KATHY'S EDITING BAY
NEW MELISSA Good To Go
Echoes of Wisdom: A Triumphant Evolution for The Legend of Zelda Series
As a long-time fan of The Legend of Zelda series, each new installment brings with it the thrill of revisiting Hyrule and embarking on yet another grand adventure. When Legend of Zelda: Echoes of Wisdom was announced, it instantly jumped to the top of my “must-play” list and for good reason. The twist this time? Players assume the role of Princess Zelda, stepping out of her traditional damsel-in-distress role and into the forefront as the protagonist. Although I was a little bummed about the absence of her Sheik alter ego, the game quickly dispelled my doubts. Echoes of Wisdom is not just a worthy addition to the series but a refreshing evolution that exceeded my expectations.
The story kicks off in classic Zelda fashion: Ganon reemerges, abducts Princess Zelda, and sets the stage for Link to swoop in and save the day. But the narrative takes a sharp turn early on. After Zelda is rescued, it is Link who finds himself captured and pulled into a mysterious dimensional rift. Left without her usual savior, Zelda must rise to the occasion and take charge of the mission to rescue Link and restore balance to Hyrule.
This setup flips the series' traditional script on its head. By placing Zelda in the spotlight, Echoes of Wisdom gives fans an opportunity to experience the kingdom through her perspective. It’s a clever narrative device that breathes new life into the series while maintaining the familiar themes of courage, wisdom, and power.
At the heart of Echoes of Wisdom is Zelda’s ability to create “echoes” — magical imitations of objects and enemies she encounters in Hyrule. Assisted by her floating companion, Tri, this mechanic forms the backbone of gameplay and sets Zelda’s adventure apart from Link’s traditional sword-and-shield exploits.
Here’s a breakdown of the echo system:
● Monster Echoes: Defeating an enemy allows Zelda to create an echo of that monster, which can then fight alongside her in future encounters. Each monster has unique abilities, with the Lynel echo being the strongest and most versatile ally.
● Object Echoes: Zelda can create echoes of inanimate objects like boxes, furniture, or trampolines, which are often key to solving puzzles or reaching hidden areas.
● Bed Echoes: Surprisingly versatile, bed echoes can restore Zelda’s health when she jumps into them. They can also be stacked to form makeshift stairs or bridges, making them indispensable in platforming challenges.
The echo system encourages experimentation, and the game rewards creativity. Learning what each echo can do often leads to surprising solutions for puzzles or unique combat strategies. This mechanic is an innovative addition that feels distinctly tailored to Zelda’s role, balancing combat, exploration, and puzzle-solving in a way that keeps the gameplay engaging and varied.
Hyrule in Echoes of Wisdom is as expansive and enchanting as ever. The game retains the open-world design introduced in Breath of the Wild, allowing players to freely explore lush forests, towering mountains, and forgotten ruins. However, there’s a distinct shift in tone with Zelda at the helm. The narrative places a greater emphasis on uncovering the lore of Hyrule, and many of the game’s side quests delve into her connection to the kingdom and its people.
The new areas introduced in the rift dimension are visually stunning and mechanically inventive. These zones feel like a surreal blend of traditional Hyrule and otherworldly dreamscapes, filled with gravity-defying puzzles and distorted architecture. The developers clearly poured their hearts into creating an experience that feels both familiar and fresh.
Zelda’s promotion to the protagonist brings with it a deeper exploration of her character. No longer confined to cutscenes, players get to see her grow from a hesitant royal into a confident hero. Her interactions with other characters, from loyal allies to reluctant foes, reveal new facets of her personality, making her more relatable and inspiring than ever before.
The game’s puzzles and dungeons strike a satisfying balance between challenge and accessibility. While veterans of the series might breeze through some of the simpler puzzles, the later dungeons and optional challenges are sure to test even the most seasoned players.
For completists, there’s plenty to do beyond the main quest. Collectibles include fragments of stars and stamps, as well as powerful heart fragments that upgrade Zelda’s abilities. There are also quest items that you receive upon completing a quest.
