Yesterday, 25/04/2020, Geek Pride lost one of it’s Editors, to Cancer.
Her name was Hani Fearon and she was only 30.
Hani was one of the original group who helped start Geek Pride and despite the tumult inherent in sites like ours, she was always there, always helping, always positive and every time I saw her.. always smiling. In fact, thinking about what I could say about her last night , I closed my eyes and the first image to enter my head was her smile.
It wasn’t toothy and wide, like some, more a warm, gentle, and affirmative one, framed wonderfully by her wide and beautiful bright eyes. Both bathed you in a welcoming warmth that couldn’t help but make you smile in turn when you saw her.
I have a lot of fond memories of Hani; her starting Geek Pride, the life bar tattoo on her wrist, her wonderful cakes and crafts, our first time meeting at Wales Comic Con, our charity events, and her round-ups of the Oscars and E3. But for some reason, and I don’t know why, my favourite one was a time she randomly appeared at Play Expo.
I was running around like a blue arse fly trying to sort things for our booth and was feeling slightly stressed. Hani, I had no idea was going to be there, but suddenly, in my tiz, I got a tap on the shoulder and there she was. Smiling, slightly shy, and waving. We spoke briefly, I gave her a big hug and said it was great to see her. We talked briefly and then she smiled, waved again, and went off to play some games.
It was a brief moment, a brief exchange but it was honestly great seeing her. I was stressed and in that moment her warm smile and shy demeanour made it all go a way and gave me clarity. I remember going back to the booth and telling them “I just saw Hani.” Only to realise that the reason I was off in the first place had been completely forgotten… I don’t even remember what I was stressing about now, just that I saw Hani.
She was a wonderful person and I, and everyone in Geek Pride who had the honour of meeting her, will miss her deeply. We lost one of the good people, too soon, but in our short time as friends, she was able to enrich my life and will have no doubt done the same to countless others of friends and family.
Thank you for everything Hani, thank you for you time, your passion, your reassuring smile. I’m lucky to have called you a friend and I will cherish the memory of you and your smile until my dying day.
2024 seemed to be the year when if something was good, then it was cancelled. We enjoyed a deluge of fantastic shows, such as Kaos and Acolyte, but all the best ones were cancelled after their first season.
Nonetheless, there have been some truly fantastic books, film, games, events and television shows to enjoy. As well as offering far more choice, there was also a far broader scope to choose from. Horror, fantasy and science fiction were all catered for, as well as explorations of their sub-genres, whether it is the urban fantasy of Dead Boy Detectives or the sci-fi/horror of Alien: Romulus.
So, Geek Pride’s Matt Geary, Peter Ray Allison, Mark Canty and Jonjo Cosgrove compiled their favourites… without falling out with each other.
Best film
Matt – TheIron Claw There have been a lot of good films this year, such as Deadpool and Wolverine, but this gem of a film needs to be talked about.
A true story about the Von Erich wrestling family, Iron Claw depicts the unmitigated family tragedy that befalls the Von Erichs and it’s a hard watch. Not in a bad way, of course. It’s brilliantly drawn, but the sheer bleakness of it all is emotionally draining and left me just in shock at what I’d watched. One of those films, like The Road, where you come out thinking, that was brilliant, but I can’t watch it again!
Pete – Alien: Romulus I rarely go to the cinema these days, but I made a point of watching Alien: Romulus, as I am a fan of the series. Romulus, perhaps wisely, is set between Alien and Aliens, but takes narrative cues from all the films. Unfortunately, all these callbacks created the feeling of it being overly derivative at times, which is a shame as the film shone when it told us something new about the setting.
Marc – Alien: Romulus Alien: Romulus made Alien scary again, with an enjoyable plot, good effects, plenty of darkness and lots of scary, freaky aliens out in space. Everyone could hear them scream!
Jonjo – Dune: Part Two The epic conclusion to the classic story is finally here. With various delays, Dune: Part Two could have easily struggled, but rose to become at one point the highest earning film of 2024. With Denis Villeneuve giving his best directing experience and Hans Zimmer making the best soundtrack of the year, this film was a truly memorable experience on the big screen. Not a single shot was wasted and no character is left out.
Best series
Matt – Shogun I never read the book, but I played the boardgame and the Total War game, so to have a series based on a period of Japanese history I enjoy was bound to pique my interests. Amazingly acted, well-paced and beautifully shot, you have a series that showed what it needed in the limited time it had.
Pete – Supacell Supacell is a grounded superhero story set in London, about five people discovering they have superpowers. I regularly visit London and the creator Rapman accurately portrayed the capital and its people to tell an incredibly human and relatable story.
Marc – Fallout Lots of geeky and fantasy goodness across TV and streaming, with Amazon, Netflix and Disney throwing skips of money at the little screen. Fallout, from Amazon, was a great take on the well-known game universe, with many familiar elements, and it didn’t lose the snarky, sometimes vicious tone of the original games as we followed a lost, innocent girl into a twisted, post-atomic hellscape to find her dad.
Jonjo – X-Men ’97 X-Men ’97 hit the ground running with the return of many favourite characters, original voice actors and that theme tune. From Magneto going on trial to the sacrifice of Gambit, the show continually made your jaw drop every week. It serves as a perfect continuation of what came before, while respecting those who grew up with the original. The tone is more adult and at times quite dark, whilst the final shot of episode 9 will be forever burned into our minds.
Best game
Matt – Space Marine 2 One of the first reviews I did was for the original Space Marine. A 3rd-person shooter that followed Captain Titus and his fight through hordes of orcs and chaos daemons.
The newest incarnation, 13 years later, picked up from where we left off and ramped it up a notch. Instead of hordes of orcs we have swarms of Tyranids, and swarm is the operative word here. It’s stunning to watch these endless swarms of bugs head towards you and know that you and maybe a few guardsmen stand in the way of it.
A solid game with a lot of replayability, stunning graphics and a surprisingly captivating story that ties in with the first.
Pete – Indiana Jones and the Great Circle Like many people my age, the Indiana Jones films were a formative part of my childhood, so I was waiting for the release of Indiana Jones and the Great Circle with eager anticipation. Given the hype surrounding the game, it more than lives up to expectations. The quips, dialogue and combat make you feels like you are Indiana Jones. Even the iconic shadow of Indy, with his fedora, battered leather jacket and bullwhip, is perfectly recreated.
