down this week with yet another Saika family fave: Scooby-Doo and the Cyber Chase. It’s been ages since I’d watched the movie, so much so that it’s possible that I’ve played the PS1 game based on it more recently than I’ve seen it.
So it was with almost fresh eyes that I turned back to this particular title in my teensy VHS collection. I have to say, upon rewatching, I found myself both amused and bemused, but never quite engaged enough to make this a fave like Zombie Island.