One Piece (Netflix’s) (2023) [REVIEW] | You’re My Treasure Box

It’s time.

I’ve been meaning to talk about this thing since we saw the first trailer (ok, let’s be honest, the announcement of this being greenlit), but i mostly held off because i didn’t want to speculate much but just actually watch the show and then judge it accordingly to what it actually is and NOT what it might or might not turn out to be, as much pontificating on widely distributed promotional material is the bread and butter of this job here, especially when you have to appease the “content God”.

And since we’re being more upfront than usual, yes, i was preparing me own buckets of tar and feathers, even as the trailers close to release did make one wonder if maybe this time we don’t have a huge manga-to-live action stinker, i mean, it comes from the same production studio that gave us the rightfully despised Cowboy Bebop live action shitwreck, let us not forget that.

The trust was not there, at least not for me, despite Oda being vocally supportive and letting it more than know this was not just a random gig he lazily supervised in terms of actual involvement, but that he indeed wanted this to happen for a long time and was excited about this thing, he really wanted for it to work.

I mean, after Franky’s timeskip design…and him helping rehabilitating colleagues (let alone his sensei Nobuhiro “Maybe A CP Ringmaster” Watsuki) of his that in a better world would not have returned with a new serialization on Jump.

Leaving THAT hornets’ nest aside, he was never gonna advocate against it, or something stupid like that, but i did question why he was so hyped about something everyone almost immediatly catalogued as a write-off thing that they’d bring up years later as a “that was weird” kind of story.

So at the very end of August the One Piece live action Netflix series was made available on the plaftorm, composed of eight 45 to 60 minutes long episodes composing the first season, which covers from the very beginning at Shells Town (with Foosha Village visited via flashbacks of young Luffy with Shanks and his crew) up to the conclusion of the Arlong Park arc.

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[EXPRESSO] Snowbreak Containment Zone iOS/PC | TOF: The Trinity

Despite every reason not to, let’s brave the gacha waves once again in search of some new distraction that may or may not be the time investment, let alone the monetary one.

Today we have another anime styled gacha free to play game that seems like a proper TPS action-rpg or something along those lines, from chinese developer Seasun Games (also behind Girls Gun Cafè and Dawnlands), let’s give it a punt.

The plot starts vague enough, set in a dystopic ice & snow world where you play as an Adjutant to the Heimdall Force, the first assault group created to fight the Titans in the snow ridden and polluted Contaiment Zones that were formed after the mysterious cataclysm know as The Descent.

A lot of borrowing from Norse mythology for the names and the various boss enemies, designs of the ever popular “sci fi anime cyberpunk-esque” ilk with side of post-pandemic apocalypse and grim overtones, but still, the art direction (alongside the icy setting) is strong enough to make it a bit more distinguishable from its peers.

In terms of gameplay, it’s a cover based third person shooter affair, and while the virtual controls schemes available can fiddled with to and can be usable… i’d honestly recommend syncing a PS4 controller anyway (or playing it on PC via the dedicated client), since, while functional, the virtual controls are a bit too clunky to be optimal for a third person shooter.

That aside, gunplay is quite satisfying, designs are nice if a bit “tame”, the levels are short but keep introducing new enemies and obstacles at a decent rate, presentation and technical performance are rock solid, and honestly i do think it’s pretty good, still a gacha but monetizion is not particularly aggressive or manipulative, so it’s worth a try.

[One Piece Film Retrospective] #15: One Piece Film Red (2022)

Yeah, bringing back the One Piece retrospective…. kinda, more like continuing it, with a full, detailed review of the last released One Piece movie, Film Red, that hit theathers in 2022, after the EXPRESSO review done at the time it released in theathers here.

For context, that year i was able to see the tie-in episodes of the series during the yearly Lucca Comics & Games convention in Italy, sadly i missed the early projection of the movie itself, but i did see the aforementioned episodes meant to tie-in to Film Red that detailed a young Rufy meeting a young Uta in Fusha Town when Shanks and his crew set anchor there.

Which are cute but as you would expect they’re not mandatory viewing in order to understand the plot of Film Red, it’s a big popular franchise, they’re not gonna risk alienating people who don’t watch or follow the TV series but do follow the manga, for example.