Marc – Kill Team (3rd edition) I am finding I much prefer small unit wargames as I get older. With eleven models maximum on each side, and the chance for each mini to have a lot of character, Kill Team is a lot of fun. The new rules mix the good parts of the 1st and 2nd editions, with a few new tweaks.
Jonjo – Helldivers II The game holds various match targets, friendly teamwork and hilarious moments online. The fun comes from crushing a grand variety of enemies, while reaching your objectives within a timely manner. Just be careful friendly fire is always on. Although the initial buzz has died down, Helldivers II is still worth your time.
Best book
Matt – The End and The Death III I started reading the Horus Heresy books when they first came out, so to finally have the final book was pretty special. It not only brought to an end a saga, but it told the story most Warhammer fans hear when getting into the game. The Emperor’s fight against Horus and the death of Sanguinis are etched into my brain and I was finally able to learn the full story of what happened.
Brilliantly written, well-paced and some proper gut-wrenching moments, The End and the Death III was a suitable end to a series that has been running for 18 years.
Pete – W0Rldtr33, by James Tynion IV I have been enjoying James Tynion IV’s writing ever since Memetic, but W0Rldtr33 has to be my favourite so far. Set in the modern day, W0Rldtr33 follows a group of friends as they discover a secret architecture to the Internet. It is a story about friendships and the unintended consequences of technology; a theme that always interests me.
Marc – Starter Villain, by John Scalzi My favourite book this year has probably been Starter Villain by John Scalzi, with his usual dry humour, a dash of the unreal and an enjoyable plot, I highly recommend it. If you get it on Audible, then you get it read by Wil Wheaton!
Jonjo – MCU: The Reign of Marvel Studios, by Dave Gonzales, Gavin Edwards and Joanna Robinson Originally released in late 2023, the chance to experience this in-depth look at the Marvel machine is one not to miss. The book features countless interviews and in-depth research into the studio. From the early days under Ike Perlmutter to the more recent Phase Five slate, this book gives you the ins and outs of the MCU. No secret is kept from this intriguing read. It is a long read, but a rewarding one for fans of Marvel.
Best event
Matt – UK Games Expo It’s the same every year, and I’ll only stop choosing it when it stops being the best event on my geek calendar. The UK Games Expo is filled with all the table top games you’ll ever need and every event always has something different to see and play, and the only bad thing about it is its damage to my wallet!
This year we had the added bonus of recording our first live podcast in front of a dedicated audience. We didn’t fill the room, but it was thoroughly enjoyable and great to be given the opportunity.
Pete – D&D at the Castle Dungeons & Dragons may not be one of my favourite roleplaying games (that is Vampire: The Masquerade and Mage: The Ascension), but how could I refuse the offer of running a game of D&D in a gothic country manor? It was a fantastic experience to run my scenario inspired by local history and folklore, and to set it in Elvaston Castle itself.
Marc – Doctor Who How could I not mention about Doctor Who? With the 14th Doctor getting his first full series, and the wonderful Ruby Sunday, we got a mix of experiences, some better than others. Surprisingly, the best episode was the Doctor-lite 73 Yards, full of confusion, suspense and drama. Looking forward to the Christmas Special, but don’t want to wait for the next series now!
Jonjo – Marvel at SDCC 2024 Love it or hate it, Marvel got the world talking at the biggest event in the geek calendar. Eliminating Kang from Avengers 5 and announcing the return of the Russo Brothers would be news on its own, but Kevin Feige announced that Doctor Doom would serve as the big bad for Doomsday and Secret Wars, and that Robert Downey Jr. would be playing the major antagonist.
Madam Misfit, the queen of chap-hop herself, is back with a new electro-swing album. Vitamin M is a 9-track collection about medicating through the power of music.
Joining Madam Misfit for this roller coaster ride of emotions are Professor Elemental and Thomas Benjamin Wild Esq. Frequent collaborator Odd Chap has also been working behind the scenes on the production side of Vitamin M.
The previously released Pay it Forward is one of the tracks on the album, as well as several songs from have only been heard in Madam Misfit’s live shows. These include the incredibly bouncy Power Up and Birthday Bounce, as well as the circus themed Big Top.
“I’m so passionate about music; it’s my language and also my remedy. Whether times are on the up or way down low, it’s music that I turn to,” says Madam Misfit. “Music does not judge. It merely supports, transporting you to a time and place as though it were a portal.”
Vitamin will be released on all streaming platforms tomorrow (Friday 27th September). Alternatively, a physical album can be ordered direct from Madam Misfit’s website.
Mutant Year Zero: Zone Wars, as the name suggests, is a miniature wargame for the Mutant Year Zero setting. It has been designed by Andy Chambers, who previously developed Necromunda and Battlefleet Gothic. Everything needed to play, including miniatures (already assembled) for two factions, comes with the core set. Two further factions are available in the Robots and Psionics expansion box.
Those hoping for games where vast swathes of mutant armies clashed in epic post-apocalyptic battles will be disappointed. Instead, Zone Wars presents skirmishes between small groups of no more than five individuals.
The scale and dystopian atmosphere of Zone Wars is similar to the classic Games Workshop game of Necromunda – and in fact much of that game’s terrain could be easily used in Zone Wars. However, the extent of the similarities between the two games ends there.
A game of Year Zero is based on a conflict between two or more of the setting’s factions:
Ark Mutant: A group of human mutants, with physical mutations (core boxset).
Genlab Tribe: A tribe of intelligent animal mutants that have feral mutations (core boxset).
Nova Cult: A cult of human mutants with psychic powers (Robots and Psionics expansion).
Mechatron Tribe: A collective of robots, which use modules (Robots and Psionics expansion).
Each of the four factions feel distinct and unique, requiring different strategies in order to play to each of their particular strengths.
Anyone who has played any of Free League’s roleplaying games (such as Coriolis: The Third Horizon and Alien: The Roleplaying game) will be instantly familiar with the rules for Zone Wars, as it uses a variant of their system. This is a stripped-down version of the Year System, which has been adapted for a wargame. There are fewer skills and more dice rolling, but it is effectively the same game system, which works well for the purposes of a skirmish game.
