“If you want me out, you’re gonna have to cut me yourself, sir.” — Tracy Stevens in “For All Mankind”
It’s kind of nice when a TV series surprises you.
When I say “surprise,” I’m not necessarily referring to a bunch of twists, turns, and shocking cliffhangers you don’t see coming — although, the series I’m talking about has plenty of narrative loops to keep you intrigued throughout.
The Apple TV+ series “For All Mankind” looks at the early days of the “space race” through an alternate history lens.
Instead of Neil Armstrong being the first man to step foot on the moon in 1969, “For All Mankind” imagines a world where Soviet cosmonaut Alexei Leonov is the first man on the celestial body.
That wrinkle sets into motion a series of events that forever changes the global space race between the United States and the U.S.S.R.
More to the point, the space race becomes the arena where the Cold War is fought, and NASA’s de facto role finds the agency developing technologies in a tit-for-tat tussle with the Russians for interstellar supremacy.
Going into “For All Mankind,” I was expecting a schmaltzy bit of revisionist history — a story that leaned on nostalgia for the early days of space exploration as its hook. I wasn’t expecting a lot of depth.
I was wrong.
My initial perception was incorrect and the narrative structure is so much more than the promos led me to believe.
Much in the way a period drama like “Mad Men” used "midcentury advertising” to explore the socio-political issues impacting the country in the 1960s and 1970s, “For All Mankind” employs a similar technique as it explores the lives of the men and women working in the space program.
Sure, things can get a bit melodramatic at times. That said, watching the lives of the people behind the NASA program in the series (told from personal and professional perspectives) makes for a pretty compelling drama.
“For All Mankind” was the brainchild of Ronald D. Moore.
Moore is a screenwriter and producer whose talents have been on display in TV series like 1990s-era “Star Trek” and the wildly popular 2000-era reboot of “Battlestar Galactica.”
While the visuals and set design are immersive in “For All Mankind,” it is the human drama that kept Bridget and me tuning in. We see fictional characters intermingling with historical figures in a way that brings a sense of verisimilitude to the episodes.
I found a number of the characters to be interesting.
In particular, the two couples at the core of the show’s main plotline anchor the drama.
Astronaut Ed Baldwin (Joe Kinnaman) and wife Karen (Shantel VanSanten) epitomize the straight-arrow, WASP-y families found in postwar suburbs across the U.S. in the 1960s.
Acting as a counterpoint to the Baldwin clan is Astronaut Gordo Stevens (Michael Dorman) and wife Tracy (Sarah Jones). Gordo’s philandering ways harm his marriage, and his restless wife is yearning for a path beyond that of a stay-at-home mom.
As we watch the interplay between these couples and their families, we see characters who are allowed to change and evolve as the first season’s 10-episode arc progresses.
At the beginning of the first episode, the couples seemed like they were in place to serve an archetype of the period. But as things moved along, it was nice to see each of those four characters “breathe” (narratively speaking). They became multi-dimensional as a result.
While both of those couples anchor the show, it is the supporting cast that gives “For All Mankind” its flavor. There are a number of good performances during the first season.
In particular, I thought Lenny Jacobson’s performance as Wayne Cobb (an affable counter-culture artist in the series) was particularly good. I don’t want to talk too much about the performance (because I don’t want to reveal any spoilers), but smaller roles like his made the first season interesting.
I also enjoyed Wrenn Schmidt as NASA engineer Margo Madison. Her character is quietly intense as she navigates politics and social norms of the time as the first woman in Mission Control. When the series begins, we learn that she has been mentored by Wernher Von Braun (Colm Feore). As the series progresses, she pays that tutelage forward when she takes Aleida Rosales (Olivia Trujillo) — the daughter of a NASA custodian — under her wing.
“For All Mankind” has certain elements that will remind viewers of movies like “Apollo 13” and “The Right Stuff,” as well as TV shows like 1984’s “Call To Glory.”
The show’s main title is composed by Jeff Russo. Russo has had a fairly prolific career (primarily composing TV theme songs). His credits include opening themes for properties in the “Star Trek” franchise (he most recently composed the theme for “Star Trek: Picard”).
The title track he composed for “For All Mankind” sounds like it could be a “Star Trek” score (it is both epic and inspiring):
The show’s soundtrack also features recognizable pop songs from the 1960s and 70s. The first season of “For All Mankind” spans the period of time between 1969 and 1974.
As I mentioned earlier, the show strives for an authentic look and feel. This featurette dives into the production design for the first season. Set designers had access to actual tools used by NASA during the era, and the show’s costume designer thumbed through old Sears Catalogs for inspiration:
Overall, I thought “For All Mankind” was an engrossing drama. I went in with lukewarm expectations and was surprised how much I enjoyed it.
I’ve praised other offerings on Apple’s budding streaming service, but this is one of the best in the lineup. There is a lot to like in the first season.