Who’s Uta, you might ask? But she’s the new character and protagonist of Film Red, a world famous livestreamer and renowed singer that is finally having a concert on the island of Elegia, ammassing a huge amounts of fans coming from all walks of life, be it Goverment soldiers, Navy officers or pirate ships, and of course the Straw Hats come too, as Luffy arrives there and reveals he and Uta were childhood friends.

And then he drops the bombshell that Uta is Shanks’ daughter.

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One Piece Odissey PS4 [REVIEW] | Cube Memory

One Piece might not be a franchise that you would immediatly associate with RPGs, but like Dragon Ball its surprising how the genre is represented in their many videogame iterations, especially if we’re talking about older systems, and even more so if we’re talking about Japan-only releases, as the first One Piece videogame was a RPG on the old black-n-white WonderSwan, and more came out for both the Wonderswan family of consoles as wells as for Game Boy Color, Game Boy Advance, and even on the original Playstation.

But sadly most western fans are not familiar with some of these quirky GBC One Piece RPGs where (among other things) the Straw Hats are turned into animals, no, most likely you’ve yearned for years for a localized One Piece RPG, only to find out that it exists, One Piece: Romance Dawn, and that it’s sadly a very shit game, even worse as it’s a port from PSP to 3DS, and a cheap one too, because knowing this it makes all sense for the game to look that much like old ass.

I reviewed that one as well, but today we’re here holding hope to finally retire this status and have a big budget mainstream RPG that can make the series some justice instead of wishing they wouldn’t have bothered to begin with, with the long anticipated One Piece Odissey, developed by ILCA and published by Namco Bandai (who else?) in January 2023 to celebrate the series’ 25^th anniversary.

Available pretty much on all the platforms, old gen and new…. but not the Nintendo Switch.

For the record, this review is based on the PS4 version played on a PS4 Pro.

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[EXPRESSO] Blue Beetle (2023) | Latino Guyver From Outer Space

The new DC super hero film after the “MADE IN HEAVEN” treatment the continuity received via The Flash movie, Blue Beetle is here in theathers, and i’m so not familiar with this character at all, but the trailer gave me Deadpool-ish vibes, and more specifically of Guyver, as we have a sentient symbiotic suit that organicaly fuses with his host and gives it the powers.

Heck, here as the well the suit/armor is a relic from an ancient alien civilization, so the comparison is not that outlandish.

The plot involves a recently graduated teenager, Jaime Reyes, that while becoming disillusioned about his future work opportunities, unadvertedly get his hand on the Scarab, a powerful alien biomechanical armor that grants him enhanced exoskeleton and powers, turning him into the superhero known as “Blue Beetle”. But obviously, other, less well intentioned individuals also known about the Scarab and want its array of weapons and abilities for themselves…

In a way Blue Beetle is not what i expected, as in the titular hero is not “Deadpool but as teen The Guyver” personality wise, and it’s not trying to be edgy or grimdark, quite the opposite, as it definitely kid-friendly and plays a lot in the “latino family” theme for that, which isn’t original but its still quite fun, thanks to the endearing characters (especially Jaime’s family) and honest emotional moments they bring alongside some good laughs.

They do help make you care despite the very bog standard plot and type of origin story which offers nothing we haven’t seen before, and sadly this kinda applies to the Blue Beetle himself, which isn’t a very interesting hero in terms of either personality or powers or anything really, despite the good concept behind the Scarab suit.

Still, quite decent and very pleasing, enjoyable superhero film.

One Piece (Shonen Jump’s) GBA [REVIEW] | USA Piece

There are many One Piece videogames, even on the GBA, most RPGs or fighting games, but there is a notable exception, even weirder than usual since it out came out in North America, and North America only. Yep, despite being developed by Dimps (the Sonic Advance series, Draglade, many Dragon Ball and Shaman King licensed games… and shit like Seven Samurai 20XX), it was never released in Japan or Europe, only in the US as simply “One Piece” (also listed as Shonen Jump’s One Piece for cataloguing needs) in 2005.

As of why i’m not sure, sure, it was based/dependant on the 4kids butchered version of the TV anime series, but the same was true for the first OP: Grand Battle PS2 game and that had an European release… so it basically means most people experienced it via emulator, i first did too, until i did found a cartridge for an “okay” price, but unless you’re a fan of the series and-or a dedicated GBA collector, i wouldn’t bother searching for an used copy, since it’s quite pricey today.