The focus of the game is of course on the mutants’ abilities, which can be used to enhance your own units or impair the enemy units. The different abilities available from the outset are flavourful and appropriate for the post-apocalyptic Year Zero setting.
Zone Wars has a narrative-driven approach, with a variety of initial scenarios to play. The scenarios add a strategic overlay to the gameplay: success in Zone Wars is not determined by defeating the enemy, but by achieving mission goals in each scenario. Although there are only five scenarios included with the core box sets (with more in the expansion), their structure will demonstrate how players can easily craft scenarios for their own games.
It would have been interesting if there had been some connectivity or interconnectedness between scenarios to offer the possibility of campaign play. However, given the potential for power-creep disrupting game balance in what is a small-scale skirmish, it is perhaps best avoided in order to maintain fairness.
The cardboard terrain with the core boxset includes a game-mat and ruined buildings made from thick cardboard. Care will be needed with the cardboard terrain, as it can be easily damaged. Likewise, the game-mat when laid flat retains its creases from being folded. This can result in an uneven surface, and some players may wish to forego using the game-mat in order to have level a playing surface.
It should be noted that Zone Wars is designed as a small-scale skirmish game. Those hoping to combine box sets together to field ten units on each side will find the game does not scale well. Zone Wars is a unit-level wargame, so running games with more than five units per faction slows down the game.
That said, unlike most war games, which are typically only for two players, Zone Wars offers the potential for four-player games. Using the Robots and Psionics expansion, each player can take on one of the four factions for a frenetic four-war encounter.
Overall, Mutant Year Zero: Zone Wars is a fantastic skirmish level wargame that is ideal for those wanting to play a small-scale game without hordes of miniatures. The core boxset comes with everything needed to play the game. The Robots and Psionics expansion offers two new factions to the game, as well as offering the potential for four-way games.
The cancellation of Star Wars: The Acolyte was disappointing for many people. The series presented the Jedi as blinkered and fallible, which seemed contrary to previous films and shows. At least, “from a certain a point of view,” to quote Obi-Wan Kenobi.
The Acolyte follow Jedi Master Sol (played by Lee Jung-Jae) as he recruits his former padawan Osha (Amandla Stenberg) to investigate a series of murders, but discovers the forces opposing them are more sinister than they anticipated. During the series, Osha discovers that her twin-sister Mae (also played by Stenberg) has been recruited by a mysterious force user, referred to only as The Stranger (played by Manny Jacinto).
The Acolyte presented multiple story arcs, some of which were unresolved at the end of the season. These storylines would have been developed and expanded in the planned second season. However, the unexpected nature of the cancellation meant that these storylines are now unlikely to be resolved.
We dig down into the lore of Star Wars, with lots of spoilers (you have been warned) and attempt to fathom how these plotlines could have developed.
What was The Stranger’s real name?
The Stranger was the antagonist of The Acolyte. His face was hidden throughout the first half of the series, until he was revealed to be a trader, known as Qimir. Most assume that The Stranger’s real name is Qimir, but why would The Stranger pretend to be someone else and still use their own name? More believably – or as believable as you can be in a universe filled with space wizards and sound in space – would be for The Stranger to adopt an alias whilst disguising themselves as Qimir.
So, the question remains, just who was The Stranger?
What is the history between The Stranger and Jedi Master Rwoh?
When the Jedi faction landed on Brendok in the final episode, Jedi Master Vernestra Rwoh (played by Rebecca Henderson) seemingly recognised The Stranger’s force presence. This could tie in with the scar on The Stranger’s back, which looked as if it might have been caused by a force whip, which Rwoh uses in the sixth episode, to devastating effect.
Interestingly, Rwoh named her VKCE-7100x Starcutter spaceship The Cantaros, after her former Padawan, Imri Cantaros. Could this mean that Imri Cantaros became The Stranger?
Or might The Stranger be another former padawan of Rwoh? If so, what happened to make The Stranger leave Rwoh’s teachings and abandon the Jedi way?
Was The Stranger a Sith?
A lot of mystery surrounds The Stranger, but most important is the question of whether he is a Sith or not. When asked what he is, The Stranger replies that “I have no name. But the Jedi like you might call me… Sith.” His response is ambiguous, because it implies that the Jedi are fallible and he is not a Sith, or does not seem himself as Sith. It could also imply that the Jedi claim anyone who uses the force and does not follow their way is a Sith.
Many of The Stranger’s teachings have Sith elements to them, such as relying on emotion, which is an antithesis of the Jedi philosophy.
One possible explanation is that the Sith is just aspect or denomination of the dark side of the force. Alternatively, The Stranger could also be one of the grey Jedi, who follow a path based on the combination of Sith and Jedi philosophies.
What would happen next between The Stranger and Osha?
The last we see of Osha and The Stranger in Star Wars: The Acolyte is them standing together. It is strongly implied that they are now romantically drawn to each other, or at least very close. The question is whether Osha sees herself as a Sith. During The Stranger and Osha’s confrontation with the Jedi, Osha killed Sol and chose to stand with The Stranger.
This could imply that Osha is now a Sith, as her lightsabre turned red. However, so is The Stranger’s, and he does not directly identify himself as a Sith – although that may be what the Jedi would call him.
There is also the question of why The Stranger was so interested in Mae and Osha. Occam’s Razor (the principle that the simplest explanation is the most correct) would indicate The Stranger’s interest in the twins was because they were created through the force by the coven of witches on Brendok, but how did The Stranger learn about their conception?
Compounding this is the cloaked figure watching them from the cave.
Who was mysterious figure in the cave?
At the end of The Acolyte, we see The Stranger and Osha standing together on an ocean planet, but it is revealed to be from the perspective of a cloaked figure watching them from the cave. Shortly after the episode aired, showrunner Leslye Headlandclaimed this was Darth Plagueis.
If this really was Plagueis, as it was never confirmed in the series, what is the connection between him and The Stranger? If The Stranger is a Sith, then that would imply he is an apprentice to Plagueis. As Yoda says in The Phantom Menace; “Always two, there are. No more. No less. A Master and an apprentice.” Also, as explained by Palpatine (admittedly not the most reliable of narrators) in Revenge of the Sith, Darth Plagueis was killed by his apprentice.
