Friday, 3 April 2026

Judge Dredd: The Complete Case Files - Volume 03

Mega-City One, 2101. The city is recovering from the rule of the insane tyrant Cal and, as usual, it's up to the firm and unyielding vigilance of Judge Dredd to make sure stability is maintained. But with his niece Vienna being targeted by criminals, crime rising in the city hab blocks, and a vast invading army of flesh-eating spiders headed towards the city, Dredd has his hands full. And that's before the sinister Judge Death arrives from another dimension...


The previous two volumes in the Complete Case Files series presented two different sides to the Judge Dredd mythos. Volume 01 was mostly stand-alone stories with little linking material. Volume 02 is divided into two huge arcs, The Cursed Earth and The Day the Law Died, with only a few standalone stories. Volume 03 is, once again, mostly stand-alone stories, although these are now usually mini-arcs of 2-4 issues apiece, with the occasional one-off strip.

This approach, coupled with a greater interest in worldbuilding and continuity (things that were more optional in the first volume) means that the omnibus covers a lot of ground. Several Judge Dredd core concepts are explored here, such as city fads that the population of Mega-City One latches onto to avoid going totally insane, with "boinging" (jumping around the city in indestructible plastic bubbles) the first to be investigated. We also learn more about Mega-City One's TV stations and what kind of shows are popular, and we get several arcs in which the city is under threat from a vast horde out of the Cursed Earth, being, er, druid-led hippies and killer insane spiders respectively. In another story, Dredd joins forces with a talking cat (genetic engineering, natch), fights horror-themed robots running amuck (Dredd vs. the Hunchback of Notre Dame is an underrated face-off) and has to take part in an international incident as Mega-City One has to evict Sov-Block warships from the Black Atlantic off the coast. Smaller-scale stories see Dredd having to deal with the introduction of the most amazing-tasting chocolate in the history of the city, and dealing with a super-genius child whose parents did not set appropriate boundaries (this story gets a sequel a mind-boggling thirty years later).

But the volume saves the most memorable story for almost last. Dredd's most iconic, famous foe is Judge Death, a semi-incorporeal being from another dimension who killed his homeworld's population, ensuring justice by making life itself a crime. Dredd has to join forces with Psi-Judge Anderson, arguably the second-most-iconic judge in the whole franchise apart from Dredd, to take down the enemy. This is a foe so formidable that it's hard to see how Dredd can plausibly win, and to their credit the writers realise that as well, and come up with a novel solution that doesn't resolve the situation permanently, but puts it on hold for another time (in this case, Volume 05).

Those looking for another long-running, epic arc may be disappointed not to find one here, but this collection of shorter arcs is head-and-shoulders better than Volume 01. The stories are funnier, the satire is sharper and the world is feeling more consistent. This is still far from Dredd at its best, but we're certainly well on our way to getting there, and it's satisfying to finally meet Dredd's most formidable adversary, and one who will continue to plague him for decades to come.

The Complete Case Files Volume 03 (***½) contains every Judge Dredd story printed from Prog (issue) 116 to Prog 154 of the comic 2000AD, published from June 1979 to March 1980. The stories are set in the years 2101 and 2102. The writers in this collection are John Wagner and Pat Mills. The artists in this collection are Brian Bolland, Dave Gibbons, Mick McMahon, Brendan McCarthy, Ian Gibson, Garry Leach, Ron Smith, John Cooper and Barry Mitchell.

Thank you for reading The Wertzone. To help me provide better content, please consider contributing to my Patreon page and other funding methods.

Person of Interest: Season 2

Harold Finch and John Reese continue to use the predictive powers of the Machine to help people in trouble, but a new factor has entered the equation: Root, a skilled hacker with an evangelical belief in the Machine. Whilst Root goes deep undercover to track down the physical location of the Machine, New York becomes a battleground between the feuding criminal gangs, the police and HR, a shadowy cabal of corrupt police officers and public officials.

Person of Interest's first season was a solid, if slow-burning, introduction to the series. It set up the central characters and premise, and gradually complicated the premise as the series drove on. Serialisation was embraced only slowly, as some apparently one-off characters became recurring allies, enemies or potential frenemies, with the main focus remaining on the mystery-of-the-week.

Season 2 basically continues this format, although serialisation is embraced a little bit more. It takes two episodes for the cliffhanger ending of the first season, where Finch is kidnapped by Root, to be fully resolved and this makes for a great storyline pitting talented actors Michael Emerson and Amy Acker against one another, whilst Reese (Jim Caviezel) tries to keep up on the still-incoming numbers with the help of Detectives Fusco (Kevin Chapman) and Carter (Taraji P. Henson). Along the way they acquire a dog, Bear, who quickly becomes an integral part of the team, and help a conman named Leon, played by Emerson's Lost colleague Ken Leung, who becomes a reluctant ally.

The throughline of Season 2 seems to be "let's make the team bigger," with some episodes seeing Finch, Reese, Fusco, Carter, Leon and returning ally Zoe (Paige Turco) joining forces to deal with cases, which can be a bit jarring after the more claustrophobic first season which was basically the Finch 'n' Reese Show. Most episodes don't require this level of all-hands-on-deck though, so the show develops multiple subplots such as a new love interest for Carter, Beecher (Sterling K. Brown) and a new criminal conspiracy storyline involving Carter, Fusco, returning occasional frenemy Elias (Enrico Colantoni) and the shady Alonzo Quinn (The Wire's Clarke Peters). In fact, the acting firepower of the season is impressive, with Peters and Brown particularly impressing.

