By TREVOR HOGG Images courtesy of Prime Video. For those seeking an alternative to the MCU, Prime Video has two offerings of the live-action and animated variety that take the superhero genre into R-rated territory where the hands of the god-like figures get dirty, bloodied and severed. “The Boys is about the intersection of celebrity and politics using superheroes,” states Stephan Fleet, VFX Supervisor on The Boys. “Sometimes I see the news and I don’t even know we can write to catch up to it! But we try. Invincible is an intense look at an alternate DC Universe that has more grit to the superhero side of it all. On one hand, I was jealous watching Season 1 of Invincible because in animation you can do things that you can’t do in real life on a budget.” Season 4 does not tone down the blood, gore and body count. Fleet notes, “The writers almost have this dialogue with us. Sometimes, they’ll write in the script, ‘And Fleet will come up with a cool visual effect for how to kill this person.’ Or, ‘Chhiu, our fight coordinator, will make an awesome fight.’ It is a frequent topic of conversation. We’re constantly trying to be inventive and create new ways to kill people!” When Splinter (Rob Benedict) splits in two, the cloning effect was inspired by cellular mitosis. “The writers almost have this dialogue with us. Sometimes, they’ll write in the script, ‘And Fleet will come up with a cool visual effect for how to kill this person.’ Or, ‘Chhiu, our fight coordinator, will make an awesome fight.’ It is a frequent topic of conversation. We’re constantly trying to be inventive and create new ways to kill people!” —Stephan Fleet, VFX Supervisor A total of 1,600 visual effects shots were created for the eight episodes by ILM, Pixomondo, MPC Toronto, Spin VFX, DNEG, Untold Studios, Luma Pictures and Rocket Science VFX. Previs was a critical part of the process. “We have John Griffith [Previs Director], who owns a small company called CNCPT out of Texas, and he does wonderful Unreal Engine level previs,” Fleet remarks. “On set, we have a cartoon of what is going to be done, and you’ll be amazed, specifically for action and heavy visual effects stuff, how close those shots are to the previs when we finish.” Founding Director of Federal Bureau of Superhuman Affairs, Victoria Neuman, literally gets ripped in half by two tendrils coming out of Compound V-enhanced Billy Butcher, the leader of superhero resistance group The Boys. “The word that we like to use on this show is ‘grounded,’ and I like to say ‘grounded’ with an asterisk in this day and age because we’re grounded until we get to killing people in the craziest ways. In this case, having someone floating in the air and being ripped in half by two tendrils was all CG.” Multiple plates were shot to enable Simon Pegg to phase through the actor laying in a hospital bed. Testing can get rather elaborate. “For that end scene with Butcher’s tendrils, the room was two stories, and we were able to put the camera up high along with a bunch of blood cannons,” Fleet recalls. “When the body rips in half and explodes, there is a practical component. We rained down a bunch of real blood and guts right in front of Huey. It’s a known joke that we like to douse Jack Quaid with blood as much as possible! In this case, the special effects team led by Hudson Kenny needed to test it the day before, and I said, “I’ll be the guinea pig for the test.’ They covered the whole place with plastic like it was a Dexter kill room because you don’t want to destroy the set. I’m standing there in a white hazmat suit with goggles on, covered from head to toe in plastic and waiting as they’re tweaking all of these things. It sounds like World War II going on. They’re on walkie talkies to each other, and then all of a sudden, it’s ‘Five, four, three, two, one…’  And I get exploded with blood. I wanted to see what it was like, and it’s intense.” “On set, we have a cartoon of what is going to be done, and you’ll be amazed, specifically for action and heavy visual effects stuff, how close those shots are to the previs when we finish.” —Stephan Fleet, VFX Supervisor The Deep has a love affair with an octopus called Ambrosius, voiced by Tilda Swinton. “It’s implied bestiality!” Fleet laughs. “I would call it more of a romance. What was fun from my perspective is that I knew what the look was going to be [from Season 3], so then it’s about putting in the details and the animation. One of the instincts that you always have when you’re making a sea creature that talks to a human [is] you tend to want to give it human gestures and eyebrows. Erik Kripke [Creator, Executive Producer, Showrunner, Director, Writer] said, ‘No. We have to find things that an octopus could do that conveys the same emotion.’ That’s when ideas came in, such as putting a little The Deep toy inside the water tank. When Ambrosius is trying to have an intimate moment or connect with him, she can wrap a tentacle around that. My favorite experience doing Ambrosius was when The Deep is reading poetry to her on a bed. CG creatures touching humans is one of the more complicated things to do and make look real. Ambrosius’ tentacles reach for his arm, and it becomes an intimate moment. More than touching the skin, displacing the bedsheet as Ambrosius moved ended up becoming a lot of CG, and we had to go back and forth a few times to get that looking right; that turned out to be tricky.” A building is replaced by a massive crowd attending a rally being held by Homelander. In a twisted form of sexual foreplay, Sister Sage has The Deep perform a transorbital lobotomy on her. “Thank you, Amazon for selling lobotomy tools as novelty items!” Fleet chuckles. “We filmed it with a lobotomy tool on set. There is a lot of safety involved in doing something like that. Obviously, you don’t want to put any performer in any situation where they come close to putting anything real near their eye. We created this half lobotomy tool and did this complicated split screen with the lobotomy tool on a teeter totter. The Deep was [acting in a certain way] in one shot and Sister Sage reacted in the other shot. To marry the two ended up being a lot of CG work. Then there are these close-ups which are full CG. I always keep a dummy head that is painted gray that I use all of the time for reference. In macrophotography I filmed this lobotomy tool going right into the eye area. I did that because the tool is chrome, so it’s reflective and has ridges. It has an interesting reflective property. I was able to see how and what part of the human eye reflects onto the tool. A lot of that shot became about realistic reflections and lighting on the tool. Then heavy CG for displacing the eye and pushing the lobotomy tool into it. That was one of the more complicated sequences that we had to achieve.” In order to create an intimate moment between Ambrosius and The Deep, a toy version of the superhero was placed inside of the water tank that she could wrap a tentacle around. “The word that we like to use on this show is ‘grounded,’ and I like to say ‘grounded’ with an asterisk in this day and age because we’re grounded until we get to killing people in the craziest ways. In this case, having someone floating in the air and being ripped in half by two tendrils was all CG.” —Stephan Fleet, VFX Supervisor Sheep and chickens embark on a violent rampage courtesy of Compound V with the latter piercing the chest of a bodyguard belonging to Victoria Neuman. “Weirdly, that was one of our more traditional shots,’ Fleet states. “What is fun about that one is I asked for real chickens as reference. The chicken flying through his chest is real. It’s our chicken wrangler in green suit gently tossing a chicken. We blended two real plates together with some CG in the middle.” A connection was made with a sci-fi classic. “The sheep kill this bull, and we shot it is in this narrow corridor of fencing. When they run, I always equated it as the Trench Run in Star Wars and looked at the sheep as TIE fighters or X-wings coming at them.” The scene was one of the scarier moments for the visual effects team. Fleet explains, “When I read the script, I thought this could be the moment where we jump the shark. For the shots where the sheep are still and scream to the camera, Untold Studios did a bunch of R&D and came up with baboon teeth. I tried to keep anything real as much as possible, but, obviously, when sheep are flying, they have to be CG. I call it the Battlestar Galactica theory, where I like to shake the camera, overshoot shots and make it sloppy when they’re in the air so you can add motion blur. Comedy also helps sell visual effects.” The sheep injected with Compound V develop the ability to fly and were shot in an imperfect manner to help ground the scenes. Once injected with Compound V, Hugh Campbell Sr. (Simon Pegg) develops the ability to phase through objects, including human beings. “We called it the Bro-nut because his name in the script is Wall Street Bro,” Fleet notes. “That was a complicated motion control shot, repeating the move over and over again. We had to shoot multiple plates of Simon Pegg and the guy in the bed. Special effects and prosthetics created a dummy guy with a hole in his chest with practical blood dripping down. It was meshing it together and getting the timing right in post. On top of that, there was the CG blood immediately around Simon Pegg.” The phasing effect had to avoid appearing as a dissolve. “I had this idea of doing high-frequency vibration on the X axis loosely based on how The Flash vibrates through walls. You want everything to have a loose motivation that then helps trigger the visuals. We tried not to overcomplicate that because, ultimately, you want something like that to be quick. If you spend too much time on phasing, it can look cheesy. In our case, it was a lot of false walls. Simon Pegg is running into a greenscreen hole which we plug in with a wall or coming out of one. I went off the actor’s action, and we added a light opacity mix with some X-axis shake.” Providing a different twist to the fights was the replacement of spurting blood with photoreal rubber duckies during a drug-induced hallucination. Homelander (Anthony Starr) breaks a mirror which emphasizes his multiple personality disorder. “The original plan was that special effects was going to pre-break a mirror, and we were going to shoot Anthony Starr moving his head doing all of the performances in the different parts of the mirror,” Fleet reveals. “This was all based on a photo that my ex-brother-in-law sent me. He was walking down a street in Glendale, California, came across a broken mirror that someone had thrown out, and took a photo of himself where he had five heads in the mirror. We get there on the day, and I’m realizing that this is really complicated. Anthony has to do these five different performances, and we have to deal with infinite mirrors. At the last minute, I said, ‘We have to do this on a clean mirror.’ We did it on a clear mirror and gave Anthony different eyelines. The mirror break was all done in post, and we were able to cheat his head slightly and art-direct where the break crosses his chin. Editorial was able to do split screens for the timing of the dialogue.” “For the shots where the sheep are still and scream to the camera, Untold Studios did a bunch of R&D and came up with baboon teeth. I tried to keep anything real as much as possible, but, obviously, when sheep are flying, they have to be CG. I call it the Battlestar Galactica theory, where I like to shake the camera, overshoot shots and make it sloppy when they’re in the air so you can add motion blur. Comedy also helps sell visual effects.” —Stephan Fleet, VFX Supervisor Initially, the plan was to use a practical mirror, but creating a digital version proved to be the more effective solution. A different spin on the bloodbath occurs during a fight when a drugged Frenchie (Tomer Capone) hallucinates as Kimiko Miyashiro (Karen Fukuhara) goes on a killing spree. “We went back and forth with a lot of different concepts for what this hallucination would be,” Fleet remarks. “When we filmed it, we landed on Frenchie having a synesthesia moment where he’s seeing a lot of abstract colors flying in the air. We started getting into that in post and it wasn’t working. We went back to the rubber duckies, which goes back to the story of him in the bathtub. What’s in the bathtub? Rubber duckies, bubbles and water. There was a lot of physics and logic required to figure out how these rubber duckies could float out of someone’s neck. We decided on bubbles when Kimiko hits people’s heads. At one point, we had water when she got shot, but it wasn’t working, so we killed it. We probably did about 100 different versions. We got really detailed with our rubber duckie modeling because we didn’t want it to look cartoony. That took a long time.” Ambrosius, voiced by Tilda Swinton, gets a lot more screentime in Season 4. When Splinter (Rob Benedict) splits in two was achieved heavily in CG. “Erik threw out the words ‘cellular mitosis’ early on as something he wanted to use,” Fleet states. “We shot Rob Benedict on a greenscreen doing all of the different performances for the clones that pop out. It was a crazy amount of CG work with Houdini and particle and skin effects. We previs’d the sequence so we had specific actions. One clone comes out to the right and the other pulls backwards.” What tends to go unnoticed by many is Splinter’s clones setting up for a press conference being held by Firecracker (Valorie Curry). “It’s funny how no one brings up the 22-hour motion control shot that we had to do with Splinter on the stage, which was the most complicated shot!” Fleet observes. “We have this sweeping long shot that brings you into the room and follows Splinter as he carries a container to the stage and hands it off to a clone, and then you reveal five more of them interweaving each other and interacting with all of these objects. It’s like a minute-long dance. First off, you have to choreograph it. We previs’d it, but then you need to get people to do it. We hired dancers and put different colored armbands on them. The camera is like another performer, and a metronome is going, which enables you to find a pace. That took about eight hours of rehearsal. Then Rob has to watch each one of their performances and mimic it to the beat. When he is handing off a box of cables, it’s to a double who is going to have to be erased and be him on the other side. They have to be almost perfect in their timing and lineup in order to take it over in visual effects and make it work.”