There is also a theory that the figure was Darth Tenebrous, who was the master of Plagueis. If that was the case, would that imply The Stranger was, or would become, Darth Plagueis?
What happened to Mother Koril?
We were led to believe that all of the coven of witches on Brendok died when the Jedi retaliated after Kelnacca (played by Joonas Suotamo) was mind-controlled. Indeed, much of the coven died when they were forced from Kelnacca’s mind (or collapsed unconscious and perished in the subsequent fire).
However, there is the question of what happened to Mother Koril (played by Margarita Levieva). Mother Koril also joined the coven in controlling Kelnacca, but we did not see what happened when she was forced from the Jedi’s mind. It would be easy to assume that Mother Koril also collapsed after being forced from Kelnacca’s mind, but she was seemingly much stronger than others in the coven and we never see her corpse afterwards.
What if Mother Koril had survived the backlash from being forced out of Kelnacca’s mind and the subsequent fire, and has spent the intervening time plotting her revenge against the Jedi? This could explain how The Stranger knows of Osha and Mae, as well as providing further justification for Mae targeting those specific Jedi.
Who was Rwoh speaking to on the comms?
In the final episode of Star Wars: The Acolyte, there is a scene where Rwoh is on comms to an unknown person, demanding to speak to someone. When others enter, Rwoh quickly shuts down the comms, indicating that she did not want to be overheard, which leads to the question; who was Rwoh speaking to?
Of course, Rwoh visits Yoda at the end, but that does not seem to connect with the tone of the earlier conversation. Rwoh could meet Yoda any time she wanted, nor would she need to obfuscate requesting an audience with a fellow Jedi master.
Given the cadence of the person on comms, some have speculated it was Palpatine. This would make the senator, at the time of the prequel trilogy, to be well over a hundred. That would be old for a human, but we have no idea of the typical aging process for Naboo – a Naboo at a hundred could well be the equivalent of someone being 40.
What was Rwoh going to do with Mae?
The mystery surrounding Rwoh’s communication overlaps her plans for Mae. At the end of the series, Mae had been brought to the Jedi temple to help Rwoh find The Stranger. However, as Mae had her memories wiped, the question remains how that would be achieved.
One possibility could be that the Jedi were going to attempt to reverse the process of the mind-wipe. We have previously witnessed this in the now non-canonical video game Star Wars: Knights of the Old Republic, where the players discover their character is the mind-wiped former Sith Lord Darth Revan.
Alternatively, the Jedi could be wanting to use Mae due to her connection with her twin sister, as form of sympathetic magic, especially as they were both created using the force. Of course, the true purpose of the Jedi’s tracking of Osha could be to hunt The Stranger.
What would happen with the Jedi’s inspection by the senate?
One of the key consequences of the events in The Acolyte was that the Jedi were going to be inspected by a delegation from the senate, to ensure that the council had acted in accordance with Galactic Republic law (spoiler; they didn’t).
As we saw with senator Rayencourt (played by David Harewood), there is an element of distrust between the Jedi and a faction within the senate. As Rayencourt says; “I think the Jedi are a massive system of unchecked power, posing as a religion; a delusional cult that claims to control the uncontrollable.”
Ultimately: can the Jedi control their emotions as much as they claim? Did he have a point? During the subsequent tribunal, the Rwoh deliberately covered up the events of what happened on Brendok.
Rayencourt urges the tribunal to demand a review of the Jedi order. The Jedi have typically operated without senateoversight, so how this review would impact the Jedi is unknown. That said, as we saw in the prequel trilogy, the senate can appoint a representative to the Jedi council – as senator Palpatine made Anakin his personal representative on the Jedi Council.
How did The Stranger learn about Osha and Mae?
Finally, we have the question of how The Stranger learned about Osha and Mae. Their existence was not widely known and news of the encounter on Brendok were covered up.
One possible explanation is that if The Stranger was a former padawan of Rwoh, then he might have become aware of them through access to the Jedi archives. Alternatively, Osha might have trained with The Stranger when she was a padawan, but that does not explain why Osha did not recognise The Stranger.
Another possibility is that The Stranger learned of them from Mother Koril, who would be more than willing to work with someone against the Jedi in order to have revenge.
In conclusion…
Ultimately, the abrupt cancellation of The Acolyte has left a lot of unanswered that questions that fans of the show and Star Wars will be left wondering about. However, Star Wars has aways embraced transmedia storytelling.
Hopefully, these, and many other questions, will be answered in future stories from a long time ago, in a galaxy far, far away…
I told myself I wasn’t going to back any more games on Kickstarter, I have too many, and I end up getting rid of half of them because I don’t have the time to play them all. So when I heard about CMON’s War for Arrakis It took a lot of willpower not to back it… I lasted a full couple of weeks until I gave in and did. Stupid CMON and your stupid pretty things.
I did play it though and here’s what I thought.
Components
From the board, cards and tokens to the beautiful Sandworm sculpts and miniatures, Dune War for Arrakis oozes quality and is exactly what you would expect from a CMON game. There is something about those chunky spice harvesters and the massive sandworm models which are just satisfying to place on the board and really get you thinking… I could totally paint those.
Complexity
WFA is surprisingly straightforward to learn and play and after a read you should be able to grasp the basics pretty quickly. The rule book is well set out and you don’t seem to find yourself flicking back and forth in the rules to figure out ambiguities or rules questions; which is great.
How long does it take to play?
This is not a long game, myself, and my brother from opening the box and learning the rules finished it in about 3.5 hours. A time that could be reduced to about 2 hours if you knew what you were doing, with the potential for maybe a little bit more length if you added in the expansions. So a lot shorter, than I was expecting to be honest.
Gameplay
Obviously, as it is made by the same guys who created War of the Ring; Francesco Nepitello and Marco Maggi, there are similarities in the way the game is played. Mainly in that one side heavily outweighs the other in sheer numbers and secondly the way combat resolves and actions are taken.
In the case of War for Arrakis, if you play as House Harkonnen you will have more military units, more activations and more blunt force trauma than of House Atreides who have fewer units and fewer activations but can win in different ways using their prescience cards. Similar to how War of the Ring plays out between the endless hordes of Mordor and the finite and fractious Free peoples. There are also similarities to how Star Wars rebellion is played, with the Empire being militarily superior and the Rebels relying on subterfuge and swift calculated attacks to win the day.