The show does a good job of developing these subplots whilst keeping the main storyline ticking over, with a surprisingly light touch. I was expecting Root to play a much bigger role this season but her appearances are sporadic, and more impactful when they do take place. The stories-of-the-week are quite entertaining, though at times they do feel they're feeding off a big book of TV stock premises, such as the main character and a female lead having to go undercover in suburbia to uncover a hotbed of murder and mayhem, or the mob hitman who falls for his target. Still, these stories are usually well-executed.

The season takes a huge upward swing with its sixteenth episode, Relevance, which introduces Sarah Shahi as government assassin Sameen Shaw (with as sterling guest turn by Ebon Moss-Bachrach as her partner), whose number is picked up by the Machine. Uniquely, the story is told from Shaw's point-of-view exclusively, with Reese and Finch showing up without much warning. The clever script plays with and breaks the conventions of the show, and Person of Interest's tendency to pull its punches to keep the mass audience happy goes out the window. Shaw is a sympathetic and wronged character, but she is also resourceful and ruthless in a way that makes even Reese look amateurish. Shahi's performance is absolutely outstanding, and the twists and turns in the plot make this easily the best episode of the first two seasons. Making Shaw a regular after this (though it takes a few episodes for her to come back) is a no-brainer.

The season ends with an impressive two-parter which blows open a lot of the show's premise. We learn what's been going on with the Machine in the presence, and what happened to Reese and Ingram after turning it over to the US government. Root makes her long-awaited move and the value of having Shaw on the team becomes clear, with the show building to a big cliffhanger, even if maybe it hedges its bets a little so as not to make a return to the status quo impossible.

Still, Person of Interest's second season (****) is a sharp improvement on the first season's promise. Expanding the cast is a good idea which brings more storylines and ideas into play, and the show admirably mixes some good serialised plots with some inventive episodes-of-the-week (though there's a few rote ones as well). The show's improvement in quality impresses. The show is available on physical media and streaming worldwide.

Thank you for reading The Wertzone. To help me provide better content, please consider contributing to my Patreon page and other funding methods.

Wednesday, 1 April 2026

Citizen Sleeper

In the distant future humans can digitise their consciousness and place it in android replicants, "Sleepers." A Sleeper escapes indentured servitude on a freighter and finds themselves on the Eye, a large space station formerly controlled by the Solheim Corporation but is now contested between several factions. A former trade union turned civil authority, Havenage, uneasily shares the station with a criminal operation named Yatagan. The Sleeper must navigate between these factions and find some way of escaping the station and living a good life.


Citizen Sleeper was originally released in 2022 and attracted significant acclaim on release. The game can be summarised as part roleplaying game, part survival resource-juggler and part adventure game. The game is smoothly minimalist, playing entirely from a map of the Eye space station, occasionally with character art displayed whilst conversations are held.

The story unfolds over multiple days. At the start of each day, you roll a series of dice. The results of the dice can be applied to different activities, such as doing a day job for money, investigating the station to further the storyline or hacking into the station network and uncovering the secrets of its long-dormant mainframe (evading ancient security programmes in the process).

Citizen Sleeper's storyline feels quite tight at the start but then starts sprawling in numerous different directions. There are multiple ways to escape the station, different factions to align with, and a dozen or so significant characters you can develop relationships with, some of whom can help you, others hinder. Some characters are antagonistic but can be won over to help you; some are initially friendly but have hidden, darker agendas you might deal with.

Your Sleeper requires food and energy, meaning you sometimes have to make tough choices on whether to do more activities or spend dice on sustenance. But if you take too long, you can start losing dice (representing your growing weakness). The numbers you roll on your dice also have different application. In general, the higher the number the better, but some tasks require you to precisely match a number and you can't do anything without anything else, meaning you may have to wait a few days and several rerolls before accomplishing that task.

Your character does level up periodically and you get new abilities such as being able to reroll dice once a week or being able to tackle specialist tasks.

It's a compelling mix of interesting systems, complicated further by various ticking clocks, such as a character completing their own mission before they are ready to help you or until pursuers catch up with you on the station. Things stay just on the right side of being overwhelming, and the game is generally fair with you about keeping your character informed about what's going on and what possibilities there are for things to do next. However, the game can also be relatively ruthless in shutting down the possibility for hedging your bets: once you commit to a course of action, some other possibilities are invalidated.

With a single run of the game taking less than eight hours (depending on your choices, you might wrap up one in maybe four), it's short enough to encourage multiple replays and it can be surprising to see how your choices can impact the game. One playthrough might see you developing a major quest to discover your original human identity; in another, this might barely be mentioned as a factor in the story. One run might see you explore the entire station and visit every location, the next might see you leaving the station with half the map still in darkness. Your impact on the story is considerable, and fascinating.

Obviously this is a low-budget game, but the production values are quite impressive. The graphics are minimalist but atmospherically effective, the soundtrack is superb and the writing is quite compelling. Most of the NPC characters are well-written and engaging, and the game does a good job of holding your attention and making you make tough choices, with the consequences for failure being usually as interesting as those for success. Citizen Sleeper does a lot with not a lot of resources.

