Crisis zone

One is through 2 short magnetic couldn't see paying to screw around would like to. You can zoom. This solution applies type you will protect their networks.

What a thing to find, the great gaping maw of history waiting for us all at long last, mouth full of bloody fangs. And after such a long and cozy interregnum! So how did our pals Megg, Mogg, and Owl react to news of the pandemic? About as well as you and I did. Mogg retreats to his room to fixate on watching the news.

Megg freaks out about her Animal Crossing preorder. Owl takes a moment to metabolize the certain fact that he is going to be solely responsible for ensuring any of them survive the ordeal. Not the last to be so confined. By that point, of course, the house has gotten fairly crowded. The moment the news hit Werewolf Jones and his boys were already on the way, as were pals Booger and Mike. Things are going to come out, in more ways than one.

I mean, speaking from experience, I personally figured out I was trans during a period during which I spent a lot of time alone in my apartment staring at my bellybutton. Gender bubbles up around the edges through the entire piece, as it seemed for much of There were more of us than people thought, even if still nowhere near as many as our more virulent haters like to imagine. It was in reaction to these facts that those same haters, who do not like the reality of our changing cultural landscape, began the scorched earth crusade of media malpractice and political spinelessness that continues unabated through to this very moment.

You can see them in real time following the exact same slanderous playbook they pulled out in the early 80s. Shameless lack of imagination, right down to a handful of beloved Anita Bryant figures immolating their credibility right here in public where everyone can see.

Speaking of which, those wizard books pop up early in Crisis Zone - clearly something of an existential matter for the socially conscious magic-using community, represented here by Megg and Mike. RuPaul is mentioned as well. These small but real betrayals compound and complicate, as in life. This looming bulk reckoning formed a significant part of the sensory overload of A relentless background static for the marginalized and empathetic in all walks of life.

Certainly no easier when you do. Extraordinarily difficult to fall asleep knowing that the next time the most feckless political party in the world loses a national election to the most ruthless some gormless chud in a Hawaiian shirt is going to throw me and every queer person you know out of a helicopter right before posting the video to 4Chan. The multiplicity of trans experience playing at the boundaries of the narrative gives the story a variety that is almost completely absent from any other portrait of trans life you are likely to see.

At the risk of provoking startle and dismay in the faint of heart, not only do multiple trans people often cluster for company and protection, but within those clusters exist multiple kinds of trans persons. There are in fact as many different kinds of trans experiences as there are trans people.

These characters are familiar to me. In a time of crisis Booger becomes distraught over losing garbage bags full of thong underwear, eventually holding a funeral for the underwear lost to inferno. Mike becomes Jennifer somewhere in the middle there, and initially refuses to change anything at all about her outward presentation for fear of conceding too much autonomy to expectations.

Both are ultimately overcorrections, extremes of aggressive frivolity and passive-aggressive stasis in the face of catastrophe without and apocalypse within. Different kinds of armor. As the saying goes, bimbos are carved from cold scars. Likewise Jennifer unclenches a bit and realizes that not changing to spite others was as much a concession as changing in a certain way to conform.

Deprograming hurts all around. Transition is ultimately and most importantly an act of healing and healing looks different for everyone. In all seriousness, if more kids made a habit of pretending to be another gender for a month or two for yuks the world might just be made a better place. The simple truth, however, is more likely that trans people can be amoral grifters, too.

Why, one of them just ran for governor of California! The past few years have shown us it's a viable career path across the political spectrum. Check your privilege, flatscan. But these are ultimately just themes, and heavy themes at that. How about that? I literally had to put the book down, multiple times, because I laughed so much it fucking hurt. When was the last time you did that? Hanselmann can do it on a daily basis and asserts that he could have kept at it indefinitely were he not stopped by contractual obligations.

The plot, such as it is, begins with money - or rather, the fact that no one has any. Everything got shut down, remember? All the non-essential employees got fired from everywhere? Even the people who had jobs suddenly also had unexpected expenses. Owl loses his job and suddenly the only money coming into the house belongs to Werewolf Jones and his webcam.

A Tiger King spoof? Are we still laughing at that? That was admittedly my reaction as well to the title card for Anus King. Thankfully Hanselmann is too smart to use the premise as anything other than a springboard. But even as the story very quickly veers into multiple strange directions that have absolutely nothing to do with the actual content of Tiger King the framework of the unfolding reality show provides a focus for the escalating absurdity.

In this light, given that the reference is really only glancing, it seems as if Tiger King was perhaps a better framing metaphor than I initially gave credit. Our collective inability to regulate our behavior in front of a camera was going to form a very large part of that. So it goes. Werewolf Jones, as it turned out, was extraordinarily good at putting things up his ass. As soon as the cameras and the money become involved the tension ratchets and suddenly people are acting less like themselves and more like caricatures.