War for Arrakis is broken down into 4 phases:
The Setup phase – Where the House Harkonnen player places their Spice Harvesters, Carryalls and Ornithopters on the map.
The Action phase – Each side roll their action dice and place them on their respective action boards to show what actions they can carry out and then turn about each side carries out an action. Be that a move, an attack, drawing a card, recruiting units or placing worm sign tokens (House Atreides).
Desert hazards phase – as House Atreides you don’t have as many action dice but what you have to make up for this is the ability to place desert hazards, which allow them to move faster around the map, they also allow them to, on this phase, to place hazards on Harvesters around the map. These tokens are then flipped and if a Sandworm pops up then the harvester is gone (unless the opposition has a carryall) and a Sandworm is placed on the board.
Also in this phase, you resolve Coriolis storms, where in any HH units not on a plateau take damage. This evens up the military disparity between the two houses a bit.
Spice harvest phase – This phase is where House Harkonnen tally up their spice tally to pay off the specific guilds. They need at least 2 spice for each or they move down the Spice track. This has a double-edged sword for the HH player who might get more harvesters and ornithopters to place BUT, they lose an activation dice for each step down and if they hit the bottom of the ladder they start taking imperial bans. It is therefore important for HH to keep it as high as possible and HA to try and diminish it by disrupting spice harvesting.
Victory!
To win the game there isn’t much difference than most games of its ilk. In that you have victory points and the winner is the first person to get to the top of the victory track. Points are rewarded in different ways depending on what house you are. Be it taking out settlements/testing stations or achieving objectives and these points can wrack up quickly so you always have to be aware of where your opponent is on the track and act accordingly.
When myself and my brother played it was pretty close but he left two of his settlements pretty open and I was able to use some cards and an ornithopter to take advantage and win the game. As a HA player you are aware of the point values for each settlement and so need to defend them, all the while without giving too much away.
Verdict
Dune: War for Arrakis is well-made, easy to learn and provides a good challenge and depth for players without being too convoluted and complicated. Combat is easy to pick up and the road to victory is varied. It also has the benefit of having multiple expansions available (and in the works) to extend your gaming experience. Granted it won’t be the longest conquest game you’ll ever play but it has enough to keep you interested and engaged to make it worth it.
A welcome addition to Gaming Shelf and a must-have for all you Dune nerds out there.
Last weekend was the inaugural ‘D&D at Elvaston Castle’; a day of playing the tabletop roleplaying game Dungeons & Dragons (D&D) at Elvaston Castle. In total, there were nine DMs, each running games of D&D for five players. As such, tickets were strictly limited.
Elvaston Castle had set aside several rooms for the event, with tables covered in black cloth and decorated with stuffed animals and battery-powered lanterns. DMs also brought further props to accompany their games. Costuming was encouraged, ergo there were dozens of people in a variety of costumes, which added to the atmosphere.
The gothic grandeur of Elvaston Castle is an amazing venue for events involving the fantastical. The vaulted ceilings and delicate woodwork of the rooms are incredibly atmospheric. It is the finishing touches, like the pillars and double doors, which reinforce that it is no ordinary stately home.
As this was my first time as a professional DM, I suspect that I over-prepared the adventure. We had six hours in which to run a mini-campaign, which needed to have a beginning, a middle and an end.
A core design decision for the adventure was that it needed to be accessible for all players, regardless of how inexperienced they may be. Therefore, the scenario avoided established lore within the settings (of which there are many) and the use of complex characters. Instead, it incorporated local folklore, such as the Drakelow Vampires and the history of Elvaston Castle. It was there that I discovered how Charles Stanhope, the fourth Earl of Harrington, caused scandal when he married the much younger actress Maria Foote, how he became a recluse after they lost their young son and it is rumoured imprisoned his wife.
I took these historical elements to weave into a tale about grief and how it could be exploited; in this case by a vampire, as Derby is celebrating the 100th anniversary of Dracula being performed on stage for the first time.
The operations team at Elvaston Castle were kind enough to share a copy of the floorplans of Elvaston Castle, which I printed off and aged (using a teabag) as a prop for the players. This allowed me to set the game within Elvaston Castle itself, adding to the immersion of the game.
The player characters were created in advance, rather than spending time at the start creating characters, thereby reducing the amount of time to tell the story. Classic archetypes were used, such the half-elf wizard or halfling rogue, in order for the game to be accessible for all. A valid criticism could be that the characters were overly generic, but characters are defined by their actions during play rather than their character sheets.
Each player character was distinct from the others, with limited skills and abilities overlap, but did not delve too deep into specialist character classes or rare species. Magic items or weapons were also minimally used, as the focus of the game was on the characters’ actions, rather than items. Each character was Level 4, allowing them a degree of survivability, but without any of the powerful abilities from Level 5 onwards.
An additional element is that the player characters were an elite branch of the city watch, called SWAT (Special Wizardry And Tactics). This allowed me to give them direction and focus via their commanding officer (based on the Lord Lieutenant John Manners).
Before starting the scenario, there was a discussion of the themes and content of the story, which included historical child mortality and grief. When playing with friends, you already know what is and is not acceptable, but when running a game for complete strangers, we do not have that understanding.
It was initially nerve-wracking running a game for people that had never met each other. But, as everyone became familiar with each other and settled into the game, we started to relax. The game was structured into three acts. A short mini-adventure acted as an introduction to the style of play. This was followed by the core storyline, which kicked off with the players needing to infiltrate a black-market auction taking place at a high-society ball. A natural pause in the storyline allowed a break for lunch, before concluding the story as the player characters raced to retrieve a powerful magical item.
All of the games needed to finish by 4.00pm, as Elvaston Castle closes its doors at 5.00pm and time was needed to pack everything away. The later battles were streamlined and dropped a few hints in order to guide the players, but without doing it overtly so that it was leading the players, rather than letting the players lead the story. The encounter with the main villain commenced with fifteen minutes left, which meant there was time for the player characters to interact with the villain before combat. The game concluded with just a few minutes to spare, allowing us time to be there for the raffle.