That said, the game can feel a bit punishing, especially near the start, and occasionally too reliant on the RNG number gods to progress to the next part of the story, resulting in bursts of wheel-spinning. The game is still short enough that this is not a major problem, but it can be a source of occasional frustration.

Citizen Sleeper (****) is a fascinating and well-written game, with a lot of substantive choices to make and encouraging of replays. The game is available on PC, Nintendo Switch, Microsoft Xbox One and Series X/S, and PlayStation 4 and 5. A sequel, Citizen Sleeper 2: Starward Vector, was released last year.

Thank you for reading The Wertzone. To help me provide better content, please consider contributing to my Patreon page and other funding methods.

New China Miéville novel gets cover art and blurb

China Miéville's enormous new novel now has cover art and an expanded blurb.


"From the bestselling, award-winning master of uncanny fiction comes a defining work, twenty years in the making – a deeply moving, decade- and continent-spanning epic of grief, global tumult, and grim conspiracy.

"Maur’s life has been shaped by an unbearable loss. But in the aftermath of what is an apparently ordinary tragedy, deeper, stranger questions arise . . . Their answers may lie within the dark heart and darker history of an old soldier who shares Maur’s obsessions – and is violently pursued by the same unknown, unquiet forces.

"So begins The Rouse, a book unlike any other: at once a sprawling saga of a bloody century, and the intimate story of two lives, their loves, regrets and secrets – and a terrifying journey into infinite mystery."

The Rouse, all 1,264 pages of it, is currently due for publication on 17 September 2026.

Tuesday, 31 March 2026

Blogging Roundup: 1 November 2025 to 31 March 2026

 


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Monday, 30 March 2026

Tor Books release the rights to THE SWORD OF SHADOWS series by J.V. Jones

Tor Books have agreed to revert the rights to the first four books in the Sword of Shadows series to author J.V. Jones. Jones had completed the fifth book in the series, Endlords, last year but Tor had declined to publish it. Jones is now free to pursue either publishing the entire series with another outlet, or self-publishing herself.

As has been related before, Jones launched her career in a blaze of success in 1995 with the Book of Words trilogy. Emboldened by a strong critical reception and cover quotes from Robert Jordan, the trilogy went on to sell over a million copies for Warner Books. Jones also published a successful standalone novel, The Barbed Coil, and then started the Sword of Shadows sequence in 1999 with A Cavern of Black Ice. The fourth volume, Watcher of the Dead, was published in 2010. Subsequent major life issues interfered with the writing and publication of further books in the series until she was able to resume work on it in 2017. The writing went slowly due to the demands of the day job, until she was able to leave that job and work full-time on the book in 2024, after which progress dramatically increased.

Jones isn't resting on her laurels, as she has also been shopping around a complete urban fantasy novel, Sorry Jones, and is now some way into the writing of the sixth and final Sword of Shadows novel, A Sword Named Loss.

The reversion of the rights means that Jones now controls the audio, ebook and print rights for her entire body of work. The Book of Words and Sword of Shadows are set in the same world (though you do not need to have read the prior trilogy to enjoy the last sextet), giving a new publisher access to a nearly-complete nine-volume sequence, not to mention two more standalone books.

Whether another publisher would be interested in the series remains to be seen (although I believe some talks have been held), but it does confirm that the remaining two volumes in the superb Sword of Shadows series will appear at some point, which is sure to relieve fans.

Saturday, 28 March 2026

Ultra-long web saga THE WANDERING INN to get physical releases starting this autumn

In news to make bookshelves everywhere tremble in fear, the very popular web saga The Wandering Inn is to start getting physical releases at the end of this year.


Written by "Pirateaba," the saga tells the story of Erin Solstice, a young woman who is transported from Earth to a fantastical world which works according to rules almost out of a video game. Erin finds herself in charge of an inn, and growing more skilled in her role as she tries to figure out what is going on, and more about the world she finds herself in.

The saga began publication ten years ago and since then has expended to a mind-boggling 16.2 million words, which is equal to 3.7 Wheels of Time, 4.9 Malazan Books of the Fallen and 9.3 Songs of Ice and Fire. The story has been collected into eighteen unabridged "books" for ebook and audiobook purposes, but these books only cover the first half or so of the complete saga so far.

HarperCollins are publishing the first two books in physical format, though for space reasons both books have been split into two volumes apiece. These divide as follows:
  • The Wandering Inn: Book One, Part One
  • No Killing Goblins: Book One, Part Two
  • Fae and Fare: Book Two, Part One
  • Immortal Games: Book Two, Part Two
The first two volumes will be published on 24 September this year, the latter two on 5 November. Presumably the physical publication of further books will depend on how well these initial volumes do.

The remaining books are called Flowers of Esthelm, Winter Solstice, The Last Light, The General of Izril, The Rains of Liscor, Blood of Liscor, Tears of Liscor, The Wind Runner, The Titan of Baleros, Witch of Webs, The Empress of Beasts, Hell's Wardens, Garden of Sanctuary, King of Duels, Lady of Fire, Archmage's Ire and the forthcoming Couriers Outbound. As noted, however, the collected volumes only cover about 40% of the webnovel so far, itself incomplete with the project projected at somewhere between one-third and two-thirds complete (so maybe around half).