The Recluse makes a bunch of cocktails in Elden Ring’s Nightreign, but not the type you’d like to drink. She transforms the typical playstyle of a Soulslike spellcaster and flips it on its head by allowing you access to 14 extra spells through her character skill, Magic Cocktail. Recluse is the perfect character for you if you want to dedicate many hours to mastering a character. In comparison to the other classes, Recluse demands constant management of stamina, FP, and your character skill on top of all the other requirements Nightreign demands of you. If you’re an aspiring Recluse main who wants to get the best out of the character in your future expeditions, this Elden Ring Nightreign guide will show you how to play as Recluse, with a focus on recommendations for her best relics, best teammates, and best weapons, alongside other miscellaneous tips. How to make a great Recluse build in Elden Ring Nightreign As a mage, you want your Recluse build to involve staves and whatever melee weapon you’re most comfortable with. The most challenging part of learning Recluse’s quirks isn’t strictly about managing her character skill but also about keeping your FP high. It’s easy to disregard it and spam the spells of your weapons, but once you run out of FP, you’re out of luck; there is no azure flask to lean on. The only way to restore this vital resource is by using your character skill. This is why a good melee weapon you’re comfortable with matters as you begin to learn. Once you have a good grasp on weaving your skill in between spells, you can prioritize weapons and relics that boost intelligence and improve spellcasting. Best relics for Recluse in Elden Ring Nightreign For Recluse, Intelligence is king! There are many relics to choose from in Elden Ring Nightreign, but as long as your relic has some boost to spellcasting, FP cost, or intelligence, you are in good shape. While playing the game, you’ll unlock some relics that have passives unique to Recluse. As you can probably assume, these are some of her best options. Some of the Recluse’s best options are relics with the following effects: [Recluse] Activating ultimate art raises max HP [Recluse] Collecting affinity residue activates Terra Magica [Recluse] Suffer blood loss and increase attack power upon art activation Magic attack power up + Ultimate art gauge + FP restoration upon successive attacks Improved resistance relics are also grand if you’re able to match them up with the damage type of your chosen expedition’s Nightlord Other miscellaneous relics to prioritize are those that increase vigor, mind, intelligence, faith, or endurance. Recluse is a frail character, so more survivability is always good. Best teammates for Recluse in Elden Ring Nightreign Similar to other less tanky options like Duchess, Ironeye, and Revenant, Recluse thrives in a team composition that can take enemy pressure off of her as she applies high magic damage through her spells and skills. The following classes are great for Recluse, and you shouldn’t pick her unless one of your teammates is hovering them. Guardian — Guardian’s ultimate art provides a useful damage negation buff to teammates in its radius, helping Recluse stay alive longer. Raider — Raider easily absorbs enemy attention, allowing for Recluse to damage her targets safely. Wylder — Wylder’s character skill allows him to grapple enemies to him, relieving pressure off of Recluse. His Ultimate Art also deals fire damage, which you can provide fire essence for your character skill. Best Magic Cocktail Combinations in Elden Ring Nightreign Recluse’s character skill is the meat and potatoes of her playstyle. There is no way around it; you have to get comfortable with all 14 of the possible spell combinations. When an enemy or ally takes elemental damage from any source, you can use this skill to siphon the residue of that damage and bank it. Once you’ve banked three element residues, your next cast will cast a unique spell. Every single one has its uses, but some are more practical and usable in nearly every situation. Pure Holy — Enwreathe oneself in holy light, bordering poise and increasing damage negation. Requires 3 Holy residues. Magic & Holy — Cover nearby area with a magic veil, fully conserving FP for self and allies for a short time. Can be used with any combination of Magic and Holy residue. Magic, Fire, & Lightning — Conjure frontwards exploding gravity orb. Gravity orb pulls enemies inward, expands, and explodes, inflicting heavy damage. Requires Magic, Fire, and Lightning residue. Best talismans for Recluse in Elden Ring Nightreign Talismans are some of the rarest gear in Elden Ring Nightreign, but they can be found if you know where to look. They can drop in fortresses and from scarabs, so if you spot one of these, it’s good to prioritize them. The best talismans for the Recluse are the following: Ancestral Spirit’s Horn — Defeating Enemies Restores FP Taker’s Cameo — Defeating Enemies Restores HP Ritual Shield Talisman — Improved Damage Negation at Full HP Blessed Dew Talisman — Continous HP Recovery +2 Viridian Amber Medallion — Increased Maximum Stamina +12% Any talisman that offers FP restoration, HP restoration, damage negation, and stamina recovery is good, as they allow Recluse players some individuality and choice regarding whether they should instead play defensively or offensively. Recluse in Elden Ring Nightreign requires a specific type of player, and with some practice, adaptability, and a good loadout, mastering the mage will be a piece of cake. For more Elden Ring Nightreign guides, here’s a list of all classes, the best class to pick first, how to unlock the Duchess and Revenant, and the best early Duchess build.

Elden Ring Nightreign had a huge first night on PC. It’s already FromSoftware’s second-biggest launch ever on Steam. But the multiplayer spin-off of the 2022 hit open-world RPG is also already getting hammered by user reviews as fans complain about the lack of onboarding, poor communication tools, and the need to play with friends to have any real shot at surviving the challenging boss fights. Suggested ReadingThe Top 10 Most-Played Games On Steam Deck: August 2023 Edition Share SubtitlesOffEnglishSuggested ReadingThe Top 10 Most-Played Games On Steam Deck: August 2023 Edition Share SubtitlesOffEnglishThe Top 10 Most-Played Games On Steam Deck: August 2023 EditionOfficially out today on PlayStation 5 and Xbox Series X/S, Elden Ring Nightreign went live on PC last night at around 6:00 p.m. ET. The latest release from the Dark Souls team immediately sprang up the Steam charts to reach over 300,000 concurrent players. That made it the fourth-biggest game on Valve’s storefront and the second-biggest FromSoftware launch on PC behind Elden Ring. Its namesake and its $40 price point clearly did the experimental multiplayer spin-off some favors. But it didn’t take players long to realize that Nightreign is very much not Elden Ring. Unlike its slow, plodding predecessor, the spin-off is a battle royale-influenced loot race in which sessions see an entire Soulsborne experience condensed into just 45 minutes. It takes some getting used to, and players are already coming to grips with Nightreign’s notable hostility to explaining itself, even for a FromSoftware game. And while it does allow for offline solo play, its steep difficulty curve—more of a right angle really—heavily rewards group play and coordination. “If you don’t have 2 other friends to play with in voice chat, don’t waste your time,” wrote Steam user Hishamm. “Game is Elden Ring, but 3p, and the solo queue is abysmal.” “Gameplay itself seems fun but I can’t possible leave a positive review if a game released in 2025 has no way to communicate in a coop game (neither voice nor text chat),” wrote Lynni. “Impossible to make progress without voice chat,” wrote Vahit Horoz. “If you have 3 friends you can talk to and play regularly, you will have a great time, the connection is smooth, the map is full of events and the game loop is very interesting.”The game currently has a Steam rating of 65 percent, making it the lowest-scored FromSoftware release on the platform outside of Dark Souls III’s Ashes of Ariandel DLC. The reviews are full of complaints about the lack of duos (you have to either play alone or with a three-stack) and how matchmaking with strangers often leads to people randomly running around the map without coordinating, a task made harder by the lack of communication tools outside of pings and emotes. I think that might even out in the days and weeks ahead as players learn the basics of the randomized Nightreign map and how much more efficient you are together than split up, but the lack of modern multiplayer features is a real issue. Screenshot: Valve / KotakuPrior to launch, director Junya Ishizaki told IGN that duos support wasn’t planned any time soon. “We are trying to cater to a fun experience with three people,” he said. “So making sure the experience is fun at its core with a group of three, but it also doesn’t collapse if it’s a solo player as well … in putting all our efforts into that aspect, we kind of overlooked and neglected the duos aspect, but this is something that we are looking at and considering for post-launch support as well.”It’s also unclear if FromSoftware is planning to dial back the difficulty for solo players in an upcoming patch. Nightlord bosses are practically impossible at the moment for all but the most experienced and hardcore Elden Ring loners. A mysterious day-one patch alluded to balance changes and other improvements, but didn’t spell out exactly what those changes are. If FromSoftware does decide to dial things back a bit, it wouldn’t be the first time it’s made one of its games easier. The studio quickly made Shadow of the Erdtree’s final boss much easier when it kicked everyone’s ass last summer. We’ll see if Nightreign eventually takes mercy on players without friends as well. .

In 2018 Korean animator and illustrator Han Ji-won created a commercial for jewelry brand Stonehenge that follows a girl who dreams of going to space, just like her astronaut grandmother. The brief, beautiful animation caught the attention of Korean production company Climax Studios, who saw potential for a much bigger story about the human connections astronauts carry with them into space.  Seven years later, the Netflix animated film Lost in Starlight expands that near-future world into a story of two star-crossed lovers who fall in love on the neon-lit rooftops of a futuristic Seoul only to be separated by 140 million miles when one of them embarks on an expedition to Mars.  “While I was developing the script [for Lost in Starlight], a lot of things changed,” writer-director Han says In fleshing out the story, she was inspired by the individuality of Miyazaki, the edgy sentimentality of Cowboy Bebop, and the near-future worldbuilding of Her. “But, still, there were the same keywords: space, female lead, music, childhood, and love.”  Lost in Starlight centers a slice-of-life love story between astro botanist Nan-young (voiced by The Handmaiden’s Kim Tae-ri in Korean and Never Have I Ever’s Maitreyi Ramakrishnan in English) and musician Jay (voiced by Weak Hero’s Hong Kyung in Korean, and Umbrella Academy’s Justin H. Min in English). For Nan-young, who hopes to find life on the planet, Mars is personal. Her mother was part of a doomed, 2026 mission to the Red Planet. Twenty-five years later, Nan-young dreams of continuing in her mother’s footsteps, and helping the Adonis amurensis flower thrive on the alien planet.  “My character is kind of stubborn at times,” says Ramakrishnan, with a laugh. “She’s a girl boss, but she needs to take a breath.” That breath comes in the form of a return to Seoul from Houston, following low psychological exam scores that have Nan-young bumped from an upcoming Martian expedition. The driven scientist doesn’t give up on her goal, continuing her development of a Life Form Detector to try to earn a spot on the trip, but she also finds time to devote to fixing her late mother’s busted record player. When Nan-young literally bumps into Jay with the 2023 Crozby in her arms, he becomes determined to fix it for her.  “I would describe Jay as someone who doesn’t really believe in himself,” Min says of the character who is working in a vintage electronics repair shop after turning away from his passion for composing and performing music. “I think he is more concerned about the practicalities of life and just kind of getting by. I think he has a lot of dreams, but he doesn’t quite know how to act on them and fulfill them.” While Jay may be hesitant in his music, he is determined when it comes to pursuing the brilliant Nan-young. By the time he has fixed her record player, the two have fallen for one another… but can their budding relationship survive the distance between Earth and Mars? Like the short animation it stems from, Lost in Starlight is far more interested in the emotional dimensions of space travel than the logistical ones. The Martian, this is not—nor does it want to be, instead curious about the work of human connection in a sometimes unforgiving but never hopeless universe. The film’s space-scapes are vividly animated, and especially powerful in the abstract. In one climactic, hallucinatory moment, Nan-young’s vision explodes with the yellow blossoms of the flower that connects her work to her mother’s, across time and mortality. She imagines the galaxy as a spinning record, the vinyl representing connections to her mother and to Jay, as well as the natural forces that move us all along.  The story is strongest, however, in its most mundane, Earth-bound moments, and in the ways Han’s animation is able to connect the familiar with the fantastic so seamlessly. Like anime auteurs Hideko Miyazai and Makoto Shinkai before her, Han is incredibly detailed in her realization of interior spaces, bringing a sense of realism to the animated format that casts the same warm, human touch to the mise-en-scene of a Martian research facility as it does Jay’s sunlit, stickered Euljiro apartment. In 2051 Seoul, massive holographic jellyfish float through the twilight sky, but Nan-young’s aging father still sticks struggling plants in an old mug emblazoned with a heart-shaped photo of his family from decades previous. And when Nan-young takes a self-driving car home after a long day, Han focuses not on the technology but our weary protagonist toeing off her work heels. This balance between the futuristic and the familiar is further buoyed by the film’s soundtrack, which features work from Korean artists such as CIFIKA, Meego, and Wave to Earth’s Kim Daniel. “I am a little bit greedy about having really good soundtracks,” says Han. “I wanted it to be futuristic but not apocalyptic, a little bit edgy but soft at the same time.” Han chose synth-pop as the main sound, pairing the electronic sounds of the genre with subdued, dreamy beats. Korean voice actors Kim and Hong contributed some of the lyrics for the tender, lulling songs Jay writes and performs in the film. Korean media has become known internationally for its love stories, most famously depicted in the K-drama format. While Lost in Starlight borrows some of the same narrative DNA that makes those romances tick, it represents something startlingly original within a Korean animation industry that has more often been known internationally for its outsourcing work and preschool TV programs than feature films for adults. “While we still have those companies in Korea doing a lot of outsourcing work, we also have new aspiring companies that come into the picture,” says Han of the state of the Korean animation industry.  Join our mailing list Get the best of Den of Geek delivered right to your inbox! Han, who became the youngest Korean animator to direct a theatrically released feature film in 2015 with anthology Clearer Than You Think, comes from an indie background, but worked with a commercial production company to make Lost in Starlight. “We have these great artists who have a lot of potential in terms of their creativity and storytelling, and then we have these companies who are now willing to do both the pre and main production works,” says Han. “I think we need a lot of love and interest and support from a lot of different players, and I hope that it could be consistent, so that we can keep on working on our projects. If that happens, then I think we’re going to bloom like flowers.” Lost in Starlight is available to stream on Netflix starting May 30.