Legend of Zelda: Echoes of Wisdom is a bold and triumphant entry in the franchise, proving that Princess Zelda is more than capable of carrying an adventure on her own. The game takes the series’ beloved formula and innovates in meaningful ways, delivering a narrative and gameplay experience that feels both nostalgic and groundbreaking.
Whether you’re a longtime fan or a newcomer to the series, Echoes of Wisdom is a must-play. It’s a celebration of everything that makes The Legend of Zelda great, while also charting a new path forward. For me, it’s a shining reminder of why this series continues to hold a special place in the hearts of gamers worldwide.
Rating: 9.5/10
NEW HORROR CURIOSA 12/10/2024
UP ON SITE
Woman of the Hour
By Cale Patterson aka Married2Horror
Being married to horror is something I joke about, because in actuality, my husband has been the most supportive and loving person. And not only to me, but to our three tenacious, talented, and awe-inspiring children. So, it’s finally happened... our youngest has taken up the mantle of vetting movies with her father, for me. They had a double feature one evening, APARTMENT 7A and WOMAN OF THE HOUR. We might circle back around to APARTMENT 7A someday, but I wanna discuss the standout, WOMAN OF THE HOUR.
The Plot:
Set in the 70s, a struggling actress takes a gig on the popular tv show “The Dating Game” and there just happens to be a serial killer among the bachelors.
This is Anna Kendrick’s directorial debut and WHAT a debut it is! She knocks it out of the park on casting across the board. When I’ve seen pictures of serial killers, I always ask myself “How do these people con others into feeling safe?”, but to see it in action - the charisma dripping off the killer is terrifying and the fear of the victims is heartbreaking, which only happens because the performances are perfectly executed. Kendrick’s direction is confident, and one scene in particular has the intensity of John Carpenter’s HALLOWEEN, while another has the depravity of THE TEXAS CHAIN SAW MASSACRE. Mind you, I’ve never seen TCSM in its entirety, but the ferocity and violence in WOMAN OF THE HOUR mirrors the snippets I’ve encountered. Also, did I mention this was based on a true story? Do what we did and watch the movie, then do a ridonkulous amount of research to compare and contrast during discussions. You won’t be disappointed!
NEW RJS COLUMN
Deadline: 12-11-2024
'Twas The Night Of The Living Dead
by Richard J. Schellbach
(With apologies to Clement Clarke Moore)
'Twas the night before Christmas as I lay in bed,
Not a creature was stirring…except for the dead.
Some old boards were nailed over windows, with care,
In hopes that no flesh-eaters could get through there.
My wife in her nightshirt and me in my britches
Had just settled in, with our thirty-aught sixes.
The children were terrified under their beds;
They just kept repeating, "Dad, aim for their heads."
'Cause out on the lawn we had been hearing moaning,
The screams of the innocent and occasional groaning.
So away to the window I flew like a flash,
Tore off an old board and threw up the sash.
The moon on the breast of the new-fallen snow
Gave the luster of mid-day to zombies below.
Then what through my Remington scope should appear
But a rotted old sleigh and eight undead reindeer.
With a red-suited driver whom I, instantly,
Determined was Santa… or, he used to be.
As the reindeer flew towards me I raised up my gun
And squeezing the trigger, I shot at each one--
Shot Dasher! Whacked Dancer! Hit Prancer and Vixen!
Popped Comet! Plugged Cupid! Capped Donder and Blitzen!
From my 'lectrified fence to my ten-foot-high wall,
I blew away, blew away, blew away all!
But more dead folks appeared as the others lay slain.
They gathered together and forward they came!
Then up to the front porch to start the attack,
With dead zombie Santa at the head of the pack.
And mere minutes later, that bastard Kris Kringle
Climbed up on the lattice and clawed each roof shingle.
As I quickly reloaded and went whipping around,
Down the chimney dead Santa Claus came with a bound.
He was dressed all in red, from his head to his feet,
And his clothes were all bloody from victims he'd eat.
The bag that had carried toys and candy canes,
Instead was all filled up with human remains.
His eyes - like white marbles! His throat was just hissing!
His cheeks were all hollow; his nose, it was missing!
The beard on his chin was all matted with blood,
And his left ear fell off - hit the floor with a thud.