Jones takes more cocaine even than usual. Everyone else trying hard to live their lives under difficult circumstances has to deal with the magnifying glass being placed on their behavior and the pressure of having to play along with Jones' escalating insanity. Why are they vengeful? It's the illusion of doing something, right? There is no accountability, everyone sees it. Even the most painfully deluded Fox News victim can see the injustice seething at the heart of the beast.

As we have learned, it is far easier and more profitable to use lies and manipulation to channel anger and prejudice than systematic critique to focus resolve and solidarity. Personal and cultural grievance make ready bedfellows for political impotence. The moment Anus King is a hit the gang become a pinball in that culture war. Angry mobs are hiding behind every corner, ready to be weaponized and merchandised by either side, there's really no respite once you enter the Terrordome.

And we're all stuck here in the Terrordome. Is that what life is now? People wield internet mobs like weapons of mass destruction? Just discussing the themes and such makes it seem far more dry than it is. It becomes a rally point for whomever the new target of the mob is.

We throw him under the pedo bus! Now, is our pal Owl a pedo? Does that make him a pedo? He spends a chunk of the book crestfallen at the revelation. Not nothing, but in many neighborhoods the kind of thing that might be settled with an ass whupping, if that. From there the accusations of pedophilia start coming fast and furious, more or less just shit to be flung regardless of veracity. Everyone's dirty laundry is aired in the tabloids. Mogg sucks!

But here with just a little bit of a push he becomes a weird little freak who loves butt stuff so much he burns his life down multiple times and alienates every friend he has. Legible and definitely bogus phenomenon. The nature of the crisis is such that the primary axis of conflict comes down to Werewolf Jones vs Owl, raging id against long-suffering superego.

The problem is that, at first, it really does seem as if Werewolf Jones is set up to thrive better in the carnivalesque atmosphere of the early pandemic. People were scrambling. The precarious nature of our lives in these United States was suddenly laid bare across every strata of society and in that moment of great peril and possibility it looked as if the Werewolf Jones of the world might just prosper. Andy Warhol was dead wrong. The true hell of the future is that we are all stars now, all the time, whether we want it or not.

The pandemic brought with it a virtualization of so many aspects of social interaction - or, perhaps more precisely, the formalization of already nascent digital trends - producing such a sudden shift in behavior patterns that we have not even begun to understand the implications. We now reflexively accept an insidious understanding of personality as something expressed in the form of branding.

This seems like a very basic thing to have to remind us all, but your personality should be informed and shaped by yourself, first and foremost, and then and only then people around you and in your community who you know and love and trust. Not a horde of online strangers demanding you change on a dime to suit their whim. You are not immune to peer pressure, bucko! Parasocial relationships are a public health menace on par with misinformation. People with a shred of online notoriety can quickly become nothing more than the sum of the schtick and tics they used to keep butts in seats.

Want to see this principle in action, albeit on a microscopic scale? Go back and reread those first few paragraphs of this review - you know, the opening paragraphs containing long run-on parenthetical clauses turning on sudden interjections, unnecessary forced references to Dante, Sophocles, and Marvel Age, as well as an immediate plunge into deep omphaloscopic waters.

Yeah, I do. But just the fact that I casually referred to an industry pal by their first name - a figure you may not even know! Stay tuned, kids! But I do take it seriously, I pay attention, and people seem to appreciate that. Now, the point here is that it took me literal decades of daily internet usage to figure out how to establish and maintain the boundaries between my personal and professional lives.

To figure out how much of my personality I could dole out in the form of caricature before I hurt myself. To minimize harmful online interactions, and figure out what parts of social media had value and which were harmful. Decades of living and working online. Suddenly everyone is drinking from that firehose all at once.

A lot of the feedback sounds counterproductive or just plain trolling, but something important can be learned even from bad-faith negative criticism. Someone reacting poorly is still reacting. That kind of febrile hypersensitivity, typical of all audiences in the present moment, is usually impossible to please.

But the real-time interaction with these ideas that emerge in the strip - sometimes defensively, sometimes facetiously, sometimes even in direct conflict - is nevertheless productive, if perhaps annoying to Hanselmann in the moment. But the triumph here is that Hanselmann figures out how to play into the static. He takes the criticism seriously, even the bad criticism, and what that means in practice is just learning to focus. To say precisely what you want in just such a way that you absolutely cannot be misconstrued.