By TREVOR HOGG Images courtesy of Netflix. Unlike North America where episodes tend to be no longer than an hour, it is not uncommon in Britain to have feature-length episodes, which explains why the seasons are shorter. Season 7 of Black Mirror has six episodes with the first sequel for the Netflix anthology series that explores the dark side of technology having a run time of 90 minutes. “USS Callister: Into Infinity” comes eight years after “USS Callister” went on to win four Emmys as part of Season 4 and expands the tale where illegally constructed digital clones from human DNA struggle to survive in a multiplayer online video game environment. Returning creative talent includes filmmaker Toby Hayness, writers Charlie Brooker and William Bridges, and cast members Cristin Milioti, Jimmi Simpson, Osy Ikhile, Milanka Brooks, Paul Raymond and Jesse Plemons. Stepping into the Star Trek-meets-The Twilight Zone proceedings for the first time is VFX Supervisor James MacLachlan, who previously handled the digital augmentation for Ted Lasso. “[For the planet where the digital clone of James Walton is found]… We got on a train and went to the middle of Anglesey [island in Wales] to a copper mine. The copper mine was absolutely stunning. … You’re a good 50 meters down, and there were little tunnels and caves where over the years things have been mined and stopped. … It was shot there, and we augmented some of it to help sell the fact that it wasn’t Earth. We put in these big beautiful arches of rock, Saturn-like planets up in the sky, a couple of moons, and clean-up of giveaways.” —James MacLachlan, Visual Effects Supervisor Taking advantage of the reflective quality of the bridge set was the LED wall utilized for the main viewscreen. Dealing with a sequel to a critically-acclaimed episode was not a daunting task. “It’s almost like I have a cheat code for what we need to do, which I quite like because there’s a language from the previous show, so we have a certain number of outlines and guidelines,” MacLachlan states. “But because this was set beyond where the previous one was. it’s a different kind of aesthetic. I didn’t feel the pressure.” No assets were reused. “We were lucky that the company that previously did the USS Callister ship packaged it out neatly for us, and we were able to take that model; however, it doesn’t fit in pipelines anymore in the same way with the layering and materials. It was different visual effects vendors as well. Union VFX was smashing out all our new ships, planets and the Heart of Infinity. There was a significant number of resources put into new content.” Old props were helpful. “The Metallica ship that shows up in this episode is actually the Valdack ship turned backwards, upside down, re-textured and re-modeled off a prop I happened to wander past and saw in Charlie Brooker’s and Jessica Rhoades’ office.” MacLachlan notes. Greenscreens were placed outside of the set windows for the USS Callister. “USS Callister: Into Infinity” required 669 visual effects shots while the other five episodes totaled 912. “Josie Henwood, the Visual Effects Producer, sat down with a calculator and did an amazing job of making sure that the budget distribution was well-weighted for each of the scripts,’ MacLachlan remarks. “We shot this one third and posted it all the way to the end, so it overlapped a lot with some of the others. It was almost an advantage because we could work out where we were at with the major numbers and balance things out. It was a huge benefit that Toby had directed ‘USS Callister’. We had conversations about how we could approach the visual effects and make sure they sat within the budget and timeframe.” Working across the series were Crafty Apes, Jam VFX, Jellyfish Pictures, Magic Lab, One of Us, Stargate Studios, Terraform Studios, Union VFX, and Bigtooth Studios.  “We had a spectrum of vendors that were brilliant and weighted so Union VFX took the heavy load on ‘USS Callister: Into Infinity,’ One of Us on ‘Eulogy’ and Jam VFX on ‘Hotel Riverie’ while the other vendors were used for all the shows.” “[W]e had a matte painter at Territory Studio create some generic space looks like exteriors of planets in pre-production. We gave those to Union VFX who animated them so the stars gently drifted and the planets would slowly rotate. Everything in that set was chrome, so no matter where the camera was pointing, when we went to hyperspace, outside planets or in space, there were all of these beautiful reflections all over the surfaces of the USS Callister. What I did not anticipate is when the actors came onto the set not knowing it was going to be a LED wall. Their reaction was enough to say that we had made the right choice.” —James MacLachlan, Visual Effects Supervisor Miranda Jones looked after the production design and constructed a number of practical sets for the different sections of the USS Callister. A clever visual effect was deployed when a digital clone of Robert Daly (Jesse Plemmons) is in his garage crafting a new world for Infinity, which transforms from a horizontal landscape into a spherical planetary form. “A lot of it was based off current UI when you use your phone and scroll,” MacLachlan remarks. “It is weighted and slows down through an exponential curve, so we tried to do that with the rotational values. We also looked at people using HoloLenses and Minority Report with those gestural moments. It has a language that a number of people are comfortable with, and we have gotten there with AR.” Union VFX spent a lot of time working on the transition. “They had three levels of detail for each of the moments. We had the mountain range and talked about the Himalayas. Union VFX had these moments where they animated between the different sizes and scales of each of these models. The final one is a wrap and reveal to the sphere, so it’s like you’re scaling down and out of the moment, then it folds out from itself. It was really nice.” For safety reasons, weapons were digitally thrown. “We had a 3D prop printed for the shuriken and were able to get that out in front of the camera onstage,” MacLachlan explains. “Then we decided to have it stand out more, so as [the Infinity Player] throws it, it intentionally lights up. On set we couldn’t throw anything at Cristin, so some tracking markers were put on her top where it needed to land. Then we did that in CGI. When she is pulling it off her chest with her hand, the shuriken is all CGI. Because of the shape of the shuriken, we were able to have it poke through the fingers and was visible, so it worked well. Cristin did a convincing job of yanking the shuriken out. We added some blood and increased the size of the wound on her top, which we had to do for a couple of other scenes because blood goes dark when its dry, so it needed to be made redder.” Nanette Cole (Cristin Milioti) throws a ceremonial knife that hits Robert Daly directly in the head. “That was a crazy one. We had the full prop on the shelf in the beginning that she picks up and throws. The art department made a second one with a cutout section that was mounted to his head. Lucy Cain [Makeup & Hair Designer] and I constructed a cage of hair clips and wire to hold it onto his head. Beyond that, we put tracking markers on his forehead, and we were able to add all of the blood. What we didn’t want to do was have too much blood and then have to remove it later. The decision was made to do the blood in post because you don’t want to be redressing it if you’re doing two or three takes; that can take a lot of time out of production.” “USS Callister: Into Infinity” required 669 visual effects shots. A digital clone of Robert Daly placed inside the game engine is responsible for creating the vast worlds found inside of Infinity. “We had a 3D prop printed for the shuriken [hidden hand weapon]… Then we decided to have it stand out more, so as [the Infinity Player] throws it, it intentionally lights up. On set we couldn’t throw anything at Cristin, so some tracking markers were put on her top where it needed to land. Then we did that in CGI. When she is pulling it off her chest with her hand, the shuriken is all CGI. Because of the shape of the shuriken, we were able to have it poke through the fingers and was visible… Cristin did a convincing job of yanking the shuriken out.” —James MacLachlan, Visual Effects Supervisor A cross between 2001: A Space Odyssey and Cast Away is the otherworldly planet where the digital clone of James Walton (Jimmi Simpson) is found. “We got on a train and went to the middle of Anglesey [island in Wales] to a copper mine,” MacLachlan recounts. “The copper mine was absolutely stunning. It’s not as saturated. You’re a good 50 meters down, and there were little tunnels and caves where over the years things have been mined and stopped. We found moments that worked for the different areas. It was shot there, and we augmented some of it to help sell the fact that it wasn’t Earth. We put in these big beautiful arches of rock, Saturn-like planets up in the sky, a couple of moons, and clean-up of giveaways.” The blue teleportation ring was practically built and digitally enhanced. Set pieces were LiDAR scanned. “What was interesting about the ice planet [was that] the art department built these amazing structures in the foreground and beyond that we had white drapes the whole way around, which fell off into darkness beautifully and naturally because of where the light was pulled by Stephan Pehrsson [Cinematographer],” MacLachlan states. “On top of that, there was the special effects department, which was wafting in a lot of atmospherics. Some of the atmospherics were in-camera and others were augmented to even it out and boost it in places to help the situation. We did add foreground snow. There is a big crane shot in the beginning where Unreal Engine assisted in generating some material. Then we did matte painting and set extensions beyond that to create a larger scale and cool rock shapes that were on an angle.” The jungle setting was an actual location. “That’s Black Park [in England], and because of the time of year, there are a lot of protected plants. We had a couple of moments where we weren’t allowed to walk in certain places. There is one big stunt where Nanette steps on a mine, and it explodes her back against a tree. That was a protected tree, so the whole thing was wrapped in this giant stunt mat while the stunt woman got thrown across it. Areas would be filled in with dressed plants to help the foreground, but we got most of the background in-camera. There were bits of clean-up where we spotted crew or trucks.” Large-scale and distinct rock shapes were placed at an angle to give the ice planet more of an alien quality. An exterior space shot of the USS Callister that is entirely CG. Twin versions of Nanette Cole and James Walton appear within the same frame. “Literally, we used every trick in the book the whole way through. Stephan and I went to see a motion control company that had a motion control camera on a TechnoDolly. Stephan could put it on his shoulder and record a move on a 20-foot crane. Once Stephan had done that first take, he would step away, then the motion control guys would do the same move again. You get this handheld feel through motion control rather than plotting two points and having it mechanical. You get a wide of a scene of clone Nanette in a chair and real Nanette standing in white, and you’ll notice the two Waltons in the background interacting with one another. Those shots were done on this motion control rig. We had motion control where we could plot points to make it feel like a tracking dolly. Then we also had our cameraman doing handheld moves pushing in and repeating himself. We had a wonderful double for Cristin who was excellent at mirroring what she was achieving, and they would switch and swap. You would have a shoulder or hair in the foreground in front of you, but then we would also stitch plates together that were handheld.” The USS Callister approaches the game engine situated at the Heart of Infinity. A homage to the fighter cockpit shots featured in the Star Wars franchise. USS Callister flies into the game engine while pursued by other Infinity players. A major story point is that the game engine is made to look complex but is in fact a façade. A copper mine served as the location for the planet where the digital clone of James Walton (Jimmi Simpson) is found. Principal photography for the jungle planet took place at Black Park in England. The blue skin of Elena Tulaska (Milanka Brooks) was achieved with practical makeup. Assisting the lighting were some cool tools such as the teleportation ring. “We had this beautiful two-meter blue ring that we were able to put on the ground and light up as people step into it,” MacLachlan remarks. “You get these lovely reflections on their visors, helmets and kits. Then we augmented the blue ring in visual effects where it was replaced with more refined edging and lighting effects that stream up from it, which assisted with the integration with the teleportation effect because of their blue cyan tones.” Virtual production was utilized for the main viewscreen located on the bridge of the USS Callister. “In terms of reflections, the biggest boon for us in visual effects was the LED wall. The last time they did the big screen in the USS Callister was a greenscreen. We got a small version of a LED screen when the set was being built and did some tests. Then we had a matte painter at Territory Studio create some generic space looks like exteriors of planets in pre-production. We gave those to Union VFX who animated them so the stars gently drifted and the planets would slowly rotate. Everything in that set was chrome, so no matter where the camera was pointing, when we went to hyperspace or outside planets or in space, there were all of these beautiful reflections all over the surfaces of the USS Callister. What I did not anticipate is when the actors came onto the set not knowing it was going to be a LED wall. Their reaction was enough to say that we had made the right choice.”

