MUTANT FOOTBALL LEAGUE: Attack of the 20ft Wez

Mutant Football League Logo

I’ve been conflicted over whether I should talk about Mutant Football League at all. This is mostly because I funded the game on Kickstarter last year when it was in pre-alpha. I also realize I’m probably not the intended audience, even within the art style’s genre. My yearly exposure to football is limited to a few Buffalo Bills games and the Super Bowl. The last football game I played before MFL was Madden 06. What I’m trying to say is that it’s not as cut and dry as previous games I’ve discussed.

The premise is pretty simple. It’s an anything goes apocalypse! The dead are rising out of their graves, a tidal wave of orcs pollutes the air with a noxious green haze, robots are leaking oil, aliens have made football stadiums on the moon, and clones of Vernon Wells are wreaking havoc all across America. But that’s not all. Blood is raining from the sky in Killadelphia and the world’s #1 pastime is sponsored by… “Monsatan Industries.” Nearly every element of NFL culture is tweaked to meet the theme. It’s silly, visually appealing, and portrays a post-apocalypse that’s simultaneously grimdark and chuckle worthy.

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Smegma Crazies, Gayboys, and The Golden Youth

Wez Scream

On the surface, The Road Warrior is a fine action movie that defined the post-apocalyptic genre and put everyone involved on the map. If we put aside the action and go a little deeper, we start to see some interesting clues about the Humungus tribe. As we already saw with Lord Humungus and especially Fury Road, George Miller loves adding cryptic details into his films. Perhaps the most discussed and yet mysterious of these details revolves around the Humungus tribe’s not-so-subtle homoeroticism.

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The Complexity of Lord Humungus

Lord Humungus Rad-Lands

The Lord Humungus of Mad Max 2 is a perfect illustration of how an outwardly one-dimensional villain can become human through small details. Looking at The Road Warrior’s script, one would get the impression the Lord Humungus is just a means of creating conflict, but the visual medium of film allows this character to become two and maybe even three dimensional. Cleverly, director George Miller planned for this from the beginning by writing backstories for each character in the Mad Max franchise.

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