A voice carries with that kind of focus. The result is that the last quarter of the book hits like a fucking sledgehammer. Every page is twelve panels, save only, I believe, the first - the dimensions more or less of a Sunday newspaper strip. The pressure of daily performance gives the strip a nervy energy. Every facet of the world in these comics has to fit through those little squares.

Long establishing shots, street brawls, tight closeups - all pushed through the tiny aperture. I respect that. Within the strictures of his limited panel designs he gives sequential action, psychedelic collage, tense drama.

In my humble opinion fixed panel pages are to cartoonists as learning the scales are for musicians. It all comes from that. There are so many ways the artist can pace a page, big panels and no panels and panels of every conceivable shape and dimension, that the decision to submit to the rigidity of a fixed panel structure carries a formalist connotation.

You get the same bit of real estate for massive explosions and tense close-ups. The cartoonist under a static panel regime takes the part of a drummer - using the give and take of action and exposition, close-up and establishing, sequential and non-sequential panels to set pace without any recourse to novel page design. Stick to the beat, hard four-on-the-floor, but fill in the blanks however you want. The characters themselves begin interacting with their own audience online as Crisis Zone wears on.

Eventually they realize, under those circumstances, inviting the world into their lives more or less without caveat, there is no way to win that game. Led me to reflect upon life. The tone gets shrill as the story wears on the characters really start to hate each other.

The book was never exactly chipper but it gets darker. Eventually Werewolf Jones is naked with a rifle and a baby tied with a rope around his torso, the house is under siege by the police and a vengeful mob over the small matter of 38 people killed in a hot tub accident that seems to get strangely more confusing every time its recounted - things are stacking up.

Everyone in the house with a uterus suddenly starts menstruating because of the tear gas in the air which, while exaggerated here for effect, is apparently a real thing that happens according to the ever reliable Dr. Makes sense to me! I had to look up who David Choe was, tbh still not sure. Not even this works, however, because the gang just wakes up later feeling more like shit than usual and pissed off at the man who tried to kill them because people were after him.

And how the fuck is a ghost booking another ghost on a podcast? And this is how it ends, at least the main plot - a man-sized owl brandishing a kitchen knife talks a tiny bit of sense into a naked and weeping werewolf in a Burger King crown. Ultimately, as weird as it seems, Jones has actually meant well for much of the narrative.

He was trying to support his family and the house. He is however a wrecking ball in semi-human form, as well as fundamentally insensible to suffering, often up to and including his own. It is impossible for him not to incur collateral damage. Even his hot tub parties end with a body count. The onset of the pandemic brought with it that brief window when, in the absence of any other order, the Werewolf Jones of the world seemed better equipped to take on the upside-down paradigm.

You keep the reader interested with periodic serotonin dumps - peaks and valley - because keeping up a relentless pace can actually be grating. Accordingly, there are a couple fight scenes throughout that actually work as fight scenes - Hanselmann mentions in the notes readers were restless during serialization as the chapters trickled out, but in the context of the full book the fights are perfectly situated, stretches of grisly physical comedy between people screaming at each other or projectile shitting.

Not even death stopped the carnival. And so the bubble has to be popped. He finds a canister of shoe polish and begins to apply blackface in front of a camera only implied on panel , at which point the cameras are turned off and the show is over. Werewolf Jones is canceled for good. In the story and for the reader a balloon has been popped. But it does the trick. Six months later, Lynch's successor Jared Hunter launches a fresh attack, seizing control of the newly opened Grassmarket District of Garland Square.

With S. McGarren and Squad 1 are sent to rescue her. They fight their way through Grassmarket Street, destroying an experimental stealth defense droid called the Meta Morphic A in the process. They then storm the Belforte Hotel, where Melissa is held on the rooftop swimming pool.

There, they are confronted by Hunter and his airborne attack squad. Declaring his intent for revenge, Hunter engages and loses to Squad 1. He then attempts escape in a modified, heavily armed cruiser, but is killed when the cruiser is destroyed by McGarren's chopper. McGarren and his men then take Melissa to safety, having ended the U. A PlayStation 2 PS2 port of the game was released in in the UK and the US with smoother polygon textures, higher difficulty, an additional mission taking place six months after the Crisis Zone arcade mode, and a special mode in both the original story and special story modes which the player is able to use extra weapons flame thrower with 2.

The PS2 port is compatible with GunCon II lightgun, and is available with an unusual two-player cooperative gameplay mode named "two-gun mode" by allowing two players to play simultaneously on a single-player mode without the use of split-screen this is later used in Razing Storm , or weapon switching system similar to Time Crisis 3 , with some changes allowing the player to switch between a Steyr Mannlicher TMP machine gun, an 8-round Beretta Cougar handgun and a 6-round short barreled Remington shotgun fires 8 shots per shotgun shell , depending on settings.