I’m not even gonna suggest waiting for a rerelease because it more than simply “unlikely”, unless it randomly pops up on Switch like that Macross GBA game, or Badnai Manco makes a complete One Piece videogame collection in the future.

Regardless, it’s also odd how this was the only One Piece GBA game that released outside of Japan, maybe due to the licensing as the time, most likely the same legal bullshit that saw the first Unlimited game never released in Europe, while the Unlimited Cruise titles never arrived in the US.

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Tidal Wave: No Escape (1997) [REVIEW] | Surf Nukem

It’s a drought in every way, so let’s go the ol’ content mill to see what garbage TV disaster movie we can fish out from Amazon Prime Video and it’s ever so unreliable availability of old stuff that now is included with the Prime membership, now isn’t available anymore, or is it but if you subscribe to another channel/service for 8 bucks a month, so sod it, let’s see a random pick from my list which is available for “free”, and if nothing else there’s plenty of these disaster movies to chew through on the service. So i’m kinda glad we didn’t land on one of the Asylum one with this dice throw.

Nope, we’re going back to the late 90s, on the verge of the 2000s being a thing and the Y2K scare was being throttled, with all the bullshit it produced, but it was simpler times as you could make disaster movie about “just” tsunami without the need of a hook like crystal meth spiders hiding under the tectonic plates so now we have swarms of drug spiders being spread by the tidal waves.

Predictably, Tidal Wave: No Escape, directed by George Miller (not that one, despite this George Miller also having a history of directing children movies with/about animals) is about tsunami happening out of the blue (pun) in various american coasts, which forces the usual unwilling “scientist in hiding/ritire” to touch grass and try to make sense of the phenomenon, revealing that he did study a method to artificially create tidal waves, so he gets suspected but then a mysterious voice calls them to inform that the killer waves will happen again, and again and again.

Is Poseidon itself treathening mankind? Will the dumbass army men figure out he’s obviously not the protagonist scientist behind this? Will he form a bond that will bloom into romance with the female scientist that initially thought explosions or meteors were behind the tsunamis?

In terms of plot or characters there’s nothing we haven’t seen before, but even if mostly stereotyped (the dickwad head honcho who is convinced the hero is actually the villain because of petty jealousy, also present in the variant of the more fair and impartial but also incredibly dense black officer whom isn’t as lucky as the dickwad boss), the characters are ok, the acting is decent enough, and surprisingly the effects are not too bad looking today.

Sure, they have certainly aged and are obvious by today’s standards, but this one came before widespread use of cheap digital effects, which are maybe used twice for minor things, so they have to make the waves hitting look real the old fashion way, and for a TV movie of the era it does a respectable job, given the limitations and not having much in terms of “cinematic scope” for spectacle. Again, it was indeed what one could expect for this type of production in that decade.

And to my surprise, Tidal Wave: No Escape it’s actually not bad, not bad at all, the balance between drama and the conspiracy plot is actually nice, and direction is strong especially in the first half, sadly after the mid point and the reveal of a character’s true motivations, the narrative kinda turns into a more typical and a bit too old school action-disaster movie stuffed with boring or filler-ish dialogues so the villain can say something before the climax and some dumb conversations can be had, even thought by this point you won’t really care much about and are just waiting for things to finally unfold as you’d expect they would (and they do).

It’s definitely a naive and kinda outdated relic of its time, especially as you can date it just by how the “hacking” and rudimentary database rummagign is done via old DOS computers on the respectively old timey computer screens not brimming with many colors, but honestly that’s kinda cute to see today, and overall the movie manages to be respectable, enjoyable despite its flaws , which surprisingly do not lie in aged special effects, more in a bloated third act and a fairly thin plot, but it doesn’t bore the viewer with excessive and tiresome pseudo science exposition dumps, plus it does its job with some dignity despite the overall result being just above mediocrity, and that alone is more than one could have expected to say of a 1997 TV disaster movie about tidal waves.

[EXPRESSO] Meg 2: The Trench (2023) | Cranking It Up

As one of that quite enjoyed the first The Meg (believe it or not at the time it had some very split reception from genre fans), i was waiting for its sequel arrive in theathers, pretty giddy about it too, though honestly shark movie fans nowadays pretty much HAVE to make do with anything in terms of theathrical releases.