There were some amazing prizes on offer from the raffle, including sword-fighting lessons from a local HEMA group and fantastic head pieces that would not have looked out of place in Lord of the Rings.
The staff of Elvaston Castle and volunteers helping at the event were all fantastic, providing a relaxed atmosphere to play D&D. Wyatt’s café at Elvaston Castle soon became busy, but there was a food festival on site, which came highly recommended.
The question is whether I would do it again and the answer is; most definitely. Where else could you play D&D in a venue as rich in atmosphere and history? Would I run the game any differently? Absolutely.
The whole event was a learning experience and I am already considering how the game could have been improved, as well as exciting new stories that could be told.
All photos are by Simone Stocks and are used with permission.
Doctor Who makes a grand return. After the mixed reception of the Chris Chibnall era, Russell T. Davies has returned in a big way. Being the head writer and driving force behind the revival in 2005, RTD knew he had a big job at hand. When Jodie Whittaker’s Doctor regenerated into a familiar face (David Tennant), it was clear Russell wanted a big comeback. 2023’s 60th anniversary specials was both a tribute to the show’s history and an introduction to the new Doctor; Ncuti Gatwa.
*Mild Spoilers Ahead*
With the backing of Disney, Doctor Who is now working with a higher budget and a potentially bigger audience. Being marketed as season one, this series begins with the Christmas special ‘The Church On Ruby Road’. Being the first Christmas episode since 2017, this appreciated by many long-term fans. The episode also introduced Ruby Sunday (Millie Gibson), a young girl abandoned by their parents on Christmas Eve. We had mystery, goblins and even Anita Dobson‘s Mrs. Flood breaking the fourth wall in a mid-credit scene. Russell delivered and the hype for the full series began.
Being only eight episodes long, the season is over quickly. Unfortunately, the opening episode ‘Space Babies‘ is middle of the road and rehashes a lot of story elements from 2005 RTD era Who. The opening scene, though hilarious, was the only highlight. ‘The Devil’s Chord‘ wastes a great premise. Despite Jinkx Monsoon’s excellent performance as Maestro, episode 2 just felt flat. There is an argument for how could an episode focused on The Beatles, not feature their music? We also do not talk about that terrible song at the end…
‘Boom‘ sees the return of Steven Moffat to writing duties, and he knows how to steer this ship to its correct course. Episode 3 delivers great tension throughout. The Doctor on a landmine for 45 minutes was genius. There are callbacks to previous work by Moffat in the show, including the church and the Villengard company. We also get an introduction to actress Varada Sethu, who will be joining the TARDIS crew next year as a full time companion.
A big highlight was ‘73 Yards‘. While Ncuti was still making Sex Education at the time, this allowed for possibly the most intriguing episode of the season. Doctor Who has never been shy to experiment, and the story of a curse impacting the companion throughout her life was haunting. A mysterious woman is always at a distance away from Ruby no matter what. Anyone who goes near the woman run away, but why? For what could have been a throwaway episode, it later becomes integral in a big way.
Next we had ‘Dot and Bubble‘, an episode that went with a Black Mirror vibe. We have seen technology go wrong in many shows, but this episode is genuinely unnerving. A society that lives on social media, few knowing anything but their screens. The themes of racism and elitism smack you in the face, especially on a re-watch of the episode, and consider all of the actions of Lindy Pepper-Bean (Callie Cooke).
With ‘Rogue‘ there is Kate Herron and Briony Redman as the only other guest writers for this season. But, the Loki Director and her writing partner produce a fun 1800’s romp with ease. Jonathan Groff stars as the titular Rogue, a love interest for The Doctor and one of the best guest stars in the whole season. Bridgerton fans will love the episode, as it certainly makes itself known as a homage to the show with a string arrangement of popular songs and the high drama.
Finally, the two-part finale throws everything in and more. ‘The Legend Of Ruby Sunday‘ begins with revealing the indentity of the mysterious woman following them through time. Former companion Mel Bush (Bonnie Langford) and UNIT Commander Kate Stewart (Jemma Redgrave) also return. The episode also deals with who is Ruby’s birth mother, using intricate technology. The episode’s conclusion finally reveals “The One Who Waits”, first teased in ‘The Giggle‘ last year.
“It was the wrong anagram”
‘Empire Of Death‘ begins with the ultimate evil released, as the TARDIS taken over and yet one mystery stops the complete annihilation of all life. The Doctor has to find out if this mystery can save the universe. Tales of the TARDIS ties in quite nicely to this episode. The BBC unveiled a new episode that deals with ‘Empire Of Death’ and a certain classic story. With the concluding revelation for this episode, it is some of RTD’s best writing to date.
Following from the excellent Christmas Special, this season of Doctor Who initially struggled to find its feet. However, the seeds planted in the earlier episodes helped the show as it reached its finale. Callbacks to a certain family member of The Doctor, the growing lore around the pantheon and knowing there is another mystery to solve. Although Ruby’s story appears to have concluded, that are now questions as to what happens with their character?
There are many burning questions left for fans to ponder. Who is Mrs. Flood? Will Varada Sethu be back as Mundy, or will she return as a new character? Will we ever find out who picked up the gold tooth that was holding The Master captive? There is a lot to ponder, but that is part of the fun. The build up to “The One Who Waits” works well, so lets see if Mrs. Flood or a potential Susan return gets the same attention.
The increased budget has allowed complex ideas to become reality. The time window was one of the most stunning visuals ever shown in Doctor Who. The costumes and make-up, especially the skull masks and bogeyman monster, are excellent. This season was also not afraid to go to dark places when needed. Leaving Ruby alone in ’73 Yards’ and losing everyone around her was hard to watch. The interaction between The Doctor and the unnamed woman in the finale was chilling; not the usual teatime fun.
Previous seasons of Doctor Who could see as many as eight writers contributing, but this season only has three. With Davies writing six of the eight (or seven of nine, including the Christmas Special) leads to great stories, but he also creates tales which just don’t do much. The beauty of Doctor Who was its various writers giving different voices and angles to the narrative in the previous seasons. Let’s hope that the next season will see greater diversity in the writing staff. Eight episodes go by fast, not allowing the arc a lot of time to breathe.
