Dark Void has arrived. After having played it, I have to admit – I found the game very much lacking – and, from the looks of it, most of the video game playing world agrees.
Still, if you are like me – you didn’t necessarily pick up the game initially because the flying, shooting, or adventure elements sported the tightest controls, best enemy AI, or the most fluid elements. At least as far as I was concerned, Dark Void gave me the long-awaited opportunity to play a video game as one of my favorite Pulp heroes – the Rocketeer.
My previous post dug around the video-game realm, and in it, I tried to suggest that despite not nailing the aesthetic in the same way that games like Bioshock and the Wolfenstein series do, Final Fantasy VII had skirted the line into Dieselpunk with its depictions of technology and military power.[incidentally, for those of you interested in Bioshock or Wolfenstein, the Gatehouse discusses them both briefly but effectively here.]
Because I find myself so drawn to Dieselpunk as a result of its particular visual nature – something I think comes through very clearly in my posts thus far – I have some time discussing subjects which I believe help to flesh out that nature. Today, I am going to make an attempt at the same argument, but in a new medium.
The medium is Anime. The subject is the Big-O. And I would suppose I would be remiss if I didn’t begin properly: ‘It’s Showtime.’
World War II films are easy targets for discussion for us here, but I would much rather continue the dialogue on how certain stories such as those in Valkyrie and Inglourious Basterds set up the potential for alternate timelines that inherently welcome factors of dieselpunk into their folds. WARNING: Spoilers! Not on a grand scale, but enough to diminish enjoying these movies for the first time.
New to the Levitating Leviathan – whoops sorry, Flying Fortress – I find myself already lost in the nebulous sea of what makes dieselpunk as it is. So, what better to hit things off with than comics?