All things considered, if the physical versions are successful, HarperCollins may find themselves publishing over 100 physical books by a single author (and not short ones either) to see this through, which will be impressive.
The physical release will also be accompanied by the first canonical map for the series, depicting the continent of Izril, where the titular Wandering Inn is located (outside the city of Liscor in the centre of the continent).

It will be interesting to see if the physical release brings the series to a wider audience and if HarperCollins will be able to bring the entire series to publication.

Judge Dredd: The Complete Case Files - Volume 02

Earth, 2100. Mega-City Two, the vast super-conurbation stretching down the west coast of North America, has fallen victim to a malevolent plague. Mega-City One has developed an antidote, but the airspace over the mega cities is contested, so the only way to deliver the plague is overland, through the radioactive, burned-out wasteland separating the two: the Cursed Earth. Obviously only one man is capable of undertaking this epic journey: Judge Dredd. But whilst Dredd is away, there are those back in Mega-City One taking advantage of his absence...

The first volume of The Complete Case Files introduced the insane techno-hellscape of crime-ridden Mega-City One and its enforcers of law and order, the Judges. It's probably fair to say that volume is not the best introduction to the world of Judge Dredd, featuring as it does overwhelmingly violent action stories designed to appeal to teenage boys in the late 1970s. Subtlety, in-depth worldbuilding and strong thematic development were not high on the agenda, and the franchise showed little of the satirical bite and intelligence that would characterise it at its best. Still, it showed some promise, especially when it delved into Dredd's backstory or moved away from crime-of-the-week capers towards longer narratives, like the Robot Wars arc.

By contrast, Volume 02 is just two massive narratives, with a few one-off stories between, and is immediately much better for it. Much of the first half of the volume is taken up by The Cursed Earth, which runs from Prog #65 to #85, and is the first critically-acclaimed Dredd epic. Heavily inspired by Roger Zelazny's Damnation Alley, it sees Dredd taking a road trip from Mega-City One on the Eastern Seaboard to Mega-City Two on the west coast, bringing urgently-needed vaccines to the sister-city.

Despite being classified as a single saga, the story is really a themed collection of episodes, linked by the device of the journey. Early on Dredd has to deal with mad mutants living in the Appalachians (where Mount Rushmore has been moved for unclear reasons), robotic vampires serving the last President of the United States, Mississippi plantationers using enslaved aliens, a cloned dinosaur theme park in the Rockies where the dinos have escaped and run amuck (did Michael Crichton read 2000AD?), and shenanigans in Las Vegas where the local Judges have gone rogue and become their own Mafia-like gang.

There's definitely a lot more dark satire here than in the first volume, and in fact the volume has to legally omit the most problematic storyline, in which it's revealed the pre-nuclear-war rivalry between local McDonalds and Burger King franchises has escalated into full-scale actual warfare. One infamous scene has a guy dressed as Ronald McDonald executing an employee for spilling a milkshake. Another episode, also omitted, has a mad scientist who looks like Colonel Sanders creating evil creatures based on corporate mascots, including the Green Giant and the Michelin Man. Rebellion did somehow negotiate the rights to use these elements in The Cursed Earth Uncensored edition from a few years ago (now out of print), but The Complete Case Files sadly has to make do without. The episodic nature of the story does mean you don't really notice their absence.

The story is solid, and some of the satire is quite biting, with alien slave Tweak and his story of enslavement in what is effectively the American South (if one reduced to a post-apocalyptic waste) being quite on-the-nose for the late 1970s. We also get a nice amount of worldbuilding by meeting President Booth, the leader of the United States when the third and last world war broke out, and explanations for how Dredd's world evolved out of ours.

If the story has a problem, it can be a little repetitive, goes on a little too long and the defaulting to using explosive ultraviolence to solve every problem can get predictable. Still, the sheer unhinged lunacy of some aspects of the story, like Judge Dredd facing off against a killer mutant tyrannosaurus, is quite entertaining.

The story rolls almost immediately into The Day The Law Died, which ran from Prog 89 to 108. After some odd cases back in Mega-City One hinting that not everything has been running smoothly in Dredd's absence, the city is taken over in a coup by Deputy Chief Judge Cal. Cal initially appears competent, but quickly goes totally insane, enforces the death penalty for the most ludicrous infractions, has alien mercenaries enforce his rule, and appoints his pet goldfish to second-in-command of the city. He neutralises Dredd early on, forcing Dredd to go underground and form a resistance to try to retake the city.

Cal is - fairly blatantly - based on the Roman Emperor Caligula, which may seem random until you remember that the BBC mini-series I, Claudius had been absolutely huge on British TV just two years earlier, with John Hurt on superb form as the deranged Caligula.

The story is again a bit overlong, and suffers a bit from the infamously fractious people of Mega-City One, who normally make the citizens of Springfield, Pawnee and Star's Hollow look quiet and orderly in comparison, going along with Cal's crazy stunts far too meekly. I get the impression the writers agreed and we get a late-story retcon trying to explain how everyone has been put under Cal's spell, but as an idea it's a bit weaksauce.

Instead, the story is mostly an excuse for action and for the development of a larger cast of secondary characters, including the introduction of Judge Griffin, as well as some crazy setpieces and comedic ideas, like Judge Fish, or Judge Schmaltz living up to his name to Dredd's extreme frustration.