The biggest win by far was in the casting. Bonnie Langford shines as Mel, particularly in the finale. Jonathan Groff is a delight as Rogue and will hopefully return soon. There were no bad parts this season, but the highlight is definitely Ncuti and Millie in the lead roles. They are similar to David Tennant and Catherine Tate, as the duo bounce off each other and shine in every scene together.
While certain outlets claim Doctor Who is Too Woke”, it would appear that this corner of the internet has nothing better to do. Season 14 was a great collection of stories, with a few skips in its otherwise high quality. What is on screen is impressive, both from the acting stance and the visual aspect. The arc centring on the many appearances of actress Susan Twist is possibly one of Russell’s best pay-offs to date. It’s not a perfect season, but the show has found its feet once again. Let’s see what Christmas and 2025 bring for the show.
One of the fundamental joys of playing a roleplaying game (RPG) is that the players are not themselves. As such, the players can experience what it is like to be someone else in a completely different environment. By enabling participants to play someone else, RPGs are a natural tool for exploring gender identity (eg male, female, trans or non-binary) and sexuality (eg heterosexual, homosexual, bisexual, pansexual or asexual), as well as unconventional relationship dynamics.
RPGs, like Dungeons & Dragons, Traveller and Call of Cthulhu, are games where the players take on the roles of characters within the story. They are akin to stories of make believe, where the characters are not bound by the physical limitations of their players.
At their core, participants are able to embody any type of character within the setting of the RPG (it is unlikely – but not impossible – that a space marine will be found in a fantasy setting…) Players are no longer bound by the gender they were assigned at birth, or to conform with socio-normative relationships. Instead, the freeform nature of RPGs allows players a safe space in which they can create characters of different gender and sexualities, thereby allowing them to experiment in the safe space of an RPG’s scenario with different ways of expressing themselves.
None of this is new. RPGs have always been a collaborative fantasy free from the constraints of reality. They are a crucible for experimentation; free of judgement and preconceptions, because at their core they are ‘just a game’.
Players can portray characters of any background they like, regardless of gender or sexuality. It is akin to trying on clothing to see how well it fits. Although players assume the role of a character within the game, they need not embody the character’s values or attributes in reality. Instead, it becomes an educational experience for the participant, where they can incorporate different perspectives and points of view, which they might otherwise not be able to experience for themselves.
By playing different characters within a variety of settings, players get to experience moments of self-discovery. They are able to experiment with exhibiting different personalities and alternative ways of interacting with people.
Yet, for all this insight, the liminal nature of RPGs means that there are no consequences in the real world. The character is different to the player. When the game is over, the shared game world is dissolved. Thus, RPGs allows players to experience different outlooks and identities within a safe environment.
Unlike MMOs and LARPs, which typically involve interacting with strangers, tabletop role-playing games are usually played with friends around in a table. They provide a safe and supportive environment. As a consequence, tabletop role-players generally experience less abusive behaviour than they would online (although that does not prevent gentle mocking and mirth whenever a critical failure is rolled).
Ultimately, role-playing games create liminal spaces in the shared imaginations of the participants. They are games that are played outside the normal pressures of modern life, allowing players to reflect on what is, and reimagine what might be.
If you’re feeling down about the recent collapse of the Insomnia Gaming Festival, the Odyssey Video Games Festival 2024 might be just the convention to lift your spirits. Geek Pride recently had the pleasure of speaking with the organisers behind this highly anticipated event. Set to take place on 6th and 7th July at the Crown Hotel in Harrogate, the Odyssey Festival promises to stand out on the UK convention scene.
Unlike many other conventions that focus heavily on commercialism, Odyssey is a unique experience, centred on community and the shared passion for gaming. It’s not just a convention, but a celebration of gaming culture.
A passion project with heart
Odyssey isn’t just a business venture for its organizers; it’s a labour of love. Their dedication to creating an inclusive and engaging event is evident in every detail. They’ve made sure that the convention isn’t about how much money you can spend, but about the quality of your experiences. This commitment is reflected in the ticket prices, designed to make the festival accessible to all and the inclusion of dedicated chill-out areas for relaxation and connection.
Adding to the community spirit, is a town-wide scavenger hunt with collectable monster cards based on local children’s designs. Participants can search for these unique cards throughout Harrogate, culminating in a battle with the big boss;an exclusive foiled card available only at the convention. This interactive activity is not just a part of the festival, but a chance for players to be a part of it, to explore the area, connect with others and have fun. It highlights the festival’s focus on local creativity and fostering a sense of adventure and collaboration among attendees.
The organizers are hosting a series of community events in the run-up to the main festival. These pre-festival activities are crafted to bring people together, ignite excitement, and strengthen the local gaming community, making Odyssey more than just a convention.
Exclusive products and merchandise
One of the most exciting aspects of Odyssey is the opportunity to get hands-on with exclusive products. Such opportunities are becoming increasingly rare in the UK convention scene. Attendees can expect high-quality prints and designs created with the wearer in mind, ensuring that every piece of merchandise is stylish and functional.
An independent project with major backers
Despite being supported by corporate sponsors, Odyssey remains an independent fan project. This unique blend of support and independence allows the organisers to bring their genuine passion for gaming to life, creating an event that feels both professional and personal. The organisers’ commitment to the gaming community shines through every detail, from the meticulously planned events to the welcoming atmosphere.
Event Highlights
Odyssey offers a range of exciting activities and attractions for gamers, families and tech enthusiasts:
Live Fortnite tournament: Compete in a thrilling Fortnite tournament for a chance to win a top-of-the-line Odyssey Gaming PC. F1 2024 Racing challenge: Race against the pros at Silverstone and win fantastic F1 2024 prizes. Ultimate Street Fighter 6 tournament: Test your skills in daily Street Fighter 6 tournaments with fantastic prizes. Classic arcade zone: Relive the golden age of gaming with various classic arcade games. Retro console area: Challenge friends on retro consoles and enjoy a nostalgic gaming experience. Indie games showcase: Discover innovative games from local indie developers and learn about breaking into the gaming industry. Online Safety Q&A: Attend sessions on online safety presented by HSBC and North Yorkshire Police. Exclusive game screenings: Get a sneak peek at upcoming games and industry insights. Gaming merchandise: Explore unique gaming merchandise that is perfect for any gamer or collector. Live RPG plays: Immerse yourself in live RPG adventures in the Secret Lair. Family zone: Relax and recharge in the family zone with delicious food and drinks.
