The sixth episode is titled “Kintsugi,” which is a Japanese artistic practice of repairing broken pottery while keeping the cracks visible, which is meant to create visual historicity in the object. While this is potentially a literal reference to the broken teacup that Tagomi (Cary-Hiroyuki Tagawa) finds in alternate America, it also serves as a metaphor that spans the entire show. Each group—the Nazis, the Japanese, and the Resistance—actually denies the reparation of the broken nation. While each group continues to disrupt the agenda of another, America seems more and more likely to be beyond repair. The groups end up being more destructive rather than restorative, and the potential annihilation of San Francisco that was foreshadowed in the man in the high castle’s film would effectively eradicate much historical evidence of Japanese influence in America.

Long before the time of books, radio, television, and video games, people were telling stories.  So many of these stories have been told so many times that they share common elements, but the twist of one fact could change the course and create an entirely new tale.  That’s part of the difficulty of trying to bring one of these old tales to light, as people can sometimes lose focus, feeling that they know just where the story is going and may miss the truth that lives within it. 

For those who enjoyed the unpredictability and edginess of Stranger Things, Netflix’s new series, The OA - co-created by Brit Marling and Zal Batmanglij - needs to be next up on their binge-list. The OA raises questions about the world, the afterlife, and the space in between. This 8-episode season incites hope and bridges connections in unexpected places. Each episode traces the story of Prairie (Brit Marling), a young blind woman who has been missing for seven years. When she returns home, now calling herself the OA, her sight has mysteriously been restored. The FBI, her parents, and the local news reporters all want to hear her story, but Prairie finds a group of five misfits to share it with in hopes that they can help her save the lives of others. The show is thrilling but offers hope in dire circumstances, creates community among unlikely individuals, and demonstrates what willpower can achieve. And the story is so compelling that the end of each episode demands starting the next.

Marc Jackson has created a weird, silly, and humorous take on space exploration. Your imagination can’t prepare you for the shenanigans the main character finds himself in. Not only will you wonder where this story is going, you might wonder how a simple run to the local space market, looking for “blue milk,” could go quite so awry.

As it starts to seem like this season is finally getting closer to providing some answers, Episode 5 shakes things up and raises more questions. As a whole, this show is driven by its mysterious plot, while its setting provides a disturbing, but artistic, appeal. The acting supports these other elements but is not the crux of the show’s success. That’s okay, though, because the audience does not need to be emotionally invested in the characters to appreciate the uniqueness of the show’s storyline and the remarkable attention to detail the creators have paid in building both versions of America.

Justin Robinson’s novel, Coldheart, introduced readers to the world of the Magi, gods and super-powered beings struggling for control over Earth; however, that novel focused predominantly on the Twins, the powerful beings that claim responsibility/ownership over North America.  The second novel in the series, The Daughter Gambit, is a selection of short stories that provides some insights into the members of the other Magi groups. 

First encounters with alien species might seem like an entertaining prospect. There is a romanticized quality from major franchises like Star Trek and Star Wars, yet history proves this is not always the case. In particular, the recent introduction of “Engineers” from the film, Prometheus, proves that discovering new life can be absolutely terrifying.

When I first heard about the massive crossover that Top Cow Productions was undertaking with the release of Eden's Fall, a series that would take three of their top titles (Postal, The Tithe ,and Think Tank) and place them all together, I was incredibly excited. The company, along with fearless leader Matt Hawkins, has always been one of the more interesting smaller publishers on the market, taking big chances with very unique titles. It seemed only fitting that they take all of their work and fold them into one another, something that could lead to a wholly new kind of crossover.

The Deep is an all-ages adventure that gets it right with the first issue. This currently formatted six-issue series, which can also be seen as an animated series on Netflix, presents a fun glimpse into the ever-wondrous world of the deep blue sea.

Pending death by monstrous creatures while equally trying to survive an endless wasteland with an unrelenting blizzard might not seem like a valid, five-star vacation, or adventure for that matter, but for those familiar with the world of Dungeons & Dragons, it might be a quest for the ages.

Page 87 of 111
Go to top