By the end of Volume 02 (***½), we're still not up to speed with Dredd at his best, but we're getting closer. The few cases-of-the-week are unremarkable, but the two extended sagas are both solid stories with some great worldbuilding and side-characters. Both stories are probably a bit too padded, and the suspension of disbelief required to accept that Cal would get away with half the things he does before someone shoots him is quite strong, but we're seeing the comic start the development of its satirical bite and darker undertones that will become a much bigger part of its appeal later on.

The Complete Case Files Volume 02 contains almost every Judge Dredd story printed from Prog (issue) 61 to Prog 115 of the comic 2000AD, published from April 1978 to June 1979. Progs 71-72 and 77-78 are skipped because of legal issues (these stories riff hard on MacDonalds, Burger King and Kentucky Fried Chicken, with scant respect for trademarks). The stories are set in the years 2100 and 2101. The writers in this collection are John Wagner, Pat Mills and Chris Lowder. The artists in this collection are Dave Gibbons, Mike McMahon, Brian Bolland, Brendan McCarthy, Brett Ewins, Garry Leach and Ron Smith.

Thank you for reading The Wertzone. To help me provide better content, please consider contributing to my Patreon page and other funding methods.

Wednesday, 25 March 2026

FOR ALL MANKIND renewed for sixth and final season

For All Mankind has been renewed for a sixth and final season on Apple TV+. The news broke just before the release of Season 5 on 27 March.


The show explores an alternate history of the late 20th and early 21st centuries. It starts in 1969 with mankind first setting foot on the moon...but instead of Neil Armstrong, it's a Soviet cosmonaut. Furious at being beaten to the punch, President Nixon orders NASA to double down on beating the Soviets in building a permanent moonbase, orbital space stations and eventually the exploration of Mars. Each season is set in a different decade, showing significant technological and sociological change over the course of decades in this world where the Space Race was not won, but became supercharged.

The show has flown under the radar with the general audience, but has been a quiet hit for Apple TV+ and is, alongside The Newsroom, it's longest-running show since the streamer debuted in 2019.

Whilst For All Mankind is wrapping up, the wider franchise might have longer legs. Launching on 29 May, the same day For All Mankind airs its Season 5 finale, Star City explores the events of the first season or so of the show from the Soviet perspective.

Peter Jackson to produce yet another frankly unnecessary LORD OF THE RINGS film

Peter Jackson has confirmed he is producing a new, frankly unnecessary Lord of the Rings film, to accompany the other new, frankly unnecessary Lord of the Rings film he is already producing.

Jackson is already producing the borderline spurious Lord of the Rings: The Hunt for Gollum, a new film directed by Andy Serkis, who also returns to star as Gollum. The film, set between The Hobbit and Lord of the Rings, will depict the various attempts by the wizard Gandalf and his ally Aragorn to locate Gollum and learn more about his mysterious ring. Despite having minimal source material available, the film will reunite multiple castmembers from the original movie trilogy, though will likely recast the role of Aragorn due to Viggo Mortensen looking twenty-six years older than when he made those films. This film is due for release on 17 December 2027.

Jackson has now confirmed that, having scraped the bottom of the barrel, he has punched right through it and is now halfway to Earth's core with a further Lord of the Rings-branded movie. The Lord of the Rings: The Shadow of the Past will apparently expand on the "missing chapters" from the original film, The Fellowship of the Ring, filling in the section between the Hobbits leaving the Shire and arriving in Bree. In the original novel, this section sees the Hobbits pass through Buckland, the part of the Shire east of the River Brandywine, where they regroup at Crickhollow and touch base with their friend Fatty Bolger (the infamous "fifth Hobbit," who stays behind in the Shire whilst the main crew go on their epic adventure). They then enter the Old Forest, running afoul of Old Man Willow and meeting the enigmatically jovial Tom Bombadil and his wife Goldberry, before being pursued by Barrow-wights whilst crossing nearby moorland. Rescued by Bombadil, they resume their journey to Bree.

The original writing team had expressed regret at having to exercise this material for time and tonal reasons, though co-writer Philippa Boyens noted on the DVD that it's wholly possible the Hobbits still had those adventures, they just happen off-screen in the movie.

Noted Middle-earth fan and shortly-to-be-unemployed talk show host Stephen Colbert will co-write the film with Boyens and Peter McGee, whilst Peter Jackson and Fran Walsh will produce. A framing device will see Sam, Merry and Pippin (presumably a returning Sean Astin, Dominic Monaghan and Billy Boyd, though they are not 100% confirmed) reflect on the "missing episode" from some years after the War of the Ring. This will presumably allow their naturally-aged appearances and presumably CGI de-aged versions for the bulk of the action (where they presumably will need to be joined by Elijah Wood). The project does not yet have a director attached or a release date mooted, though it will need to be some time after The Hunt for Gollum's release in 2027.

Rumours that Warner Brothers are developing a full nine-hour trilogy based on a three-paragraph conversation between Frodo, Bilbo and Gloin at the Council of Elrond cannot be substantiated at this time. Yet.