You ever wonder who the first person to put peanut butter and chocolate together was? Part of me feels like whoever it was must be loaded; I mean, you’ve combined two already great flavors into something that Reese’s would more or less build a whole brand on. And then part of me thinks it plays out like the hypothetical guy who invented the Chicken McNugget in The Wire. A pat on the back from a big shot, and then it’s back to the basement to figure out a way to make the fries taste better. I don’t know the answer; I hope it's the former. But every now and then, you come across an idea, a combination of things, that’s so good that you wonder how nobody’s ever done it before. And every time my squad and I sprinted back to our time-traveling dropship, stopping only to deal with the Time Reapers that stood in our way, I wondered how the hell nobody had ever said “Hey, what if we combined Overcooked and Gears of War?” pre-Pizza Bandit.Pizza Bandit’s setup is pretty simple. You’re Malik, a former bounty hunter with dreams of being a chef who is pulled back into the bounty game when he’s scammed out of his pizza shop and his former crew needs his help to get out of a jam. Pizza Bandit’s writing is pretty silly, but that’s part of the charm. I can’t get mad when Albert, the android that upgrades your weapons, tells me he doesn’t know how to apologize for what happened to my pizza shop because he’s just an android, or when my pilot waxes nostalgic about how he misses the fog, or when someone utters the odd nonsensical line. It’s too silly, and the whole setup is just there to, well… set up Pizza Bandit’s wackiness.PlaySee, you’re not just any bounty-hunting crew. You’re a time-traveling bounty hunting crew, and that means you’ll be going all over space and time to get the job done. Don’t ask me how any of this works. All I know is that pizza heals and bullets kill, and that the Time Reapers — nasty little buggers that seem to be invading every timeline — don’t want this pizza shop owner to make any dough. And that’s not gonna fly. Pizza Bandit’s writing is pretty silly, but that’s part of the charm.“What makes Pizza Bandit unique is that you’re not just shooting stuff. You’re also, well, kinda playing Overcooked. After squading up, my first mission saw my crew (you can play with up to three friends) heading to the Restaurant from N owhere, a hidden outpost run by another bandit crew. Our job: fulfill the pizza orders for other bounty hunting teams, and send them off in time-traveling rocket pods. That meant putting together the right type of pizza, getting it to the oven, making sure we were getting their drink orders right, and adding some extra bullets for when things got spicy, cramming it all into a pod, and doing it on time while fighting off the Time Reapers, who really, really don’t like supporting small businesses.Pizza Bandit ScreenshotsAnd that’s where the other part of the Overcooked/Gears of War marriage comes into play. See, the Time Reapers mean business, and you’re not going to talk them out of some time reaping. That’s their whole bag. The only solution, fellow bandit, is incredible violence. I’ve played several builds of Pizza Bandit at this point, and let me tell you, your arsenal is up to the task. You start with your choice of assau lt rifle, minigun, and sniper rifle, but the fun really begins when you start unlocking your secondary weapons by completing jobs. They start simple: landmines, grenades, that sort of thing, but once you unlock the disco ball that attracts enemies and gets them dancing before it explodes? Whew, buddy. And the sentry turret? Perfection. You could slice and dice them Time Reapers with a katana, but have you ever considered using a pizza slicer as big as a man? It’ll change your life.And the Time Reapers will force you to use everything in your arsenal. You got your standard guys who will just run at you, but there are also Time Reapers that’ll crawl around on all fours, Terminator-looking ones that will leap at you, giant ones with hammers, guys who throw fireballs (these can really ruin your day), the works. You gotta prioritize.Pizza Bandit is at its best when you’re with a good team, calling out orders. A good match should be shouts of “We need a pepperoni pie!” and “I’m on the Coke!” and “I’m down!” interspersed with lots and lots of gunfire. Simple choices, like when to call down your own, once-a-mission rocket pod full of pizza and supplies, and more complex ones, like where to put it (you can block off a stairway, for instance), spice things up, too. And here’s the thing: so far, I’ve just talked about Restaurant from Nowhere, which is only the first level. Pizza Bandit isn’t a one-trick pony. One of my favorite levels has you taking over a sushi joint and making sure you have the right stuff on the delivery turntable for your customers. Sometimes that means running downstairs and grabbing a big ol’ tuna, taking that bad boy upstairs, and chopping him up before the Time Reapers whack you and you drop him. Other times that means frying an egg, or making a cucumber roll. You gotta stay ahead of the curve, because new customers are prioritized over old ones, and the Time Reapers aren’t gonna sit there and wait for you to plate your masterpiece.Sometimes, you’re not even cooking food at all. Another favorite level, Wizard’s Tomb, has you exploring a magically booby-trapped tomb in search of a sarcophagus. You’ll have to navigate the tomb’s traps, solve basic puzzles to reveal the way forward, and take out the arcane heart powering the whole enterprise before getting to the sarcophagus itself, which you’ll naturally transport with jetpacks before booking it back to your ship. It isn’t enough to get any given job done; you gotta get home, too. Just another day in the life of a pizza bandit.Pizza Bandit is always ludicrous, and its inspirations are obvious, but it’s never less than fun.“There are more, of course: in one, you’ll defend a cabin with Dr. Emmert Browne (Great Scott, Jofsoft, I see what you’re doing here, and I like it!) while he invents the time travel device that makes your whole business profitable. Winning it all means keeping him warm, satiating his hunger with rabbit or venison, and stopping all those nasty Time Reapers (and Wendigos?) who are trying to stop time travel from happening. You’d think that the Time Reapers would understand time paradoxes, but I guess not. Can’t reap time if there’s no time to reap, y’all. Or maybe you’ll break into an enormous safe with a laser drill, like you’re roleplaying the opening scene of Michael Mann’s Thief with a drill that’s constantly exploding. That seems safe, right? But hey, apparently there’s a magical cookbook in that vault whose recipes can alter reality, and we’re being paid to get it, exploding drill or not. A Pizza Bandit always gets the job done. And there’s always time to do your best Breaking Bad impersonation and help a couple of guys cook some “magic powder” and hide it inside some chicken. Oh, and you have to kill and cook the chickens. Only fresh, never frozen, baby. Pizza Bandit is always ludicrous, and its inspirations are obvious, but it’s never less than fun.Between missions, it’s back to Pizza Bandit (your restaurant), where you can acquire and upgrade your weapons, decorate Pizza Bandit itself, use the ingredients you find during missions to bake and share a pie for some stat boosts on your next run, or get some spiffy new duds for your bounty hunter. The milk carton backpack is a classic choice, if I do say so myself, but I’m still saving up for one of the cat ones. The things we do for fashion, am I right? Then it’s right back to it. A bandit’s work is never done.Sometimes, you don’t know you want something until you get it. I didn’t know I wanted Pizza Bandit until the first time I played it at PAX two years ago. It was one of those games that generated a lot of word of mouth, but it’s one of those concepts that doesn’t seem like it’ll work until you get a controller in your hands and everything makes sense. I don’t know why we’ve never gotten something like Pizza Bandit before, but once I played it, I knew I wanted more. Pizza heals, bullets kill, and Pizza Bandit rocks. If Jofsoft can stick the landing, we’re in for a tasty slice of New York pie.

Spoilers for “Wish World.” Even the most daring artists, those that actively seek reinvention on a regular basis, will eventually wind up repeating themselves. If they’re lucky and self-aware, the artist may even get the chance to rehabilitate some of the lesser works in their canon. Sadly, it’s at this last hurdle that Russell T. Davies has fallen, with “Wish World” not quite able to do more than become a bizarro remake of “The Sound of Drums / Last of the Time Lords.” James Pardon/BBC Studios/Disney/Bad Wolf We open in Bavaria, 1865, where a cloak-wearing woman on horseback rides through a forest to a remote cabin. It’s classic series villain the Rani, resurrected at the end of last week’s episode, who is greeted by Otto Zufall (German for “coincidence”), a storybook villager-type who expected to greet a midwife to help his ailing wife, Violett. Otto is the seventh son of a seventh son, who has just welcomed his seventh son into the world. Violet lays in bed cradling the newborn, which the Rani says is — as the third-generation seventh son — gifted with unbelievable power. She plucks the newborn from her arms, killing Violet by blowing on her, turning her into a pile of violet petals. She then blows on the other six children and turns them into ducks, and Otto into a wise owl. Then, we’re on Earth on May 23, 2025, where the happily married couple John Smith — the Doctor — and Belinda wake up side by side in bed. Their daughter, Poppy (from “Space Babies” and “The Story and the Engine”) pads in from her bedroom. The trio live as a picture of domestic bliss, with a distinctly fake-looking ‘60s style kitchen filled with bright colors. It may be the present day, but there’s little-to-no tech on show except that every room has a 14-inch CRT TV that only plays a broadcast of Conrad (from “Lucky Day”) who tells them the whole world is going to have great weather that day. At breakfast, the Doctor’s mind wanders for a moment, and suddenly his mug (which was in the middle of the table) inexplicably smashes to the floor. Never mind, as there’s a whole cupboard of matching mugs to replace the ones that fall during a “slip.” Each house even has a large, bright orange trash can just to get rid of the mugs that fall during a “slip”, including their next door neighbor, Mel. When the Doctor greets Mel, he asks what her plans are for May Day, and she says as an unmarried woman with no children, she’ll just sit inside in quiet contemplation. Looming over the heart of the city, taller than any skyscraper, is a structure made out of bone that stands tall on spindly spider legs. Similarly incongruous is a series of massive, dinosaur skeletons that stomp around the landscape. We’ll see later that the dinosaur skeletons don’t actually interact with the world around them, phasing through the space below. The only person (for now) that doesn’t seem to be affected is Ruby, who turns up at the Doctor’s house. She thinks she knows the Doctor, and Belinda, but can’t quite work anything out, and then blurts out that they don’t have a child when she sees Poppy. That prompts Belinda to call the police, as having doubt or sowing confusion is a crime here. The Doctor heads to work in UNIT HQ, suitably redecorated as a 1950s office despite the sci-fi trappings in the periphery. Kate Stewart is an officious boss, Colonel Ibrahim is the Doctor’s colleague and Susan Triad has been turned into the ‘60s tea-lady from “The Devil’s Chord.” Colonel Ibrahim still has the hots for Kate, but thinks that she’s so far out of his league that she’d never go out with him. The Doctor disagrees, saying that Ibrahim is a “beautiful” man, which prompts Ibrahim to get very angry. After all, it would be wrong, impossible or deviant for a man to find another man beautiful, even intellectually. But the Doctor manages to avoid having him call the secret police as the staff of the office all stop to spot the Rani flying by on her hover scooter, which they believe is a sign of good luck for May Day the following day (another deliberate incongruity given May Day takes place on May 1). The Rani lands on the spider skeleton / looming tower of doom, handing Mrs. Flood some Italian meat and tells her to make Conrad a sandwich. He’s up in the tower, as it’s his imagination that is shaping the world, with his regular broadcasts informing the people of his choices. But he’s also nervous — saying that the effort of maintaining a world is difficult since he has to run so many complex systems or else let whole nations be destroyed. It may be his imagination, but it’s being powered by the nameless baby from 1865, who never cries, just smiles. Conrad, being the show’s avatar of so many alt-right figures, has built a reality to reflect his worldview. Heterosexuality is compulsory and loudly and rigidly enforced, there is a secret police ready to seize anyone off the street at a moment’s notice and everyone is constantly asked to inform on their family members. The culture of paranoia is rife. It also explains why Mel, as an unmarried and child-free woman, is expected to sit away and quietly contemplate her implicitly-poor choices, because naturally Conrad only values women for their utility, birthing and taking care of men, rather than as people with their own agency. Even Mrs. Flood, a Time Lady in her own right and the architect of this whole scheme, is relegated to the thankless role of “mother.” James Pardon/BBC Studios/Disney/Bad Wolf His regular broadcasts are even used to taunt the Doctor, reading a story about the Doctor from a book that apes the original British Harry Potter covers. It is, without a doubt, intentional that Davies’ would make his alt-right villain a fan of the series in 2025. Meanwhile, Belinda remains at home looking after Poppy, and gets a visit from her mum and grandmother. They are talking about motherhood, and the fact Poppy is expected to grow up and become an obedient wife to her husband. But when Belinda’s grandmother asks how long Belinda’s labor took, she can’t remember — prompting a small crisis of her own. There’s one UNIT regular who isn’t up in the office, Shirley Bingham, who is in a wheelchair begging out on the street. Conrad’s worldview has no room for people with disabilities (or queer and gender non-conforming people) and so she’s homeless. Ruby initially brushes her pleas for money away before stopping and realizing that she’s met them before. Ruby is taken to a hidden homeless encampment where the ignored have gathered to create some sort of community. Ruby explains to them what they already know — something about all of this is wrong, and that she’s lived through 2025 already (during “73 Yards”) and it didn’t play out like this. Shirley has a plan to bring down Conrad, and Ruby wants in, saying that if she can get face to face with him, she’ll be able to remember what’s locked in the back of her mind. That night, the Doctor is at home, furrowing his brow, and in the background Susan appears on his TV in a brief flash. But she quickly disappears, only to be replaced by Rogue (Jonathan Groff, from last season’s “Rogue”) who only has time to tell the Doctor two things. First, “tables don’t do that,” and that he loves him. Belinda wakes up to the sound of mugs smashing, as the Doctor experiments — every time he feels doubt, a mug falls through the solid wood onto the floor. Belinda can see what’s going on, but is horrified enough to call the police and get them to arrest the Doctor for having doubts. But Mrs. Flood doesn't just arrest the Doctor, she hauls Belinda’s mom there to look after Poppy so Belinda can be arrested too. Shirley and Ruby are camped out below the stone tower, and Shirley pulls out a UNIT tablet that’s a relic from the old world. Up in the tower, the Doctor and Belinda are pushed over a threshold and into the safety of the Rani’s lair. But the pair still don’t have their memories, and so are confused when the Rani starts expositing at them, at length. She points out the