Unlike Time Crisis 3 , Time Crisis 4 and Time Crisis 5 , which only the handgun has unlimited ammunition, all weapons now have unlimited ammunition in Crisis Zone. Oddly, the PS2 remake of this game is never released in Japan. Time Crisis Wiki Explore. Time Crisis 5. Drugged Soldier Elite Soldier. Crisis Zone Razing Storm.

Cobra The Arcade. Time Crisis cancelled webcomic. Characters Protagonists Supporting Characters Antagonists. Rules and Regulations. Explore Wikis Community Central. Register Don't have an account? Crisis Zone. View source. History Talk 0. Attract Mode Arcade version. Attract Mode PS2 version. Characters Arcade version.

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In the PS2 version, Jared Hunter uses an AR variant with railed handguards, without the carry handle and front gas block. In promotional illustrations of the arcade version, an S. It holds 6 rounds. In both versions of the game, U.

In the PS2 version, U. In both versions of the game, a clearly oversized M61 Vulcan is seen mounted inside of an U. M2 Bradley. In both versions of the game, M Miniguns are mounted on U. M2 Bradleys. For balance reasons, it's loaded with 60 rounds. In both versions of the game, a rather large M Bushmaster chaingun is seen mounted on U. It correctly holds four rounds. However, it is depicted incorrectly with a lock-on and homing function.

The M79 grenade launcher appear as "Grenade. It correctly holds one round. However, it is depicted with a rather slow projectile velocity. A soldiers including "Tiger" use the DM51 hand grenades as their main grenade. In the PS2 version, the Mk 2 hand grenade is used by the U. It is fitted with a LAM and a suppressor.

It is not featured in-game. A fictional sniper rifle appears in promotional illustrations of the arcade version. It never shows up in the game. Jump to: navigation , search. Crisis Zone also makes destroying all this stuff pretty fun with a pronounced physics system that causes cans of tennis balls to launch their payload wildly into the air, glass and ceramic vases to shatter fairly realistically, and concrete pillars to crumble like you're in The Matrix.

The inanimate objects are, in some ways, more fun to shoot at than the actual terrorists, who generally move in predictable patterns and make up for their lack of guile with sheer numbers. Not everything is destructible, though, which can cause for some annoying inconsistencies, like when you can shoot your way through statues presumably made out of rock, but that rather ordinary looking two-by-four can act as the ultimate Kevlar for the bad guy standing behind it. Your riot shield is also conspicuously sturdy, able to shield you completely from grenades, a barrage of stinger missiles, and a point-blank shot from a tank's main cannon.

The arcade version of Crisis Zone was much shorter than the standard Time Crisis games, and this is unfortunately the case with the PlayStation 2 version as well. The game draws out the story mode by only supplying you with a handful of continues--not nearly enough to clear the entire game on your first try--and rewards you with additional lives as you make your way further and further into the game.

Even still, it shouldn't take any more than an hour or so to see everything the story mode has to offer. New to the PlayStation 2 version are the crisis missions--essentially short scenarios in which you're given a specific challenge, such as scoring a certain number of combo points, not damaging the environments, destroying as much of the environment as you can, and so on.

These scenarios are really hard, much harder than anything you'll see in the story mode. Though you could easily spend more time in the crisis missions than the story mode, the scenarios grow tiresome and repetitive quickly. Don't fret--this crisis should be over in an hour or so. Despite whatever efforts the game makes to differentiate itself from the core Time Crisis games, one look at this game and it's hard not to hear the phrase "Action!

As Crisis Zone is a port of a five-year-old arcade game, its graphics won't really wow you like they once did, but they still look decent, and they still retain that arcade-game style. The rougher polygonal edges are apparent, and the particle and explosion effects look kind of dated, but there's a pretty vibrant look to the game, and all the flying debris gives it a nice kinetic feel. Crisis Zone sounds as much like a Time Crisis game as it looks, though with a lot more rounds of ammunition being discharged.

The voice acting is poor, though not so poor that it slides into irony. The weapon reports are far from realistic, but they're fitting for the cartoony tone of the game, and they're certainly loud. The music is the most genuinely good aspect of the sound design, using a blend of militaristic marches, violins, and electronic percussion to help add a bit of tension.

There's a certain amount of novelty to blowing everything up, but Time Crisis: Crisis Zone is too short and too easy. And, with Namco's own Time Crisis which is longer, deeper, more innovative, and more challenging--already on the PlayStation 2, it's just too late. It's a solid two-day rental, where you can return the game knowing you have basically wrung everything enjoyable out of it, but as a full-priced PlayStation 2 game, it's just not worth it.