He had pink flesh hanging from between his teeth.
And the flies all encircled his head like a wreath.
He was fetid and bloated, a rancid old lout.
And I screamed when I saw him, and almost passed out.
A wink of his eye and a twist of his head,
Gave me to know I'd soon join the undead.
He clawed at my stomach, then went straight to his work.
He grabbed my intestines, then gave them a jerk.
And after he fed, he threw open the door
And let in some zombies - 'bout 60 or more.
As they fed on my entrails and drained me of life,
I saw them devour my kids and my wife.
And the last thing I heard were these words Santa said:
"Merry Christmas to all… in the land of the dead!"
A New Beal For November - Good To Go
THE DOWN AND DIRTY
I was having a deep discussion with the guy who owns this site and was shocked to learn that we actually agree on something. (And no, it is not his belief that he pays me what I’m worth.) We were talking about Hammer Frankenstein flicks, and he mentioned that his favorite was the final one, Frankenstein And The Monster From Hell. Well, will wonders never cease to exist? That’s my favorite too. And the second he mentioned that he’d be doing his column on that very subject, I knew I needed to beat him to it. You know… Knock him down a peg. After all, the clown thinks I’m getting paid what I’m worth? He could up my salary tenfold, and I’d still make him hand over his wallet at knifepoint.
Hammer movies, especially of the horror variety, are beautiful to behold. They boast brilliant colors, have snappy dialog and have tons of the red stuff all over the place. In fact they look like Mama’s stovetop after she’s finished building the Sunday gravy for the linguini. But anyone who knows me knows that I don’t go the regular route very often. And while I have a warm spot for all of the Hammer Frankenstein movies, hands down, my favorite is Frankenstein And The Monster From Hell. Take a deep inhale when the movie starts. It takes place in an insane asylum and it just reeks of rancid meat. Dr. Frankenstein is a horrible mess. His brain still desires to create life from death but his hands and overall health betray him at every turn. Fortunately for Baron Frankenstein, Simon Helder, a young Doctor who admires the good Doctor’s work, arrives as an inmate and, almost instantly, the Baron is impressed by Helder's talents (which include crimes of ‘sorcery’ and body-snatching) Together they work on the design for a new creature. Unknown to Helder, Baron Frankenstein is acquiring body parts by murdering his patients. A practice which is frowned upon, even within the walls of an asylum. This is a dirty little film in both look and theme. And you can bet the farm that your old pal Beal will go with dirty all the live long day! (Speaking of dirty, Savanah is on the way over and I haven’t seen her for about two months, due to my unintentional vaycay, so I’ve got to wrap this up.)
The Monster From Hell is about as aptly named as any one of Frankenstein’s creations and I’m talking about on both sides of the pond. This is more a beast than any monster past and present. The Beast is played by David Prowse – it’s the second time he played the monster in a Hammer Frankenstein movie. The first time was in The Horror Of Frankenstein and the less I say about that little slice of feces, the better.
This one is directed by Terence Fisher, who I don’t think was capable of making a bad flick, if he had a gun to his groin. He will always be one of my absolute favorite Directors.
One more thing, if you think you know what "down and dirty" truly means, just wait till you see how Baron Frankenstein clamps one of the monster’s veins, considering his hands are useless. Trust me, you’ll mess your pantaloons during that scene.
Well, there’s the doorbell. Time for me to send this one off to HQ, grease up the pole for Savanah and truly celebrate hump day the right way.
I have a feeling David Prowse isn’t the only creature that’s going to be brought back from the dead tonight, if you catch my drift.
Later.
New Horror Curiosa - Good To Go
Army Of Darkness (1992)
By Cale Patterson aka Married2Horror
Let me take you back to somewhere in the mid to late 80s, where little me is watching a movie I have no business watching... The Evil Dead. To my recollection, the house we lived in, on Guam, was almost like a museum in that everything seemed made of stone. The walls were a vast sea of cool to the touch, white painted concrete, and our living room had a sizable television recessed high up in that blank, bumpy, cold walling.