seal of Rassilon, and asks if that jogs his memory to no avail, similarly her robot assistants that are looking for signs of doubt among the population. The Rani even dances under a disco ball to a dumbfounded Doctor, who just pleads for mercy. The Rani explains, in a way that made no sense to me at least, that all of the villains the Doctor ever faced wanted death, but her, who wants life. She somehow survived all the various destructions of Gallifrey and is now looking for a lost soul in the heretofore unknown “underverse.” She achieved this by, uh, blocking the Doctor’s route back to Earth and instead, forcing him to criss-cross around the universe with the Vindicator. Each reading the machine took was, in fact, creating a universe-wide network of power all feeding back to the Earth. As the Doctor’s memory returns, the Rani explains that being trapped in Conrad’s reality was to create and foster doubt. Much in the same way a human being’s doubt can damage their world, a Time Lord’s doubt should be enough to crack open the universe. As the clock ticks closer to midnight, she sends Belinda back outside the bone tower to her doom. Then, the Rani locks the Doctor on the bone tower’s balcony to witness as London is swallowed by a series of enormous black voids with only remnants emerging from the other side (such as the burned Black Cab at the end of “The Robot Revolution”). Why? Because the lost soul, trapped in the “underverse” she’s desperate to reach, is Omega. The Doctor, trapped on the balcony, tries to break back into the tower and stop the Rani but it’s too late. She has laid explosive charges and when they blow, the balcony tumbles down toward the void beneath. But the Doctor screams, “Poppy is real! Don’t you know what that means?” as he tumbles into the darkness. To. Be. Continued. “Tables don’t do that.” James Pardon/BBC Studios/Disney/Bad Wolf If there’s one thing Russell T. Davies doesn’t do well, it’s narrative coherence in the run-up to his big finales. Problems and solutions are equally contrived, pulled out of left field and generally don’t stand up to much scrutiny. In his mind that’s okay because what interests him is the emotional resonance and character moments created by that drama. Given he’s one of the few name brand writers in the UK, it’s not as if this approach hasn’t been enormously successful. But it does make “Wish World” a frustrating beast since it is, as usual, playing with so many good ideas it squanders most of them. That wouldn’t be so bad, but for the episode’s conclusion being handed over to incoherent technobabble. It doesn’t help this is the second series in a row that hinges on the audience recognizing the significance of a villain not properly* seen on screen for more than four decades. It’s worth looking at the first two thirds separate from the last, since there’s so much good stuff early on. One of Davies’ usual fixations is on the rise of middle-class British fascism, and the moments when we’re just inhabiting Conrad’s world are wonderful. This time, it’s centered on the stultifying environment for the so-called “respectable types,” whose position and status are perpetually tenuous. The paranoia that manifests out of that means everyone is looking for signs of deviance in their own communities. Those deemed unfit, especially people with disabilities and queer folks, are rendered as un-persons, invisible, shunned and isolated. “Wish World” picks up on another recurring theme in the show, which is to ask what happens after the war has ended. Conrad’s utopia may have lovely weather, but everyone is dressed in uncomfortable clothes and at perpetual risk of being kidnapped off the street by police. If I have a nitpick (and I do) it’s that I wish we hadn’t needed to see the Rani’s baby kidnapping in the opener. Starting with the Doctor and Belinda waking up as a married couple would have been a bigger shock. And it’s a shame the episode can’t commit hard enough to the “we’re trapped in a bizarro world” bit as Ruby turns up so quickly to let the audience know Things Are Awry. Imagine if the first twenty minutes had played out just from John Smith, or Belinda, or Ruby’s perspective and the creeping horror as they realized what was wrong. Sadly, it’s the usual problem of having maybe 30 minutes at most to gesture to those ideas rather than explore them. Because we then have to stop the episode to get Ncuti Gatwa to look perplexed while the Rani spouts nonsense at him. Her evil plan doesn’t stand up to much scrutiny even as we're being told it. After all, why does she need the Doctor to leap between planets when she has her own TARDIS? And if all it takes is a Time Lord’s doubt to rip open the universe, she could have easily done that herself. It’s not as if the Doctor is affected by the doubt since he’s able to carry on until the Rani explodes the balcony and casts him into the void. Oh, there’s one thing that’s good in those last moments — the scene of the Doctor realizing something about Poppy is a nice hook into the finale. James Pardon/BBC Studios/Disney/Bad Wolf I don’t get why the Rani would be motivated to go looking for Omega, the scientist who helped co-found Time Lord society. If Rassilon was the political mind, Omega was the engineer who created the power to make it all happen. He created the stellar manipulator that put a stable black hole at the heart of Gallifrey — the Eye of Harmony — to power its TARDISes. Omega’s backstory was flimsy in his two televised appearances, essentially being an overpowered villain for the Doctor(s) to battle in two different anniversary specials, “The Three Doctors” and “Arc of Infinity.” The rest of his backstory was filled out in the spin-off material, but he’s essentially just a big name baddie trotted out when, say, the Master wouldn’t cut it. There are thematic parallels between Omega and Conrad, however, since Omega’s antimatter universe was sustained entirely by his will and imagination. Is that a comment on something, or just a nice way of dovetailing toward Omega. Who knows? I’m not sure I do. It’s hard not to notice the extreme similarities between “Wish World” and “The Sound of Drums / Last of the Time Lords,” including the fact both stories got started in the previous episode. For a start, there’s the whole Britain-under fascism angle, with the Doctor incapacitated by the villain. Not to mention both feature a sequence in which a Gallifreyan foe taunts our hero with a high camp dancing sequence in a room hovering above the sky. If there’s a shame, it’s that while the runtime has been cut in half, the actual quality of the denouement seems to have gotten worse. Oh, it was nice to see the seal of the Prydonian Chapter of the Time Lords of Gallifrey Seal of Rassilon on the wall of the Rani’s HQ. The bronze and red stylings looked gorgeous and while I’m never going to bang on about fan service in production design, it was lovely to see. And wasn’t it nice to get a bone structure hovering over London which is an unintentional callback to “The Ancestor Cell.” Just a shame that you’re then reminded that the book was designed to burn all the great ideas created by Lawrence Miles out of Doctor Who. After all, Miles has been at times the most interesting writer the series’ leadership refused to engage with. * Yes, I know Omega and Rassilon are standing beside Tecteun in “The Timeless Children.” This article originally appeared on Engadget at https://www.engadget.com/entertainment/tv-movies/doctor-who-wish-world-review-the-last-of-the-time-lords-redux-183004744.html?src=rss

Join our daily and weekly newsletters for the latest updates and exclusive content on industry-leading AI coverage. Learn More We’re seeing AI evolve fast. It’s no longer just about building a single, super-smart model. The real power, and the exciting frontier, lies in getting multiple specialized AI agents to work together. Think of them as a team of expert colleagues, each with their own skills — one analyzes data, another interacts with customers, a third manages logistics, and so on. Getting this team to collaborate seamlessly, as envisioned by various industry discussions and enabled by modern platforms, is where the magic happens. But let’s be real: Coordinating a bunch of independent, sometimes quirky, AI agents is hard. It’s not just building cool individual agents; it’s the messy middle bit — the orchestration — that can make or break the system. When you have agents that are relying on each other, acting asynchronously and potentially failing independently, you’re not just building software; you’re conducting a complex orchestra. This is where solid architectural blueprints come in. We need patterns designed for reliability and scale right from the start. The knotty problem of agent collaboration Why is orchestrating multi-agent systems such a challenge? Well, for starters: They’re independent: Unlike functions being called in a program, agents often have their own internal loops, goals and states. They don’t just wait patiently for instructions. Communication gets complicated: It’s not just Agent A talking to Agent B. Agent A might broadcast info Agent C and D care about, while Agent B is waiting for a signal from E before telling F something. They need to have a shared brain (state): How do they all agree on the “truth” of what’s happening? If Agent A updates a record, how does Agent B know about it reliably and quickly? Stale or conflicting information is a killer. Failure is inevitable: An agent crashes. A message gets lost. An external service call times out. When one part of the system falls over, you don’t want the whole thing grinding to a halt or, worse, doing the wrong thing. Consistency can be difficult: How do you ensure that a complex, multi-step process involving several agents actually reaches a valid final state? This isn’t easy when operations are distributed and asynchronous. Simply put, the combinatorial complexity explodes as you add more agents and interactions. Without a solid plan, debugging becomes a nightmare, and the system feels fragile. Picking your orchestration playbook How you decide agents coordinate their work is perhaps the most fundamental architectural choice. Here are a few frameworks: The conductor (hierarchical): This is like a traditional symphony orchestra. You have a main orchestrator (the conductor) that dictates the flow, tells specific agents (musicians) when to perform their piece, and brings it all together. This allows for: Clear workflows, execution that is easy to trace, straightforward control; it is simpler for smaller or less dynamic systems. Watch out for: The conductor can become a bottleneck or a single point of failure. This scenario is less flexible if you need agents to react dynamically or work without constant oversight. The jazz ensemble (federated/decentralized): Here, agents coordinate more directly with each other based on shared signals or rules, much like musicians in a jazz band improvising based on cues from each other and a common theme. There might be shared resources or event streams, but no central boss micro-managing every note. This allows for: Resilience (if one musician stops, the others can often continue), scalability, adaptability to changing conditions, more emergent behaviors. What to consider: It can be harder to understand the overall flow, debugging is tricky (“Why did that agent do that then?”) and ensuring global consistency requires careful design. Many real-world multi-agent systems (MAS) end up being a hybrid — perhaps a high-level orchestrator sets the stage; then groups of agents within that structure coordinate decentrally. For agents to collaborate effectively, they often need a shared view of the world, or at least the parts relevant to their task. This could be the current status of a customer order, a shared knowledge base of product information or the collective progress towards a goal. Keeping this “collective brain” consistent and accessible across distributed agents is tough. Architectural patterns we lean on: The central library (centralized knowledge base): A single, authoritative place (like a database or a dedicated knowledge service) where all shared information lives. Agents check books out (read) and return them (write). Pro: Single source of truth, easier to enforce consistency. Con: Can get hammered with requests, potentially slowing things down or becoming a choke point. Must be seriously robust and scalable. Distributed notes (distributed cache): Agents keep local copies of frequently needed info for speed, backed by the central library. Pro: Faster reads. Con: How do you know if your copy is up-to-date? Cache invalidation and consistency become significant architectural puzzles. Shouting updates (message passing): Instead of agents constantly asking the library, the library (or other agents) shouts out “Hey, this piece of info changed!” via messages. Agents listen for updates they care about and update their own notes. Pro: Agents are decoupled, which is good for event-driven patterns. Con: Ensuring everyone gets the message and handles it correctly adds complexity. What if a message is lost? The right choice depends on how critical up-to-the-second consistency is, versus how much performance you need. Building for when stuff goes wrong (error handling and recovery) It’s not if an agent fails, it’s when. Your architecture needs to anticipate this. Think about: Watchdogs (supervision): This means having components whose job it is to simply watch other agents. If an agent goes quiet or starts acting weird, the watchdog can try restarting it or alerting the system. Try again, but be smart (retries and idempotency): If an agent’s action fails, it should often just try again. But, this only works if the action is idempotent. That means doing it five times has the exact same result as doing it once (like setting a value, not incrementing it). If actions aren’t idempotent, retries can cause chaos. Cleaning up messes (compensation): If Agent A did something successfully, but Agent B (a later step in the process) failed, you might need to “undo” Agent A’s work. Patterns like Sagas help coordinate these multi-step, compensable workflows. Knowing where you were (workflow state): Keeping a persistent log of the overall process helps. If the system goes down mid-workflow, it can pick up from the last known good step rather than starting over. Building firewalls (circuit breakers and bulkheads): These patterns prevent a failure in one agent or service from overloading or crashing others, containing the damage. Making sure the job gets done right (consistent task execution) Even with individual agent reliability, you need confidence that the entire collaborative task finishes correctly. Consider: Atomic-ish operations: While true ACID transactions are hard with distributed agents, you can design workflows to behave as close to atomically as possible using patterns like Sagas. The unchanging logbook (event sourcing): Record every significant action and state change as an event in an immutable log. This gives you a perfect history, makes state reconstruction easy, and is great for auditing and debugging. Agreeing on reality (consensus): For critical decisions, you might need agents to agree before proceeding. This can involve simple voting mechanisms or more complex distributed consensus algorithms if trust or coordination is particularly challenging. Checking the work (validation): Build steps into your workflow to validate the output or state after an agent completes its task. If something looks wrong, trigger a reconciliation or correction process. The best architecture needs the right foundation. The post office (message queues/brokers like Kafka or RabbitMQ): This is absolutely essential for decoupling agents. They send messages to the queue; agents interested in those messages pick them up. This enables asynchronous communication, handles traffic spikes and is key for resilient distributed systems. The shared filing cabinet (knowledge stores/databases): This is where your shared state lives. Choose the right type (relational, NoSQL, graph) based on your data structure and access patterns. This must be performant and highly available. The X-ray machine (observability