Join the celebration
Odyssey is set to be the most exciting gaming event this summer, with a mission to unite gamers, developers, and enthusiasts, this festival celebrates the joy of gaming and explores the latest industry innovations.
Geek Pride is offering one weekend family pass (two adults and two children over 7 years old) worth £75 to one lucky winner of our charity raffle!
Tickets are £1 each, or 11 for £10, and the prize winner will be drawn on Friday, 5th July at 12pm
Electronic Entertainment Expo (E3) left a hole in video gaming following its demise. With an ever changing world, the way we consume gaming news and updates needed to change too. The Summer Games Fest is part of the digital future we have heard so much about. Developers and publishers share their work through the event, without incurring the costs or logstical challenges that the physical events would bring.
The trade show still lives on with UK Games Expo, Gamescom and PAX to name a few examples. While they may not be as prolific as E3, they continue to enjoy hundreds of thousands of fans every year. However, thanks to the internet, the way we experience and play video games has evolved greatly. But is the potential “digital future” a good thing? Is physical media as we know it doomed?
Originally, E3 was one of the prominent ways for game developers to have gamers play their demos. The official Playstation magazine had demo discs, providing a way to try a new game before making a purchase.
With modern internet speeds, most demos for games are available within a matter of minutes. Whilst a demo will begin from the start of the game, many will allow you to carry over your progress, should the player choose to purchase the full release. This avoids replaying the opening section and throws them straight back into the action. Steam offer a full refund if people play for less than two hours. This is a great incentive for titles that don’t have a playable demo.
Up until the early 2000s, video games were primarilyreleased on physical disc and cartridge. Online sales were present but had challenges such as slow download speeds and unreliable connections. The broadband age resulted a wider investment in digital media. Instant access to a game from the comfort of your own home was a big step for PC gaming. Over time, console games have seen their sales equally split between physical and digital media. On the PC side, very few titles now get a physical release. A digital future was seen in PC before it became the talking point it is today.
Digital releases of video games provides many benefits to gaming companies. A digital title lower scosts for distribution. Many indie titles will also use early access to build interest within gaming communities. Recent titles Hades and Carrion both received high review scores, with Hades in particular winning multiple Game Of The Year awards.
While indie developers rely on digital to get their games out, AAA companies are now breaking away from physical releases. Sony and Microsoft have both released variations of their current consoles that have no disc drive. The XBOX Series S saw praise for bringing next-gen gaming at a discount price. Many outlets sold the console as a package with Game Pass, giving it almost as many sales as the Play Station X. Microsoft have chosen to not develop physical discs for recent games such as Hi-Fi Rush and Senua’s Saga: Hellblade II.
In 2024, GAME announced it was to end trade-ins, which had previously allowed gamers to keep costs down with their purchases. Game also confirmed they were ending their Elite Membership which allowed subscribers to get up to 10% back in vouchers on purchases. Game has decreased its high street presence in recent years, with many of their shops relegated to the back of Sports Direct stores. With fewer places to obtain physical games, online shops and digital store fronts are now more important than ever.
The previously mentioned Game Pass offers a Netflix-style subscription service for gamers. For a monthly fee, subscribers can download and play over hundreds of titles. This offers fantastic value for your money. The similar PS Plus also follows the same service, presenting many first party and third party titles in its service. Game Pass brings all its first party games to the service on the day of their release, whereas PS Plus is usually adding a title 12 months later. There are also streaming games, where no download required. A robust internet connection today opens gaming like never before.
Netflix users can see titles disappear at any time, which is also true for the video game subscriptions. Xbox Game Pass has maintained the majority of its first party releases on the platform, but regular rotations see other titles drop. Playstation also has the same issue. A game removed from the service means there is no guarantee you will ever play it again. In comparison, the Nintendo Switch Online service has so far seen its library continue to increase.
The biggest issue when it comes to the digital age is video game preservation. Away from subscription services, many video games are available to purchase on their own. However, factors such as licencing and developers shutting down can see games disappear from the online storefronts. Recently, live service games such as Babylon’s Fall, have seen their servers close less than a year after its release. Delisted titles, such as Marvel’s Avengers, means they are no longer available to purchase it digitally.
In recent times, more games have received HD remasters or full remakes in an attempt to bring them to a new generation. In 2021, Rockstar Games brought back Grand Theft Auto III, Vice City and San Andreas with reworked graphics and updates. The release of these titles saw their counterparts delisted, which upset many fans. Recent remakes such as Resident Evil 4 and Dead Space expanded from their original titles and created experiences that were both new and familiar.
There are many titles that cannot be played on current generation consoles or PCs. Microsoft has been praised for the backwards compatibility offered by the Xbox Series X, as the console can play discs from all four generations of Xbox. To experience older titles, an older console or computer is needed, which can incur a greater cost. Owning a current PC may be unable to play physical PC games, due to lack of disc drive and changes to system requirements.
Video gaming has recently seen issues with preservation of newer titles. Microsoft have made numerous titles digital-only. If the games were to ever be delisted, they may be lost forever. Physical release can be kept forever, but there is no guarantee of their playability if the title requires online servers. Older systems no longer in production will eventually break down and become harder to find.
No matter how far digital goes, many will still prefer physical media. Remedy recently changed their mind and announced a disc release for Alan Wake II. Companies such as Limited Run Games offer physical editions to games that would normally be relegated to digital download. These often come with a hefty price increase for the physical edition over the easily obtained digital.
While preservation may be an issue with many companies, gog.com specialise in providing access to many older titles. The site offers an opportunity to rediscover classics games at a reasonable price. At the time of writing, Thief: Deadly Shadows and Tomb Raider: Legend were both £1.09. GOG have made a commitment to keep games that can no longer be found elsewhere playable.
Video gaming is a passion for many of us. Some are happy to play games through their phone, some may like to blow the dust out of a cartridge. The world is never going back to gaming as it used to be. The various internet platforms that enable us to discover new games and purchase them will always be here. However, physical media endures, but times change. If companies can agree to take steps to ensure older titles are available through different channels, then our preservation worries will be unfounded.
The digital future is here, but are we ready for it?
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