Age of Mythology: Retold

The cyclops Gargarensis has vowed to shatter the gates to the Underworld and release the Titan Kronos back into the world. To this end he has assembled a vast army and set about this task in Greece. Arkantos, hero of Atlantis, sails to the Greek colonies to lend his aid in the Trojan War. Learning of Gargarensis and his plans, Arkantos forges a coalition with the Egyptians and Norse to stand against him.

Age of Mythology, a magic-and-legends spin-off from the venerable Age of Empires real-time strategy series, was released in 2002 and remastered and re-released in 2014. Following the pattern set by its forebear, Age of Empires II, the game has now been remastered and re-released yet again. We are now in the age of not just the remaster, but the remaster of the remaster.

Age of Mythology: Extended Edition was fine, maybe a bit minimalist as remasters go, with better water effects, tweaked textures and greater support for modern resolutions. But it was also bit underwhelming, with the feeling it could have been much more comprehensively updated. The team evidently agreed and after the barnstorming success of Age of Empires II: Definitive Edition (itself a remaster of a remaster), they came back for another go-around.

Age of Mythology: Retold is now the definitive version of the game. Age of Mythology has always flown a bit under the radar, despite being an enjoyable and characterful real-time strategy game with four distinct factions (the Greeks, Egyptians, Norse and Atlanteans), a splendid interface, a reasonable difficulty curve and superb graphics, which take the painterly, 2D approach of Age of Mythology II and adapt it into 3D with subtlety. I always found Age of Mythology to be a more satisfying arrows 'n' spells strategy game than WarCraft III, whilst some of its updates to the Age of Empires formula are superb. The weakest thing to come from the game is arguably the Tale of the Dragon expansion from Extended Edition, which felt a bit undercooked.

The game itself is pretty standard as far as RTS titles go: you start with a base, in this case a town centre, from where you can train workers who construct buildings and work as resource-gatherers. There are four primary resources: wood, gold, food and faith. The first three are used to build mundane structures and units (a mix of archers, cavalry, infantry and siege weapons) whilst faith is used to train "myth units" (sphinxes, dragons, cyclopses, hydras, frost giants etc) and one-off "heroes" (like Odysseus or Achilles). Resource-gathering is a surprisingly flexible system, with multiple ways of getting resources. For example, food can be hunted (peasants kill chickens, bears or pheasants and use them for food), farmed or gained from the sea by sending out fishing boats, whilst gold can either be mined directly, gained through trade at a marketplace or setting up a trade network between your town centres using caravans.

As usual, you amass armies which you can take into battle. The composition of these armies is interesting, with a rock-paper-scissors mechanic complicated by the deployment of counter-units (pikemen who are marginally effective in infantry battles but devastating against cavalry), so assembling a well-balanced force is essential. Early in a game, units can be fragile, so making sure you get unit upgrades from an armoury to improve armour, attack and resilience to specific damage types, like bludgeoning or piercing is also important. As each game proceeds, you can upgrade to a different age, which unlocks new units and building types.

This is all standard, but Age of Mythology nails the details very well. This was one of the first RTS games that allowed you to automatically task newly-built units (so right click on a gold mine to make all the villagers built after this point automatically go over and start mining), resulting in a very smooth and intuitive playing experience.

In terms of gameplay, Age of Mythology is hugely enjoyable, but it does focus a lot on attack. Whilst some games give you impressive options for defence and turtling, like StarCraft and its bunkers, photon cannons and siege tanks, Age of Mythology's defensive structures tend to be less effective, with walls and towers coming down very easily to enemy action (disappointingly, as the game's wall-building system may be one of the best in any RTS game ever made, allowing you to built elaborate fortifications very easily). The game is at its best when you are constantly engaging the enemy, reinforcing as needed and keeping them on the back foot. Tactically, a fine balance is needed between known when to keep up an attack and when to fall back for reinforcement.

In terms of story, the game has a very silly but enjoyable narrative which mixes up the Norse, Egyptian, Greek and Atlantean legends and stories in a manner that's contrived but fun. The story can't hope to match WarCraft III's beautiful cut scenes and in-game plot twists, but it does know when to butt out and not interfere with gameplay (a lesson other RTS games could learn from, even now) through endless cut scenes and major reversals you can't do anything about. Age of Mythology remains a pretty fair game in that sense.

Retold eliminates many of the previous negatives about the game. AI is dramatically improved, eliminating some of the dumber enemy moves and improving the responsiveness of your units. Pathfinding is dramatically improved.The one-shot god powers have been replaced by cooldown abilities instead. The game leans a bit more into the differences between the factions, making them feel more distinctive. For a game that's almost a quarter of a century old, Age of Mythology feels quite fresh and modern in most respects even before the Retold improvements are accounted for.

Those improvements are significant. The biggest change is the lighting, which is now gorgeous, and the basic elimination of draw distance limitations, making in-game cutscenes (when you are most likely to be gazing across the battlefield) much more attractive. Improvements in textures and rendering make the units and buildings hold up extremely well even at 4K and zoomed-in, but the game remains very undemanding by modern standards, meaning potatoes can run it relatively well (things only start to chug if you set up skirmish matches with the unit cap increased to preposterous levels). There are also welcome improvements to the UI, which is now more intuitive, and the ability to automate resource gathering. You can now set ratios so every new villager you create is automatically assigned to a task (so set an equal ratio and new villagers will automatically be assigned to each resource in turn), though this can also be turned off. Gameplay and balance changes are minor but noticeable: walls feel a bit sturdier than in the base games, and units now automatically use their special abilities rather than requiring direct player intervention.