platforms): Logs, metrics, tracing – you need these. Debugging distributed systems is notoriously hard. Being able to see exactly what every agent was doing, when and how they were interacting is non-negotiable. The directory (agent registry): How do agents find each other or discover the services they need? A central registry helps manage this complexity. The playground (containerization and orchestration like Kubernetes): This is how you actually deploy, manage and scale all those individual agent instances reliably. How do agents chat? (Communication protocol choices) The way agents talk impacts everything from performance to how tightly coupled they are. Your standard phone call (REST/HTTP): This is simple, works everywhere and good for basic request/response. But it can feel a bit chatty and can be less efficient for high volume or complex data structures. The structured conference call (gRPC): This uses efficient data formats, supports different call types including streaming and is type-safe. It is great for performance but requires defining service contracts. The bulletin board (message queues — protocols like AMQP, MQTT): Agents post messages to topics; other agents subscribe to topics they care about. This is asynchronous, highly scalable and completely decouples senders from receivers. Direct line (RPC — less common): Agents call functions directly on other agents. This is fast, but creates very tight coupling — agent need to know exactly who they’re calling and where they are. Choose the protocol that fits the interaction pattern. Is it a direct request? A broadcast event? A stream of data? Putting it all together Building reliable, scalable multi-agent systems isn’t about finding a magic bullet; it’s about making smart architectural choices based on your specific needs. Will you lean more hierarchical for control or federated for resilience? How will you manage that crucial shared state? What’s your plan for when (not if) an agent goes down? What infrastructure pieces are non-negotiable? It’s complex, yes, but by focusing on these architectural blueprints — orchestrating interactions, managing shared knowledge, planning for failure, ensuring consistency and building on a solid infrastructure foundation — you can tame the complexity and build the robust, intelligent systems that will drive the next wave of enterprise AI. Nikhil Gupta is the AI product management leader/staff product manager at Atlassian. Daily insights on business use cases with VB Daily If you want to impress your boss, VB Daily has you covered. 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After spending several months doing not much besides watching Tom Cruise movies, I now spend a lot of time wondering about Tom Cruise running. The Mission: Impossible star is a high-cadence runner. He’s famously short of stature, low to the ground and with short legs. But that build is perfect for cinema, because those arms swing and those legs churn and convey a viscerality, a violence, a constant labored activity that translates perfectly to the screen. What they convey is a man of action, a man summoning all of his energy and will in a single direction: to move as quickly as he can. What is he thinking about when he’s running? I like to think the answer is nothing. That Tom Cruise is able to empty his head when he runs, blanking out his career, his cultural meaning, his past and present personal relationships, and move in a state of pure being. Maybe he’s doing one of his infamous stunts, a run towards a large dangerous vehicle, or off the side of a cliff. Maybe that makes him run faster. Maybe he feels a drive toward oblivion (and for Oblivion), to make the ultimate sacrifice to cinema, resulting in a cultural afterlife even longer than eternal stardom allows. This, in many ways, has been Tom Cruise’s career-long relationship with action movies. They’re his port in the storm, a safe harbor, a place to go and find love and acceptance when there seemingly is none to be had elsewhere. When the press is digging into your religion or snickering about your failed marriages or accusing you of being awkward or crazy or scary, you can find refuge in a MacGuffin to track down, a bad guy’s plot to foil, a world to save. The challenge each writer and director must face is how to handle Cruise’s well-known persona. Do they lean in or subvert? And to what end? When gifted with perhaps the most charismatic, committed movie star ever, are you willing to grapple with this stardom, how it explains the actor at a given point in his career, and what our response to him means? Or do you run? The following is a ranking of Tom Cruise’s greatest action films. In the interest of gimmicky symmetry, we’ve once again capped ourselves at 26 titles. We didn’t cheat… much. The films below all contain shootouts, fistfights, corpses, and missile crises. Most importantly, they are (mostly) tense, suspenseful, violent, escapist popcorn, not to be confused with the other half of Cruise’s equation: the pool-playing, the bartending, the litigating, and the deeply felt character work with auteurs, intended to get him the ultimate prize, which has eluded him for nearly half a century. Let’s run the numbers. 26. Valkyrie (2008) Director: Bryan SingerWhere to watch: Free on Pluto TV, Kanopy, Hoopla You could make a decent argument that this piece of shit doesn’t even belong on this list. It’s mostly a plodding chamber drama about “good Germans” ineffectually plotting to not kill Hitler at the end of World War II. But there’s an explosion, a dull shootout, and a bunch of executions at the end, so it seems to qualify as an action movie. Making Valkyrie is one of the most baffling decisions in Cruise’s entire career. And yet it’s also one of the most important films of his career, one that arguably defines his late period, because it’s how he first met his future M:I steward Christopher McQuarrie. Run report: Ominously, Tom Cruise doesn’t run in this movie.   25. Oblivion (2013) Director: Joseph KosinskiWhere to watch: Rent on Amazon, Apple Like Valkyrie, Oblivion technically qualifies as an action movie, but there’s little actual action or narrative tension to any of it. Cruise essentially plays the source code for a clone army created by a weird super-intelligence in space that runs Earth via killer droids, and the clones to service them. It comes out of a filmmaking period packed with sci-fi puzzlebox movies that were all atmosphere and often led nowhere, though this is probably the “best” example of that tiresome trend. The silver lining is that, like Valkyrie, this film led to Cruise meeting an important future collaborator: Top Gun: Maverick director Joseph Kosinski. Run report: Cruise literally exercises by running on a giant sleek modern hamster wheel in this. It’s the physical manifestation of everything I hate about this film. 24. Legend (1985) Director: Ridley ScottWhere to watch: Rent on Amazon, Apple This 1985 fantasy movie has its defenders, but I am not one of them. The action is completely disjointed and chaotic, a fractured fairy tale composed of an incoherent, weird/horny unholy union of J.R.R. Tolkien, Jim Henson, Peter Greenaway, Ken Russell, and a handful of psilocybin mushrooms. Legend looks like something pieced together by Jack Horner on a camcorder, so it’s hard to fault Cruise for looking clunky and uncomfortable. Who knows what a good performance in that role would look like?  Run report: A lot of odd almost skipping around in this, which adds to the “high school play” quality of the film. Cruise has a proper run toward the end, but it’s not fully baked yet.  23. The Mummy (2017) Director: Alex KurtzmanWhere to watch: Rent on Amazon, Apple Rewatching 2017’s The Mummy actually made me slightly disappointed we didn’t get the Dark Universe Universal Pictures briefly promised us. The setup had potential: Cruise as Indiana Jones, with Jake Johnson as Short Round and Courtney B. Vance as the archetypal no-bullshit sergeant? Potential. But Alex Kurtzman’s take on Karl Freund’s 1932 Boris Karloff Mummy needed less plot and more screwing around. This is an instance where Spielbergian pacing actually ruins a blockbuster, because it entirely lacks Spielberg Sauce. It becomes a horror movie after the first act, with Cruise as a largely personality-free, mentally unsound Black Swan/Smile protagonist. Then they spend all this time with Russell Crowe as Dr. Jekyll, introducing this universe of monsters that never gets off the ground. No fun! Run report: Notable because co-star Annabelle Wallis did a ton of press speaking to how much thought Cruise puts into his on-screen running. She specifically said he initially didn’t want to run on screen with Wallis, because he doesn’t like to share his on-screen run time. He relented, to little effect.  22. Mission: Impossible II (2000) Director: John WooWhere to watch: Free on Hulu, Paramount Plus Folks, I rewatched this recently. I really wanted to love it because some close and valued colleagues sing its praises, and I love a good, hot contrarian take. Respectfully, I don’t know what the hell they’re on. The camera work in Mission: Impossible II is so berserk, it borders on amateurish. The series hadn’t figured out what it was yet, but not in an interesting exploratory way: This installment is more like trying on a pair of pants that are not your vibe. The idea that Ethan Hunt lost his team in Mission: Impossible and now he’s a broken lone wolf (plus Ving Rhames’ Luther and Thandiwe Newton’s Nyah), an agent with the weight of the world on his shoulders, is not a bad premise. But in the role that ruined his career, Dougray Scott is a wooden, toothless bad guy. And somehow, the stakes feel impossibly low, even with a world-killing bioweapon on the line. Mission: Impossible II does, however, get points for being far and away the horniest movie in the franchise. Run report: Unsurprisingly, Woo is great at filming running, and there’s a lot of clay to work with here: Cruise’s long hair flopping in the wind, slow motion, a rare mid-run mask-rip, the inevitable dove-release: It’s all good! A definitive ranking of love interests and partners in the Mission: Impossible movies 6. Claire Phelps (Emmanuelle Béart) in Mission: Impossible5. Julia Meade (Michelle Monaghan) in Mission: Impossible III and Fallout4. Grace (Hayley Atwell) in Mission: Impossible – Dead Reckoning and The Final Reckoning3. Nyah Nordoff-Hall (Thandiwe Newton) in Mission: Impossible II2. Ilsa Faust (Rebecca Ferguson) in Mission: Impossible – Rogue Nation, Fallout, and Dead Reckoning1. Jane Carter (Paula Patton) in in Mission: Impossible – Ghost Protocol 21. American Made (2017) Director: Doug Liman Where to watch: Rent on Amazon, Apple It’s a funny idea: What if Top Gun’s Maverick was a schmuck pilot turned drug-runner? It’s clearly Cruise reaching for a Blow of his own, but decades into this type of narrative, we know the beats by heart. American Made is sorely lacking in depravity. Cruise’s affected good ol’ boy Southern accent both has nothing to do with the film’s disposability, and explains everything. It’s a sanitized drug narrative in which we never see Cruise blow a line or fire a gun. We don’t even see his death on screen — Cruise dying in a movie is a big deal, and has only happened a few times. It’s almost like he knew this nothingburger wasn’t worth the distinction. Run report: Not much running, which is indicative of a larger problem with this film. But at one point, Cruise runs after a car with Caleb Landry Jones in it, and it explodes, in arguably the highlight of the film, for whatever that’s worth.  20. The Last Samurai (2003) Director: Edward ZwickWhere to watch: Rent on Amazon, Apple The one’s a weird movie about a mercenary who, after participating in the genocide of Native Americans, goes native in 19th-century Japan, in the wake of the Meiji Restoration. But it’s a somewhat unusual approach to the standard Cruise narrative arc. In this, he begins as a broken, drunken husk, a mercenary arm of the growing American empire who belatedly regains his honor by joining up with some samurai. The aspects of that plotline which feel unusual for a Cruise movie don’t make up for all the story elements that have aged terribly, but they’re something.  Run report: Less running than you’d expect, but running with swords while wearing leather samurai armor. 19. Jack Reacher: Never Go Back (2016)  Director: Edward ZwickWhere to watch: Rent on Amazon, Apple A lot of the films in the lower ranks of this list suffer from the problem of filmmakers settling, simply putting Cruise on screen and letting his iconography do the heavy lifting, sans interesting backstory or dialogue. In this sequel, thanks to Lee Child’s blunt dialogue, the deep-state rogue-army plotting in the source material, and Cruise’s typical level of meticulous fight choreo, it’s simply really entertaining, solid, replacement-level action. This sequel to 2012’s Jack Reacher gives the title troubleshooter (played by Cruise) a surrogate daughter and a foil in Cobie Smulders, which is great. But its primary sin is replacing Werner Herzog, the villain from the first movie, with a generic snooze of a bad guy. Run report: Some running and sliding on rooftops with guns, as fireworks go off in the night sky. Impressive for some action movies, a bit ho-hum compared to the bigger hits on this list.  18. Taps (1981) Director: Harold Becker Where to watch: Rent on Amazon, Apple Fascinating film. A Toy Soldiers riff interrogating the military-school system, and suggesting that it’s probably not a bad thing that former American ideals like patriotic honor, duty, and masculinity are fading. It’s Cruise’s first major role (with George C.Scott, Sean Penn, and baby Giancarlo Esposito!), and you’ll never believe this, but he plays a tightly wound, thrill-addicted, bloodthirsty maniac. Run report: Great characterization via run here. Cadet Captain David Shawn is a hawkish conservative dick, and Cruise’s running reflects that. He’s stiff, carrying an automatic rifle that he looks like he’s going to start firing wildly at any minute.  17. Mission: Impossible III (2006)  Director: J.J. Abrams Where to watch: Free on Hulu, Paramount Plus In the last Mission: Impossible installment made before the filmmakers really figured out what the series was doing, J.J. Abrams assembles a mostly incoherent, boring clunker that has a few very important grace notes. It’s a film about Ethan Hunt trying to carve out a normal life for himself, with the great Philip Seymour Hoffman playing the bucket of ice water dumped on his domestic fantasy. Hoffman’s Owen Davian is the greatest bad guy in the Cruise filmography, and there’s really no close second. (I suppose, if there was a gun to my head, I would point to Werner Herzog in Jack Reacher, or Jay Mohr in Jerry Maguire.) There are many moments I could point to in Hoffman’s wonderful performance, but the one I’d recommend, if you want to feel something, is when Hoffman gets to play Ethan Hunt playing Owen Davian with a mask on for a few scenes during the Vatican kidnapping, roughly 50 minutes in. He was so fucking great.  Run report: A lot of running, but none of it is very good. No knock on Cruise, but Abrams is doing perfunctory work, shot poorly via shaky cam that has trouble keeping Cruise in the frame, from a perfunctory director making a perfunctory action film. There are two notable exceptions. “The Shanghai Run,” which we may have more on later, and Cruise running straight up a wall. A definitive ranking of Mission: Impossible villain performances 10. Dougray Scott in Mission: Impossible II9. Eddie Marsan in Mission: Impossible III8. William Mapother — that’s right, Thomas Cruise Mapother IV’s cousin! — in Mission: Impossible II7. Lea Seydoux in Mission: Impossible – Ghost Protocol6. Sean Harris in Mission: Impossible – Rogue Nation and Fallout5. Jean Reno in Mission: Impossible4. Esai Morales/The Entity in Mission: Impossible – Dead Reckoning and The Final Reckoning3. Jon Voight in Mission: Impossible2. Henry Cavill in Mission: Impossible – Fallout1. Phillip Seymour Hoffman in Mission: Impossible III 16. Mission: Impossible – The Final Reckoning (2025) Director: Christopher McQuarrieWhere to watch: In theaters The franchise potentially falls with a thud — or is it an AI-generated death fantasy that plays out entirely in Ethan Hunt’s head when he gets trapped in a digital coffin early in the movie? Either way, the resulting film is something the McQuarrie-Cruise collaboration has never been before: clunky and imprecise, a disjointed watch that delivers some high highs, but is unfortunately thin on story. McQuarrie seems unconcerned with character arcs, or any substantive grand narrative that might land in any meaningful way. This movie plays out like an aimless succession of beats, allowing boredom to creep in. That hasn’t been a part of the franchise since M:I 3. It’s a Simpsons clip show masquerading as a Mission: Impossible film, signaling that this iteration of the franchise is exhausted, with little left to say or explore. Perhaps there was no other way for this series to go out than on its back.  