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Pressing an alternate button on the Guncon2 Namco's light-gun peripheral, which the game supports and basically requires for the right experience will cause you to duck down behind a riot shield, and will at the same time automatically reload your weapon. The riot shield concept is a new one, as the other Time Crisis games had you ducking behind whatever environmental cover you could find.

It seems to react a bit more quickly, which is a good thing, since the urban terrorists seem to be much better armed and much better shots than their Time Crisis cousins. The Crisis Zone thugs seem to be wearing much sturdier armor too, and can sustain a lot more damage before they'll go down, which is, of course, why you'll be packing a submachine gun rather than a simple handgun.

What this means on the mechanical level is that rather than squeeze the trigger every time you want to fire a round, you can just pull until you're out of ammo. This will certainly spell relief for those who are both light-gun game fans and carpal-tunnel sufferers. The submachine gun isn't quite as accurate, but its sheer firepower makes the action feel a lot more visceral, and you'll ultimately end up causing a lot more damage to the environments around you.

The game actually encourages you to shoot up the joint a bit by awarding you combo points for shooting enemies and anything else that's destructible, and the sets are pretty well filled with destructible items, ranging from racks of CDs to room-filling pieces of scientific equipment. There's a pretty consistent glass-and-steel quality to the three main levels in the story mode, and you'll be gunning down the same half dozen or so types of terrorists for the duration of the game, but the types of incidental stuff you'll be destroying in the periphery is varied and helps give each zone a slightly unique feel.

Crisis Zone also makes destroying all this stuff pretty fun with a pronounced physics system that causes cans of tennis balls to launch their payload wildly into the air, glass and ceramic vases to shatter fairly realistically, and concrete pillars to crumble like you're in The Matrix. The inanimate objects are, in some ways, more fun to shoot at than the actual terrorists, who generally move in predictable patterns and make up for their lack of guile with sheer numbers.

Not everything is destructible, though, which can cause for some annoying inconsistencies, like when you can shoot your way through statues presumably made out of rock, but that rather ordinary looking two-by-four can act as the ultimate Kevlar for the bad guy standing behind it. Your riot shield is also conspicuously sturdy, able to shield you completely from grenades, a barrage of stinger missiles, and a point-blank shot from a tank's main cannon. The arcade version of Crisis Zone was much shorter than the standard Time Crisis games, and this is unfortunately the case with the PlayStation 2 version as well.

The game draws out the story mode by only supplying you with a handful of continues--not nearly enough to clear the entire game on your first try--and rewards you with additional lives as you make your way further and further into the game. Even still, it shouldn't take any more than an hour or so to see everything the story mode has to offer. New to the PlayStation 2 version are the crisis missions--essentially short scenarios in which you're given a specific challenge, such as scoring a certain number of combo points, not damaging the environments, destroying as much of the environment as you can, and so on.

These scenarios are really hard, much harder than anything you'll see in the story mode. Though you could easily spend more time in the crisis missions than the story mode, the scenarios grow tiresome and repetitive quickly. Don't fret--this crisis should be over in an hour or so. Despite whatever efforts the game makes to differentiate itself from the core Time Crisis games, one look at this game and it's hard not to hear the phrase "Action!

As Crisis Zone is a port of a five-year-old arcade game, its graphics won't really wow you like they once did, but they still look decent, and they still retain that arcade-game style. The rougher polygonal edges are apparent, and the particle and explosion effects look kind of dated, but there's a pretty vibrant look to the game, and all the flying debris gives it a nice kinetic feel.

In the arcade version, most of the U. The U. In the arcade version, he uses a model without an optic. In the PS2 version, he uses a model without the grenade launcher with some elements of the G In the PS2 version, Jared Hunter uses an AR variant with railed handguards, without the carry handle and front gas block. In promotional illustrations of the arcade version, an S.

It holds 6 rounds. In both versions of the game, U. In the PS2 version, U. In both versions of the game, a clearly oversized M61 Vulcan is seen mounted inside of an U. M2 Bradley. In both versions of the game, M Miniguns are mounted on U. M2 Bradleys. For balance reasons, it's loaded with 60 rounds. In both versions of the game, a rather large M Bushmaster chaingun is seen mounted on U. It correctly holds four rounds.

However, it is depicted incorrectly with a lock-on and homing function. The M79 grenade launcher appear as "Grenade. It correctly holds one round. However, it is depicted with a rather slow projectile velocity. A soldiers including "Tiger" use the DM51 hand grenades as their main grenade.

In the PS2 version, the Mk 2 hand grenade is used by the U. It is fitted with a LAM and a suppressor.