Content wise, Retold includes the original campaign, divided between the Greeks, Egyptians and Norse, and the Golden Gift mini-campaign for the Dwarves, plus The Titans expansion for the Atlanteans. This is a sizeable amount of content, with a playthrough of the singleplayer campaign content lasting a reasonable 35-40 hours. Two additional, paid-for expansions are also available. Pillars of the Gods is set in China and Yasuko's Tale is set in Japan. Both add an 8-hour-ish campaign and a new faction apiece, obviously the Chinese and Japanese. The Tale of the Dragon expansion is forgotten about here (probably for the best) with the new expansions being much better-written and voice-acted, with more compelling stories and gameplay, not to mention narrative ties to the original campaigns. More content is incoming, with an Aztec-themed expansion due this year, and the occasional addition of new gods, heroes and units for the existing factions.

Age of Mythology: Retold (*****) takes one of the RTS genre's underdogs and turns it into the game it was always meant to be. Twenty-four years after release, Age of Mythology finally realises its potential. The game is available now on PC, Xbox Series S / X and PlayStation 5.

Note: Part of this review was previously published in 2018.

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Saturday, 21 March 2026

Slow Gods by Claire North

Mawukana na-Vdnaze is an unusual man. Born in the Shine, an autocratic multi-planetary government noted for its brutal repression of dissent, he escapes in the most astonishing manner possible, via an FTL jump that goes...weird. Given refuge on another world, he is drawn back into interstellar affairs when a twin star goes supernova, generating an explosion that will render dozens of worlds uninhabitable, including some in the Shine.

Catherine Webb has consistently been one of spec fic's most interesting voices since they launched their career almost a quarter of a century ago. The Matthew Swift sequence (four novels plus two spin-off books), under the Kate Griffin pen-name, was notable as an urban fantasy series with terrific prose, but it's been their long streak of stand-alone novels under the Claire North pen-name which has attracted a much wider audience. The million-selling, John W. Campbell Memorial Award-winning First Fifteen Lives of Harry August was one of the most striking genre novels of the 2010s (and it remains a mystery why it hasn't been adapted for the screen), and the World Fantasy Award-winning A Sudden Appearance of Hope was also very accomplished.

In the 2020s they've shifted gears away from supernatural-tinged time travel and identity-bending fiction into a more heartfelt embrace of genre: the Songs of Penelope trilogy has been a full-bored fantasy-historical sequence, an interrogation of Homer, and now Slow Gods is a full-on, take-no prisoners space opera, the kind of shift in genre and approach that could give other authors whiplash.

Slow Gods starts slow, perhaps fittingly, and takes its time to spool up. Early chapters establish the Shine and the imminent threat of the twin supernova, a threat which is dismissed by some since its consequences will take decades or even centuries to become apparent, and all the people who'd have to make the hard and unpopular decisions to deal with it will be long dead by then, so why bother? Other, less psychotic civilisations swing into action much more dynamically, and how the different species and polities confront this massive existential threat is most interesting.

This is contrasted against Maw himself, whose travel through jump space has rendered him...other. Not quite human any more, capable of unusual acts, possibly dangerous, but also essential for certain tasks. FTL travel in this setting is dangerous, with most starship pilots going insane after just a few jumps, but Maw's condition has given them a very different reaction, potentially highly useful. In the wrong hands this could turn into another superhero story, with Maw's amazing skills spelled out in neon five-mile-tall letters, but Webb uses their formidable experience in crafting damaged, special characters to give Maw a lot more subtlety than that. Maw himself does not know what he's capable of and is not always that interested in finding out. At one point he ponders some experiments to determine the limits of his abilities and concludes he just can't be bothered to try. Maw's characterisation is of someone driven by instincts and goals but whom also finds the idea of fame abhorrent. Maw is simultaneously the most special and ordinary person in the galaxy, which is an interesting take.

The characters around Maw, from quans (quantum intelligences) to members of a telepathic hive-race to more or less baseline humans, are fascinatingly-drawn, and come and go through the story as Maw's travels through space separate them from friends and allies (but also enemies) for decades at a time. The novel is somewhat episodic, with several distinct storylines that sequentially follow before combining into a satisfying narrative whole, bringing the story back to where it began.

The novel is highly accomplished but the opening chapters feel a little hesitant, as if the author was not entirely committed, but this feeling vanishes pretty quickly and instead we get a wide-ranging, human story about identity, loss and hope, driven by Webb's firm grasp of prose and pacing. It's a quiet, sometimes melancholic novel, with occasional bursts of action and moments of vast, profound tragedy.

Slow Gods (****½) is a quietly powerful science fiction novel about the death of worlds that starts slow and acquires an unstoppable, powerful momentum as it goes. It's a highly successful shift in tone and genre for one of our most consistently talented, if perhaps underrated, authors. The book is available worldwide now.