Run report: A run through the tunnels to save Luther, oddly reminiscent of the run attempting to save Ilsa Faust, followed by the run out of the tunnels, allowing Ethan to escape the film’s first trap (or does he?) A definitive ranking of Ethan Hunt’s “best friends/allies” (non-love interest/boss division) 17. Wes Bentley16. Greg Tarzan Davis15. Aaron Paul14. Jonathan Rhys Meyers13. Maggie Q12. Shea Whigham11. Hannah Waddington 10. Katy O’Brian9. Pom Klementieff8. Rolf Saxon7. Vanessa Kirby6. Keri Russell5. Simon Pegg4. Jeremy Renner3. Emilio Estevez2. Bogdan (Miraj Grbić)1. Luther (Ving Rhames) 15. War of the Worlds (2005) Director: Steven Spielberg Where to watch: Free on Hulu, Paramount Plus A curious movie I liked better on a rewatch than I did on my initial watch 20 years ago. Indiana Jones and the Temple of Doom is often misremembered as Spielberg’s darkest movie, but I’d argue that War of the Worlds beats it: It’s a divorced-dad-anxiety horror movie that has the most nightmare-inducing, traumatic, post-9/11 visuals in the master’s oeuvre. It can be read as Spielberg wrestling with his relationship with his son Max, who would’ve been around the age of Cruise’s disgruntled, estranged son in the movie. War of the Worlds has issues: Cruise never works when he’s cast in a “just some guy” role, as he’s meant to be here, and the plot goes off the rails in the third act. But it has some of the best set pieces Spielberg ever directed. What will haunt me for the rest of my life is a scene where Cruise’s character is forced to essentially make a Sophie’s Choice between his son and daughter (a great Dakota Fanning), and lets his son go. The ominous music at the end when he’s magically reunited with his son is completely bizarre and unsettling, and I don’t think is meant to be taken at face value.  Run report: This is why Cruise is the king. He’s playing a supposed normal, everyday schmoe in this movie. When you focus on the running, compared to other roles, you can see he’s running like a mechanic who is still a little athletic, but doesn’t know where he’s going, or what is happening from one moment to the next. It’s building character through running. Incredible. 14. Knight and Day (2010) Director: James Mangold  Where to watch: Free on Cinemax; rent on Amazon, Apple Knight and Day is a sneakily important film in the Cruise action canon because it’s the first time a movie really puts Cruise into the role of the creepy, charismatic, psychotically intense, beleaguered, put-upon invincible cartoon character he became in the Mission: Impossible franchise as of Ghost Protocol. This movie is based around a funny idea: It’s basically a Mission: Impossible movie from the perspective of a clueless civilian. It helps that the civilian is phenomenal, physical, funny, and fucking ripped: Cameron Diaz plays the world’s hottest mechanic, and makes me wish she had gotten her own Atomic Blonde-style vehicle. Run report: Some co-running with Cameron Diaz here, which is as you might imagine, is good.  13. The Firm (1993) Director. Sydney PollackWhere to watch: Free on Paramount Plus It’s easy to put The Firm on a pedestal because of Sydney Pollack, the jazz score, the ’90s outfits, Gene Hackman, and every other significant gravitas-oozing “That Guy” as a mobster, shady lawyer, or Fed in a great “They don’t make them like that anymore” legal thriller. But what really stood out to me on a recent rewatch is this movie is two and a half hours about the now laughably quaint notion of rediscovering purity in the law. It isn’t much more than a story about a shady law firm that gets hit with mail-fraud charges, plus several deaths and a few smartly tied up loose ends. Run report: A clinic in Tom Cruise running, a draft-version highlight reel of his running scenes. In my memory, this contains some of his most iconic early runs, and it signals the moment when “Tom Cruise running” became a whole cultural thing.  12. Top Gun (1986) Director: Tony Scott Where to watch: Free on Paramount Plus Top Gun set the template for Tom Cruise’s on-screen narrative, and it took a decade before filmmakers were willing to start subverting that narrative again. This is straight-up hero porn, without any of the humbling that the sequel eventually dishes out. Tom Cruise as Maverick is the best pilot on Earth. He loses his best friend and co-pilot Goose, due to a combination of a mechanical failure and another pilot’s fuck-up. He then has to find the courage to fly with the exact same lack of inhibition he did at the outset of the film, which he finally does, based on essentially nothing that happens in the plot. Scott makes the wise decision to center the action (or non-action) of the film on pure Cruise charisma and star power, and it works. Run report: Believe it or not, Tom Cruise does not run in this movie.  11. Days of Thunder (1990) Director: Tony Scott Where to watch: Free on Paramount Plus Scott and Cruise’s Top Gun follow-up is essentially Top Gun with cars instead of jets — but yes, it’s marginally better. Why? Because this is a quintessential “We didn’t know how good we had it” classic. It’s the film where Cruise met his future spouse Nicole Kidman on set. Robert Duvall is swigging moonshine. It’s Randy Quaid’s last performance actually based on planet Earth. Plus there’s John C. Reilly, Michael Rooker, Cary Elwes, Fred Thompson, Margo Martindale, and a rousing Hans Zimmer score. Need I say more? Run report: They cut the climatic race off, but Cruise’s character Cole potentially gets smoked by 59-year-old Robert Duvall?! 10. Mission: Impossible – Dead Reckoning (2023) Director: Christopher McQuarrieWhere to watch: Free on Paramount Plus The metaphor that the Mission: Impossible franchise is a manifestation of Tom Cruise’s deep-seated need to save blockbuster filmmaking and the Hollywood star system has never been more overt. Cruise is literally up against AI, which is always a step ahead of him, dismantling his every gambit. It’s an update/remix of Ghost Protocol’s premise: The only antidote to the world-spanning AI known as The Entity is becoming a refusenik anti-tech Luddite in the spirit of John Henry, and using the raw materials of humanity to defeat an invincible machine.  Run report: Cruise running in confined spaces is a lot of fun, but the heavily CGI’d running up the side of a train losing its battle with gravity isn’t.  A definitive ranking of Mission: Impossible MacGuffins 8. Ghost Protocol’s Russian launch codes7. Fallout’s plutonium cores 6. Rogue Nation’s $2.4 billion Syndicate bankroll5. M:I2’s Chimera Virus4. Final Reckoning’s Sevastopol3. M:I’s NOC list 2. Dead Reckoning Part One’s cruciform key1. M:I3’s rabbit’s foot 9. Jack Reacher (2012)  Director: Christopher McQuarrie Where to watch: Free on Paramount Plus I loathe hyperbole: it’s a shortcut for unimaginative writers. I’ve never resorted to it in my entire life. So I hope you’ll take me at my word when I say that this movie is a fucking masterpiece. Amazon’s great Reacher series is made more in the image of Lee Child’s books, with a distinctive breakout lead in Alan Ritchson, who appears to have been designed in a lab to draw striking contrast to Tom Cruise in this role. But Reacher made us forget how good Jack Reacher gets. It’s a perfect elevated action programmer with a remarkable cast: David Oyelowo! Richard Jenkins! Rosamund Pike! A Days of Thunder reunion with Robert Duvall! Werner Herzog showing up in a completely brilliant, bonkers heel turn! McQuarrie made this one in vintage Shane Black ’90s style, with a dash of Don Siegel and Clint Eastwood. I totally get why Cruise decided to turn his career over to McQuarrie after this. I don’t understand why he didn’t let McQuarrie direct the sequel. Run report: There isn’t much running in this. At one point, Cruise is darting from shelter point to shelter point because a sniper is trying to pick him off, but that’s it. It’s because Jack fucking Reacher doesn’t have to run, which is simply good writing and filmmaking.  8. Mission: Impossible – Rogue Nation (2015)  Director: Christopher McQuarrieWhere to watch: Free on Hulu, Paramount Plus This film famously opens with Tom Cruise hanging from the side of a plane as it takes off. But to me, the key moment comes when he’s broken into the plane, attached himself to a package which isn’t named, but looks like a crate of rockets the size of a minivan. He gives a final raised eyebrow and shrug to a gobsmacked henchman, who watches helplessly as Cruise deploys a parachute and falls out the back of the plane’s cargo bay with a ton of atomic weapons, and no plausible way to land without killing himself and creating a Grand Canyon-sized nuclear crater in Belarus. This scene was practically drawn by Chuck Jones, which sets the tone for a film that repositions Ethan Hunt on the border of superherodom, in a film about Tom Cruise as the literal manifestation of destiny.  It also marks the return of Alec Baldwin, the first (but not last) M:I handler who carried over from one film to the next. Evaluating the handlers’ position in the franchise (see below) is challenging: They’re constantly shifting allegiances, at times working in service of Hunt’s mission, at times in direct opposition to it, either attacking him with governmental red tape, or colluding with nefarious forces. Run report: A lot of different looks when it comes to the running in this. Shirtless running, running with Rebecca Ferguson, running across the wing of a moving plane. It’s all good. A definitive ranking of the “most fun” M:I handlers 6. Theodore Brassel (Laurence Fishburne) in Mission: Impossible III5. Erika Sloane (Angela Bassett) in Mission: Impossible – Fallout and The Final Reckoning4. Eugene Kittridge (Henry Czerny) in Mission: Impossible3. John Musgrave (Billy Crudup) in Mission: Impossible III2. Commander Swanbeck (Anthony Hopkins) in Mission: Impossible II1. Alan Hunley (Alec Baldwin*) in Mission: Impossible – Rogue Nation and Fallout * One of my only lingering complaints about the M:I movies is that aside from Ving Rhames and Simon Pegg, we don’t get enough big family continuity. The Fast & Furious franchise is an exemplar/cautionary tale of how found-family dynamics can be a great source of fun and emotion — and also tank the series, if creators keep piling on new recurring elements. It sounds like Baldwin didn’t want to stay on board, but I would love to live in a world where he didn’t jump ship — or where, say, Henry Cavill’s August Walker joined Ethan’s team at the end of Mission: Impossible – Fallout, as he would have if he’d had a similar role in an F&F installment. 7. Minority Report (2002) Director: Steven SpielbergWhere to watch: Free on Paramount Plus I’m guessing this placement on this ranking will upset some people. I’m surprised it’s this low in the rankings too — but that’s how good the next six films are. And honestly, Minority Report doesn’t hold up as the masterpiece I remember it being. It’s a very cool story. It marks the first fantasy-team matchup of Tom Cruise and Steven Spielberg. They’re adapting a paranoid Philip K. Dick story, and largely delivering on the promise that implies. Minority Report is an inventive, dark, weird future horror movie, made with Spielberg’s standard stunning visual economy. But among the perfect elements in this film, I have to call out some aspects that didn’t age well. Janusz Kaminski’s lighting effects feel like the whole movie is stuck inside an iPod halo. and this dutch-angled high melodrama, sauced with a dash of Terry Gilliam dystopian/gross wackiness, which lends the film a degree of occasionally atonal, squishy gonzo elasticity you’ve likely forgotten.   Run report: Mileage may vary on white pools of light, but running through them in futuristic uniforms is decisively cool.  6. Mission: Impossible (1996) Director: Brian De PalmaWhere to watch: Free on Hulu, Paramount Plus Because MI:2 and MI:3 struggle with tone (and long, listless patches), and because it’s actually Brad Bird that sets the template for the McQuarrie era of the franchise, you could argue the first Mission: Impossible is the strangest, most personal vision of what this series is and what it can be. DePalma is asserting himself with every practical mask and stylized shot. Your mileage may vary with that approach to what has become this Swiss set piece machine, I love it. A few things stand out nearly three decades on: Of course, how ridiculously young Cruise looks, but perhaps crucially, how collegial, intimate, and even tender the first act is before his first team is eliminated and the movie becomes a DePalma paranoid thriller. It’s an element we never quite get from Mission: Impossible again, one that brings the arc of the franchise into focus and explains Ethan Hunt if you extend continuity: He’s a character betrayed by his father figure and his government in the first film, and spends the rest of the franchise running from this largely unspoken trauma, determined to never let that happen again. In the wake of this, he reluctantly pieces together a life, semblance of a family, and all the risks that come with those personal attachments. In honor of my favorite set piece in any of the films, one of DePalma’s finest taught masterpieces: A definitive ranking of the top 10 M:I set pieces  Honorable Mention: The Sebastopol Extraction- (Tie) The Train Fights– MI:1 & Dead Reckoning 10. The Plane Door- Rogue Nation9. The “Kick In The Head” Russian Jail Break- Ghost Protocol8. The Water Vault Ledger Heist Into The Motorcycle Chase- Rogue Nation7. The Handcuffed Car Chase- Dead Reckoning6. The Red Baron Plane Fight- Final Reckoning5. The Burj Khalifa- Ghost Protocol4. Kidnapping At The Vatican- MI:33. The Opera House Hit- Rogue Nation2. The Louvre Halo Jump Into the Bathroom Fight- Fallout1. The NOC List Heist- MI:1 Run report: Fitting that this franchise opens with Cruise putting on a running clinic, as that first op falls apart, then of course his run away from Kittridge and the massive fish tank explosion.  5. Mission: Impossible – Ghost Protocol  Director: Brad Bird (2011) Where to watch: Free on Hulu, Paramount Plus Nothing is working like it’s supposed to. Not the Impossible Mission Force, not the mask machine, not the radio comms, not the magnet gloves keeping Ethan Hunt tethered to the side of the world’s tallest building, not the Mission: Impossible franchise, and not Tom Cruise’s at-the-time fading movie stardom. But somehow, one incredible film made by a career animation director solves all of these problems, by stripping down, getting back to basics and reminding us what we always loved about these films and its star. It was supposed to be the beginning of a franchise reboot, with Jeremy Renner stepping in. Bird (and McQuarrie, in for a pass at the troubled screenplay and on deck to become Cruise’s Guy For Life) fights this decision off, gets away from trying to figure out the character Ethan Hunt and lets him be a superhero, more annoyed than concerned by the escalating difficulty of the impossible problems he has to solve. Through this, Bird correctly identifies the difference between Cruise and these other Hollywood candy asses: He’s a reckless warrior with a death wish who will do whatever is necessary to win, and he does. The team concept is back in full force with a genuinely showstopping stunt, and without the masks and tech, Cruise has to do it all with his wits, his hands, and his pure bravado. The series, and Cruise, never looked back.  