One night, I was sitting alone on the patterned couch, and the table lamp at my side was flooding the living room with bright light, leaving no shadows. Looking up and feeling small, I realized the tv was on. I can’t tell you why I don’t remember any of the horrific scenes that preceded this one, but…
There’s a twisted hag of a lady with milky white eyes peeking out from under a clumsily locked trap door in the floor. I clamp my eyes shut, but it’s no use. I can still see her! What’s worse is that she can totally crawl through the gap of that stupid door.
Now I’m not advocating for watching The Evil Dead, because... aw, hell naw. What I am saying though is that Army Of Darkness (technically Evil Dead 3) is definitely Horror Curiosa worthy because it’s slapstick, action horror. And because, Ash. Wins. Costume. Contests. He’s a lovable scamp, and Bruce Campbell in the blue torn shirt and a chainsaw for a hand is a winner for a reason.
The Plot:
Ash and some buddies (including his girlfriend) vacation at a cabin in the woods. Demonic forces called Deadites are awakened and proceed to infect everyone for world domination. Only Ash seems equipped and foolhardy enough to resist them, until he gets jettisoned to the past. Can he find a way to defeat this necrotic evil and return home to his time?
Do yourself a favor and Shop Smart, Shop S-Mart. Yes, there is over the top gore, and some tinges of body horror, but the comedy will see you through. Go watch Army Of Darkness, and after your hundredth viewing, and some foolhardy notions, maybe try The Evil Dead.
Rick's November column - Good To Go
A Horror Trinity or They Come In Threes
A Film Fury
by Rick Patterson
They come in threes. It is a term that has become associated with loss over the decades, especially in the entertainment industry or cult of personality. You never hear about how good things come in threes. “Dude, I won the lottery, found I have new kid on the way and made contact with one of my best friends from high school, all in the same week!” The “threes” we're used to is losing the likes of John Amos, Kris Kristofferson and James Earl Jones within weeks of each other. It’s completely antithetical to the term’s origins, which comes from the Latin phrase: Omne trium perfectum. Translated, everything in threes is perfect. Death in threes can’t be seen as perfection and not in horror films either.
Not to sound like a cranky old man, because I ain’t that old, but here it goes; I kind of hate it when fans of my most loved genre don’t realize perfection when they see it. This isn’t about yours truly being better than you. But somehow three films I thoroughly love were so misunderstood they were unrealized as the classics they are for over thirty years in some cases. The DNA of these films are the number three. They are all the third in a series of films that were box office and critical successes. So, let’s discuss Jaws 3, Leprechaun 3 and Amityville 3-D! “I kill me!” As good old ALF used to say.
And away we go!
1982
War in the Falklands! Canada gains independence from the United Kingdom! Recession continues through the US economy. And Michael Myers returns… on the television in a bar where Tom Atkins is confronted by the ultra-sexy daughter of a murdered toy reseller. Yes, Halloween III: Season Of The Witch.
John Carpenter didn’t want to do a third in the series. But Halloween II grossed over $25 million and Universal demanded a third. Science fiction writer Nigel Kneale was hired to pen. Now, there are some reports that Joe Dante was set to direct and he brought in Kneale. But Carpenter has never mentioned Dante’s involvement and claims to have hired Kneale due to his love for the Martin Quatermass films. Tommy Lee Wallace, who had turned down part 2, was brought on to direct and ultimately rewrite the script. The first time I saw part three I fell in love with it. From the high tech (80s) opening credits with a digital Jack O’ Lantern to the synthesized score by Carpenter and Alan Howarth to the villainous Conal Cochran monologuing his plans to our hero. Yes, this wasn’t the first two films. It wasn’t Michael Myers, dispatching teens, with Dr. Loomis in pursuit. But it was still a fucking ride. Wallace was as close as you could get to the style of Carpenter in terms of visuals, which he would later carry onto the underrated Fright Night Part II. And much like the style of Carpenter, we were left with a dark ambiguous ending. I watched this as a kid on HBO and was haunted for days with Atkins final scream of “Stop it!”. And stop the series did. Much to the chagrin of those who claimed it to be a failure, Halloween III grossed over $14 million on a budget of $4 million. You can argue about how a title change would have given viewers a different opinion of the film. But why? The film is still a quality production.