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Person of Interest: Season 1

A decade ago, a genius computer programmer named Harold Finch (Michael Emerson) created the Machine, a powerful AI capable of detecting crimes before they happen. The US government wanted to use the Machine solely to forecast large-scale threats, like terrorism, whilst Finch wanted to use it to help solve everyday crimes as well. Finch still has a line to the Machine, which feeds him the social security numbers of people who are about to be the victims - or sometimes the perpetrators - of crime. With an old injury inhibiting his ability to work in the field, Finch recruits ex-CIA operative John Reese (Jim Caviezel) to assist. Reese, living off the grid and suffering trauma after the death of his girlfriend while he was overseas, reluctantly agrees and finds the work is giving him a sense of purpose again. But their laudable actions soon attract the wrong kind of attention from the police...and Reese's old bosses.

Back in 2011, Jonathan Nolan, brother of director Chris and co-writer on many of his movies, went solo to work on a new procedural TV series, with J.J. Abrams producing. Person of Interest eventually ran to 103 episodes airing over five seasons, attracting significant critical acclaim and wider popularity in the process. It also gave Nolan the springboard to work on Westworld for HBO and now Fallout for Amazon.

This first season gradually eases the viewer into the world and premise. In fact, it might be a bit too gradual. The show spend a lot of its time on its mystery of the week format. The Machine spits out a social security number, Finch does some data-searching and Reese then saves/neutralises the person accordingly. Finch's seemingly infinite hacking skills and Reese's one-man army combat skills overcome almost every obstacle with ease. Complicating matters are Reese being hunted by both the police (represented by Taraji P. Henson's Detective Carter) and various former CIA colleagues.

The show does start to mix things up by bringing in serialised elements, with the hunt for the mysterious criminal mastermind "Elias" and the hacker "Root" forming key story arcs in the latter part of the season, along with the well-meaning Carter getting closer to Reese and Finch meaning they have to consider the risks vs reward of bringing her onto the team. This also leads to the development of the main cast. Just having Reese and Finch with Carter pottering around in a B-plot in the background risks getting a little claustrophobic, hence bringing in recurring characters like Kevin Chapman's Detective Fusco (a dirty cop Reese blackmails into helping him, but later decides to go straight) and Paige Turco's Zoe, a con-artist and political operator, is a good idea. Brett Cullen also recurs as Nathan Ingram, Finch's partner in the creation of the Machine and the public face of its design (hence how Finch is able to operate undercover). Ingram only appears in flashback, in an occasionally surfacing storyline about how the Machine was created.

These ongoing storyline elements make the show more interesting, but are treated with a light touch. From start to finish, the season is primarily concerned with its person-of-interest-of-the-week format and everything else is subservient to that. This means the serialised storylines are usually held off at arm's length which can be refreshing - arguably too many other shows ditch their interesting format too quickly to embrace serialisation, which can devolve into soap opera if the writers are not careful - but also frustrating. Whenever Person of Interest's main story arc starts building any momentum, the show kills it stone dead for another 3-4 episodes of self-contained adventures.

It's fortunate that the self-contained stories are usually pretty good. Reese's one-man army/Batman-without-the-mask spiel and Finch's savant-like IT skills are toned down a bit and complicated by increasingly effective and smarter opponents as the season goes on, to keep things fresh throughout. The serialisation does return with a vengeance in the last few episodes, leading to a hell of an effective cliffhanger that paves the way for the wider-scaled and scoped second season.

The performances of the leads are effective, with Michael Emerson (Lost) especially sympathetic and engaging as the stiff-upper-lipped Finch, whom we learn has made some questionable decisions and is now trying to atone for them. Kevin Chapman makes Fusco likeable and loathsome by turns, and Taraji P. Henson is engaging as Carter, at least after some initial abrasiveness in the character is toned down a bit. More of a mixed bag is Jim Caviezel as Reese. Caviezel seems to have trouble settling on a tone for the character, which to be fair is reflected in the writing. It's very easy to take a character who's supposed to be reserved, analytical and stoic and make them just dramatically inert instead, and the writers and Caviezel make that mistake a few too many times. Whenever Caviezel is stretched with material delving into his character's past or requiring more emotion, he can be quite good, but there's a few too many episodes where he comes across as checked out. Still, he's never terrible.

The show is often mentioned in the same breath as another Abrams project from the same time, Fringe. Both shows are contemporary dramas with science fictional themes laced into them (Fringe much more obviously so, and more upfront), and both shows start off as almost rote procedurals until the creators feel confident to slam down the accelerator on the main story arc, where the shows promptly improve and become more compelling. Both shows also last for five (well, four-and-a-half) seasons. Interestingly, whilst Fringe only ever did okay at best and was on life support for at least its last two seasons, Person of Interest was a much bigger crossover hit and enjoyed a larger viewership, which tailed off significantly towards the end. Both shows are also have a reputation for being somewhat underrated, and have pretty well-regarded endings. The similarities end there, as their stories and aesthetics are quite different, and I do have to say that Fringe after its first season felt like its main story arc had engaged more decisively and interestingly than Person of Interest's.

Still, Person of Interest's first season (***½) starts okay and quickly becomes quite strong, even if Caviezel's performance and the writing can be a little uneven throughout. Both the serialised plots and the stories-of-the-week can be quite good, and the other castmembers are excellent. The tail end of the season hints at a much bigger, more epic story unfolding behind the scenes as well, providing a good impetus to carry on. The show is available on physical media and streaming worldwide.

Thank you for reading The Wertzone. To help me provide better content, please consider contributing to my Patreon page and other funding methods.