After all, we are in such an ironic drought that even The Asylum has to commission their mockbusters to the Polonia Bros, so yeah, i’m quite glad we get more “megalomachia” as Jason Statham once again dons the eco-warrior kick ass action hero character whose name i honestly forgot, not that you’re gonna call him that (leave to a side-villain to scream his name when confronting him), and this time he ventures with a new submarine alongside his old and new sealab companions, with the idea to go even further below to where the “megs” prosper, but accidents happen as they also stumble upon an illegal underwater mining operations, and explosions let many of the deep sea creatures reach the surface and start causing the mess, including a giant octopus and what are basically abyss deep “varan-raptors”, frigging dinosaurs.

While the first one was fun, this one is arguably better, with more variety of locations, creatures and set pieces, since we don’t spend half (or all) the movie in the usual high tech underwater lab where the megalodons are kept, but we quickly move to the abyss trench and its peculiar fauna, the mining company installation, even some tropical resort island, and we even get monster vs monster action.

Honestly Meg 2: The Trench has pretty much everything you’d want from one of these dumb ass big budget shark/dinosaur films, very entertaining, with enjoyable characters and abundant over the top action.

[EXPRESSO] Paradise (2023) | Ripe Ripe Fruit

Another dip into Netflix fresh batch, this time a German sci-fi thriller about aging that tries to mesh In Time and Children Of Men, with the plot set in a dystopian future where people can “donate their time” in order to receive big money (without the big prizes), the years taken converted into a serum that transfers the “timespan” to the receiver, often rich people.

Basically a more boring sci-fi version/application of the Soul Soul Devil Fruit eaten by Big Mom, but whatever, i can roll with it.

When the protagonist wife has to pay her debts with personal belongings that include 40 years (due to their insurance not covering the apartment accidentally catching fire), her husband swears to take them back, eventualling bumping into Aeon, the terroristic organization that opposes this controversial procedure, especially the rich gaming the system in their favour.

It sounds interesting enough on paper, but this is undeed the textbook example of “surface deep” sci-fi thriller that wants to touch upon heavy themes… as in, just “touch” and never really explore anything to any degree of nuance, or flesh out its worldbuilding, so it can focus on its basic “employee of evil megacorp is wronged and then turns against it for revenge” plot.

it’s also a 2 hours filmwith a slow pacing and characters that are mostly cliched, like the corpos villains that are evil because the narrative demands it, not that the heroes are any better.

The frustratingly open ending further grounds Paradise into disappointing mediocrity, direction is solid and makes for a movie that’s not boring, but has untapped potential as the script overdoses on clichès instead of attempting any nuanced exploration of the subjects its plot brings up, itself constructed with ideas borrowed from better films.

Still, watchable, at the very least.

Pinocchi-O-Rama #7: Gepetto (Manwha)

If we’re talking about comics, we all known where Pinocchio comes to mind, though indirectly, as “The God Of Manga” Osamu Tezuka was inspired by Disney’s adaptation of Carlo Collodi’s book, and wanted to create a “reverse 21^th Centhury Pinocchio”, a robotic boy already created to be as close as possible to perfection. I really don’t need to introduce Astro Boy, do i?

Tezuka would eventually do his own manga adaptation of Pinocchio, which would be interesting, but maybe too obvious, so we’re not reviewing that or Astro Boy.

Nope, we’re going for something far more recent, and pay visit to what i feel it’s an underestimated country in terms of comics, South Korea, that while it did get inspired by Japan’s anime/manga style and legacy, managed to create something distinct or similar but possessing its own personality and soul, dubbed as “manwha” for shorthand.

Though one could be forgiven to think that mostly it’s a matter of where its coming from instead of the content itself, given we had many distincly “manga” series come out from european or non-japanese artists (an easy example is Tony Valente’s Radiant), and the more successful/publicized often are aimed to the same age demographic as shonen mangas, or belong to popular genre trends.

But for each “God Of High School”, we have more unique work, like Hyung Min-woo’s western horror themed Priest, inspired by Monolith Productions FPS game BLOOD.

While a number of manwha series were and are given print editions in many countries (including Italy and France), the most common way to consume and access manwha in both its country of origin and international is “the internetz” and sites like Webtoon.

And indeed one can read the entire manwha we’re talking about today, Gepetto by Jewon Yeon, english translated on Webtoon, for free.

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