1985
Japan launches its first deep space probe! Ronald Reagan is sworn in for a second term as President! “We Are The World” is released as a charity single! And the dead walk…again in Day Of The Dead! George A. Romero returned to his series that started with Night Of The Living Dead.
Originally conceived as a $7 million dollar epic described as “Raiders Of The Lost Ark” with zombies, the film’s final budget suffered to allow for an unrated release. What didn’t suffer, was the film we were blessed with. Once again, I fucking loved this movie from the first viewing. It is exactly what you want from a good sequel. New locations, new characters. Yes, Dawn Of The Dead is so close to my heart. But Day holds that place as well. Sarah, Logan, Rhodes and Bub all beautifully crafted characters. Though claustrophobic, the set pieces are huge. The gore from master Tom Savini elevates to new levels that aren’t even touched today. John Harrison’s score is so opposite of Goblin in Dawn that it’s easily welcomed. It was even used in the third season of Stranger Things in a rather emotional scene. I’ve talked to “fans” over the years shitting on it. A rather well-known horror producer (of special features) even admitted to hating the film, before years later “loving it”. Wasn’t there enough to love from the beginning? Lori Cardille’s epic performance that stands with the likes of Ripley in Aliens? Day Of The Dead did make over $34 million. Some got it.
1990
The Gulf War begins! The Soviet Union falls! The human genome project begins! It’s A Wonderful Life (as misspelled by the killer) in The Exorcist Part III.
After the train wreck of Exorcist II: The Heretic left the series dead in the water, author William Peter Blatty published his own direct sequel as Legion (a failed pitch for the second film years earlier) to great success. For the film version Blatty was given director approval, even approaching John Carpenter to helm, before taking it on himself as his second directorial effort. I saw this in the theater. It was one of the finest viewings of a film I have ever had. Blatty had me, this 17 year old kid, pulled in. George C. Scott gives a performance that horror films don’t get enough of. He’s charismatic, charming, funny and at moments heartbreaking. Blatty’s direction command of the image stands with the masters of the genre. Critics and fans judged the film, unfairly, along side of the William Friedkin original. Now, it’s been reassessed. They see Scott and his fucking brilliance. The hallway jump scare is seen on multiple lists of most terrifying moments in horror history.
So, why? Why do so few get it the first time out with these films in particular? It’s as if they’ve been waiting for a sticker for finally “getting it”? I find there are two types of horror fans. The ones who get a taste of it and never let go. They watch it all. Devour with a passion. Then you get the ones who say things like “yeah, I stopped watching horror films for a few years”. Years?!?! I could never do that. To quote Detective Kinderman, “It’s..not..in the file!”.
I think more genre films are going to fall to the wayside, just to be re-discovered years from now. Films like The Battery and After Midnight are an example. To the new age of horror fan. Put your cell down and get it the first time. You’re missing out.
See you in Pittsburgh!
Kathy - Good To Go
THE KEEP (1983) 96 Min. Rated R
Michael Mann’s The Keep has a troubled background. Cut down from well over two hours to ninety-six minutes by the studio, guaranteed that Mann had nothing good to say about the movie when it was finally released and, although it boasts some Grade A acting talent, (including Scott Glenn, Ian McKellen, Jurgen Prochnow and Gabriel Byrne) they weren’t the kinds of actors Johnny Carson would regularly seek out as guests for the Tonight Show. Therefore, the movie got no initial release buzz.
The Keep got a home video VHS release after its theatrical run. But, let’s face it, everything was on videotape in the first half of the eighties. After that, there was nothing when Laserdiscs, DVDs and Blu-Rays were king… at least not in the good ol’ U.S. of A. There has been home video and streaming releases in the new century. Alas, it was too late by then for a new generation to find much appreciation for it.
But there are many reasons to watch this one. Like just about everything else Michael Mann has directed, The Keep looks nothing like its contemporaries. The effects are top notch, as are the acting performances, and the music drives the film along like the best of Tangerine Dream’s scores. Now, thankfully, you can find it on disc on Amazon and even streaming in a few places.
Seek this one out, if you missed it, all these years. It’s well worth the watch.