Run report: Some of the most fun, imaginative set pieces built around running in this installment. A definitive ranking of who should replace Tom Cruise in the inevitable M:I reboot 10. Aaron Taylor Johnson9. Charlie Cox8. Sterling K. Brown7. Florence Pugh6. John David Washington5. Haley Atwell4. Miles Teller3. Jeremy Renner2. Aaron Pierre 1. Glen Powell 4. Top Gun: Maverick  Director: Joseph Kosinski (2022) Where to watch: Free on Paramount Plus It’s a death dream, it’s red meat nationalist troopaganda, it’s the greatest legacyquel ever made that no one asked for and you didn’t realize you desperately needed, it’s nostalgia porn, it saved the movie going experience post-COVID, it’s a finely calibrated joy machine. Cruise is downright mystical, shimmering in the sun’s reflection off the surf, dominating an endless football game with no rules that doesn’t make sense. He has actual chemistry with Jennifer Connelly, and he has the grace to cede the floor to his old nemesis — both in the first Top Gun and as a once contemporary Hollywood star/rival — the late Val Kilmer, to drive home the crush of time and destroy everyone in the theater, no matter how many times they went to see this monster hit that first summer back in theaters.  Run report: Immediately coming off of the stunning, emotional high point of the film, we get Cruise running in salt water soaked jeans shirtless on the beach. Are you not entertained? 3. Collateral  Director: Michael Mann (2004) Where to watch: Free on Paramount Plus An elemental, visceral faceoff that is radical in its simplicity of purpose. A film made by the second-best director on this list, and on a very short list of Cruise’s finest performances ever. He’s the salt and pepper terminator in a taxi, playing a pure evil bad guy, a classic Mann anti-hero samurai nihilist that also lives by a code and values being good at his job. Of course Cruise retains a kind of charm, but is also willing to get slimy and be deeply unlikeable and die on screen. Well worth the sacrifice.  Run report: Incredible running on display here. Once again he is running like a professional killer probably runs, almost always holding a gun, the hair matches the suit, so fucking bad ass.  2. Mission: Impossible – Fallout  Director: Christopher McQuarrie (2018) Where to watch: Free on Hulu, Paramount Plus As much time and energy as I just expended exalting Ghost Protocol, at a certain point you have to eschew poetic narratives and tip your cap, by the slightest of margins, to a fucking perfect movie. Ghost Prot is close, but you can feel its lack of a nailed-down shooting script at certain points towards its conclusion, as the action begins to wind down. McQuarrie becomes the first director in the franchise to get a second bite of the apple, and the result is a finely cut diamond. Fallout is about exhaustion and the impossibility of that manifestation of destiny idea from Rogue Nation. It makes the argument that you can’t actually save the day and save everyone without making any sacrifices forever, and because of that, sets up The Trolly Problem over and over again to try and get Ethan Hunt to compromise and/or give up. But, of course, he won’t, and neither, seemingly, will Cruise.  Run report: You can tell McQuarrie loves watching Cruise run as much as we do. He frames the runs in these wide shots and takes his time with them. It’s not conveying any additional information, a beat or two less would suffice, but the camera lingers and you get to just sit and appreciate the form and it really connects. It’s why he was the logical choice to take control of this franchise. He understands how a Tom Cruise action flick operates and what makes it special. And of course: A definitive ranking of the best runs in the franchise 10. The Opening Plane Run- Rogue Nation9. The Sandstorm Run- Ghost Protocol8. The Mask Rip Run- MI:27. Running through the alleys of Italy- Dead Reckoning6. Running Through the Tunnels for Luther (then out)- Final Reckoning5. Running down the Burj Khalifa- Ghost Protocol 4. Running from the fishtank explosion- MI:13. The Rooftop Run- Fallout2. The Shanghai Run- MI:31. The Kremlin Run- Ghost Protocol 1. Edge of Tomorrow  Director: Doug Liman (2014) Where to watch: Rent on Amazon, Apple Edge of Tomorrow is the best Tom Cruise action film had to be made in his late period of action stardom. You need the gravity and the gravitas, the emotional baggage earned through those decades of culture-remaking roles, the toll that exerted effort took on him, and the time spent and time passed on his face. The late, largely perfect Mission: Impossible films that dominate the top 10 of this list do much of that work: They feint, they allude, they nod to the realities of stardom, of life and death. But Ethan Hunt is a superhero, an inevitability, so the outcome is never in doubt — until, perhaps someday, it is. But for now, the masterpiece from Doug Liman — a director who either hits dingers or strikes out looking, with no in between — is a movie that punctuated Cruise’s post-Ghost Prot action renaissance: Edge of Tomorrow, or Live. Die. Repeat. It’s the unlikely on-paper melding of Starship Troopers and Groundhog Day, but in practice it’s the action film equivalent of Jerry Maguire, a movie that relies on your history with Maverick, and Mitch McDeere, and Ethan Hunt, and uses it to dismantle and subvert Tom Cruise, the infallible hero.  Liman is at the top of his game, particularly in editing, which uses repetition and quick cuts masterfully to convey the long and slow transformation of a public relations major named Cage — who becomes trapped in a disastrous, endless intergalactic Normandy scenario — from a marketing clown in a uniform to an alien killer badass while he falls in love and saves the world. We watch as Cruise has all his bravado and bullshit stripped away by “a system” (maybe the single best Paxton performance?!) with no time for that, a woman smarter and stronger than he is and immune to his charms, and an invading force that tears him to pieces over and over again. We watch the five-tool movie star — robbed of all his tools — regroup, rebuild, and in the process, grow a soul. It’s the platonic ideal of what a great blockbuster action film can be, one that only could’ve been made by one of its most important, prolific, and talented stars.  Run report: A beautiful physical metaphor for this film is watching the evolution of Cruise’s ability to move in that ridiculous mech suit. 

Image: Zion Grassl / Nintendo LifeAnd we're back, once again, on the road to Mario Kart World - and we're in the final stretch. On the two previous laps we've looked at every console Mario Kart game from the Super NES up to the Wii. For this final go-round, we're looking at two console entries which span a massive 14-year period. MK8 got some significant expansions across two consoles, so we've split that into two separate sections. And if you're keen to hear more about Mario's non-console karting exploits, we'll take a quick look at those next week before starting our engines up for Mario Kart World on 5th June.Subscribe to Nintendo Life on YouTube813kWatch on YouTube This week's Nintendo developer interviews delved into the game in much more depth than the lacklustre Mario Kart Direct back in April, firing up our excitement once more. Once we've been able to leave the tracks, we wonder what it'll feel like to return to the restrictive circuits in these past games...but that's another article. Let's kick off this final lap with lucky number seven... Lap 1 - SMK, MK64 & Super Circuit Double Dash, DS, Wii Mario Kart 7 (2011) Image: Zion Grassl / Nintendo Life Ah yes, seven entries in and we finally arrive at the first numbered game in the series (pipe down, MK64). There was always something that made me laugh about this being called 'Mario Kart 7', made all the more hilarious by Mario Kart World not being called 'Mario Kart 9'. After cool names like Super Circuit and Double Dash!!, '7' felt decidedly uncool. Which is ironic because the game was anything but. Image: Nintendo Sure, it lacked the local multiplayer pull of the home console releases, but I got to drive a kart that could fly and go underwater, which I'd say is a fair trade-off. I distinctly remember driving around Cheep Cheep Lagoon for the first time and its aquatic appeal blowing my little mind. I played with the 3D slider cranked up to the max, you see, and drifting around that seaweed felt like the future. You know what else was cool? Customisable karts. I didn't particularly care for stats at the time and would instead set out to build the most horrific abomination ever committed to the track. Not getting to see my masterpiece was one of the main reasons why I rarely used the game's first-person driving mode — that and the fact that I tried it out in the back of the car once and it made me sick. - Jim Norman Standout tracks: DK Jungle, Rock Rock Mountain, Cheep Cheep Lagoon Fun fact: Despite the Nintendo Network servers shutting down in April 2024, it wasn't until November that year that the final Mario Kart 7 player finally crashed out of the last-standing game lobby. That's quite the victory lap! What does Mario Kart World take from this? Gliding has had a winged makeover in World, but it's the same fundamentals that we first saw in MK7. Underwater driving is another obvious one, although from what we've seen so far, racing atop the waves is the only option in MKW. The Fire Flower appears to still be going strong after making its series debut in the 3DS entry, though. What score would you give Mario Kart 7 (3DS)? (1,329 ratings) 10 - Outstanding14%9 - Excellent28%8 - Great35%7 - Good17%6 - Not Bad5%5 - Average1%4 - Poor1%3 - Bad  0%2 - Terrible  0%1 - Abysmal1% Mario Kart 8 (2014) Images: Gavin Lane / Nintendo Life, Nintendo There was an audible gasp when I told my colleagues that I'd spent more time playing Mario Kart 8 on Wii U than I have 8 Deluxe. It has nothing to do with preference — Deluxe is clearly the version to play now. But my life was pretty different between 2014 and 2017. Other than a few Virtual Console RPGs and Xenoblade X, Mario Kart 8 was one of the few games I actually played on the Wii U, a console I don't have a lot of love for otherwise. I was at university and barely in my 20s at that point; I also preferred playing stuff on the big screen, so I'd sort of skipped over MK7. Image: Nintendo 8's extravagantly bright courses and colourful worlds were like revisiting my childhood, except now we have anti-gravity and huge courses that look like they stretch for miles and miles. Gorgeous sky-high races and crowded city streets were back on the menu, and I got that old Mario Kart Wii feeling back. The biggest thing I remember was the downloadable content. Nintendo had been dabbling in DLC for a few years then, but I was still a sceptical student who only wanted to spend money on things I thought I would love. Then, Mario Kart 8 dangled the ol' Animal Crossing carrot. Oh gosh. Look, a free Mercedes-Benz was all well and good (though a bit weird), but Zelda, Animal Crossing, and F-Zero courses coming to a Mario Kart game? It's like Smash Bros. but Mario Kart. Oh, Baby Park's back? No, thank you - Hyrule Circuit awaits. I really like all of the DLC courses, but I admit I was a little disappointed by the Animal Crossing one. It's a little basic and while the seasonal changes are beautiful, I'd have loved a little more variety in the course obstacles per season. The big surprise were the F-Zero ones, a series I never really got into. It took Mario Kart to make me want a new F-Zero game. Big Blue on 200cc? It's pure magic. - Alana Hagues Standout tracks: Toad Harbour, Sunshine Airport, Cloudtop Cruise, Big Blue (DLC) Fun fact: Firehopping, or frogging, was a common technique used online to maintain longer boosts from a mini-boost. Nintendo removed this in Deluxe, meaning it was probably an unintentional glitch. What does Mario Kart World take from this? Hmmm... okay, well, since 8 Deluxe is essentially MK8 but better, maybe let's save this... Second Lap It's natural that the Switch version has totally supplanted the original in most players' memories - which is why I was keen to break out the Wii U version in its own section here. Besides disappointment around the Battle offering, this was a substantial, massively satisfying racer with a fun anti-grav hook, and there's something homely and attractive about MK8 on that chunky GamePad minus the bloat and the 'more, more, MOAARRRR'. I say 'bloat' - the Deluxe additions were great, I just quite enjoy the comparative simplicity and 'strangeness' of this version after eight long years with the upgrade. Deluxe is better, but it was all armour over this game's brilliant body. Gavin Lane Editor, Nintendo Life What score would you give Mario Kart 8 (Wii U)? (1,085 ratings) 10 - Outstanding33%9 - Excellent42%8 - Great18%7 - Good5%6 - Not Bad1%5 - Average1%4 - Poor  0%3 - Bad  0%2 - Terrible  0%1 - Abysmal1% Mario Kart 8 Deluxe & Booster Course Pass (2017, 2022-2023) Image: Zion Grassl / Nintendo Life It's the best-selling game on the Switch, although I wonder where it stands in the Most Played rankings. Even if you were one of the Nintendo faithful who'd bought a Wii U and unlocked every Cup, got the DLC, and played MK8 to absolute death, you still had to buy 8 Deluxe. The proper Battle Mode and the ability to hold two items were major boons (although I still miss the strategy that comes with being able to switch between the items à la Double Dash), but it was really the convenience of having full-fledged Mario Kart on the go with two pads that made MK8D indispensable for any Switch owner. You just had to have it. Image: Zion Grassl / Nintendo Life It was interesting to hear the devs discuss "kicking the can down the road" and using the Booster Course Pass as a stopgap. Still, what a stopgap! 48 new tracks, with returning courses, some reimagined, some borrowed from Tour, a couple of totally new ones - with so many new courses, it was tough to get upset with the odd dud, especially if you were getting access to all these via an Expansion Pack sub. And the real-world locales added a different flavour to the mayhem - they generally weren't up there with the best of the other courses, but I liked seeing Nintendo's take on London and Madrid. Throw in all the oddities from before (I loved the amiibo Mii outfits), plus a host of new ones (Labo controls, anyone?) and no wonder it's taken Nintendo eight years to come up with a sequel. - Gavin Lane Standout tracks: Bone-Dry Dunes, Mount Wario, Yoshi's Island (DLC) Fun fact: As of 31st March 2025, this has sold 68.2 million copies and is Switch's best-selling game - that's 59.74 million copies more than the original sold on Wii U, although MK8 was also that system's bestseller. What does Mario Kart World take from this? In some ways it feels like the end of the road for old-style Mario Kart on self-contained tracks - MK8D's completeness gave Nintendo the impetus to push beyond the bounds of the circuits into a bigger world. You might even say a Mario Kart W— *blue shell explodes* What score would you give Mario Kart 8 Deluxe (Switch)? (2,863 ratings) 10 - Outstanding43%9 - Excellent34%8 - Great17%7 - Good4%6 - Not Bad1%5 - Average  0%4 - Poor  0%3 - Bad  0%2 - Terrible  0%1 - Abysmal1% Image: Nintendo And that brings us up to date!... Or does it? In fact, there are a few byways to travel before we hit the highway in Mario Kart World. Join us next week for a lap of honour where we take a quick look at the side-games and also-rans in the Mario Kart series. The sweat, the tears, the evil babies Related Games See Also Share:0 1 Gavin first wrote for Nintendo Life in 2018 before joining the site full-time the following year, rising through the ranks to become Editor. He can currently be found squashed beneath a Switch backlog the size of Normandy. Hold on there, you need to login to post a comment... Related Articles Shigeru Miyamoto Explains Why Donkey Kong Has Been Redesigned You want expressive? 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