By the way, be sure to watch through the end credits of the final episode (Episode 10 “A City Upon a Hill”) for a post-credit “Easter egg.”
I’ve written several posts on this blog about Apple, my love of the company’s products, and the new streaming service Apple TV+.
For me, each new announcement and presentation is something akin to Christmas Day.
Because of COVID-19 global pandemic, Apple changed its annual World Wide Developers to a “virtual” gathering online — making the conference free this year.
Because the company’s keynote is a stage-based production, I wasn’t sure how this year’s event would feel.
As many pundits Tweeted during the keynote (including myself), the production value on the event was pretty slick, and very informative.
Sadly, there weren’t any hardware reveals or teases this year (I was excited to see a redesigned iMac), but there were a number of details on upcoming software updates for iOS 14, iPadOS 14, TVOS 14, and macOS Big Sur. Along with the enhancements to the core software, Apple outlined its desktop/laptop transition from Intel’s x86 processors to their own custom processors, dubbed “Apple Silicon.”
Here are my five favorite highlights from the event:
WIDGETS ON THE HOME SCREEN IN IOS
A number of the Apple-focused rumor sites, YouTubers, and bloggers have had concept photos of the next iteration of iOS showing widgets of various shapes and sizes on the Home Screen of an iPhone (among the typical grid of apps).
(This is where Android users make snarky comments about this feature being available on their phones for years.)
Apple Senior Vice President of Software Engineering Craig Federighi demonstrated this new ability during his iOS 14 presentation at WWDC.
Users will be able add things like Weather and Calendar widgets to their Home Screen and place them to their liking among the app icons — and they can be sized to a user’s preference.
The Home Screen has long needed to be more useful and customizable (much in the way a user can customize the complications on various Apple Watch faces).
Quite honestly, I haven’t spent a lot of time swiping to look at the Today View on my iPhone, so I’ll be happy to have the ability to use widgets in a more useful way.
Apple has also implemented something called a Smart Stack that allows users to scroll through several widgets on the Home Screen. You can either do this manually, or the Smart Stack can change the widget automatically based on the time of day you’re looking at your iPhone.
APP CLIPS
I’m a person who doesn’t like to have a lot of apps on my iPhone.
I like to limit it to those I use the most. Part of this mindset came a decade ago when I had phones like the HTC Droid Eris and the iPhone 4s. Both devices had fairly small hard drives, so I tried to keep my phones “fit” as I went along.
Obviously, smartphones today have infinitely more storage, faster processors, and bigger batteries.
Be that as it may, my “daily driver” is an iPhone 6S Plus (a device that was released in 2015), so process-hungry apps are still a focus for me as it regards battery life on an older device.
In my mind, one of the more irritating side effects of app development is when you are “out and about” somewhere and find out you need to download an app to be able to do something.
An example of this might be a parking meter that requires an app to pay the fee (the University of Nebraska at Omaha has this setup in front of Milo Bail Student Center).
When we’ve eaten at Qdoba over the past year or so, we’ve been told that we can only use the reward programs if we download their app.
To be perfectly honest, I don’t really relish installing software when I’m away from home. I don’t want to do it on public wifi, and I don’t like doing it using our cellular service.
Apple has come up with a solution to appease people like me with its new App Clips feature in iOS 14.
Federighi described the functionality as the right app you need at just the right moment.
An App Clip is a small part of an app. It’s light and fast and easy to discover.
So, if you are at a parking meter that requires an app for payment, App Clip will open and allow you to pay using a portion of the app (without requiring users to download and install the entire app).
There will be a number of ways users can access App Clips. Apple has also developed what it calls App Clip Code (something akin to a QR code) that they’d like entities to have on display so people can scan them with their iPhones.
APPLE TV+ ADAPTATION OF ISAAC ASIMOV’S “FOUNDATION” SERIES
I’ve been an Apple TV+ subscriber for a few months now, and have started reviewing a number of the service’s original programming offerings on this blog.
So far, I’ve been pretty impressed.
At WWDC, Apple showed a sizzle reel and teaser trailer for its upcoming adaptation of science fiction scribe Isaac Asimov’s “Foundation” series (an epic drama encompassing various stories and novels).
I’ll admit, I’m not at all familiar with Asimov’s “Foundation” series (but it sounds amazing).
The Apple TV+ adaptation is helmed by David S. Goyer. Goyer served as a screenwriter on Christopher Nolan’s “The Dark Knight Trilogy.”
In the teaser, Goyer mentions that the “Foundation” series influenced “Star Wars.” The early images of Apple’s new series certainly look epic in scope. I’m very excited to see if the narrative matches the visuals.
I’m hoping it turns out to be a “must see” program on the Apple TV+ service. The series won’t debut until 2021. In the meantime, here is the trailer that debuted at WWDC:
INTERFACE ENHANCEMENTS TO MACOS
The upcoming iteration of Apple’s venerable Mac operating system is called macOS Big Sur (sticking with names of scenic wonders around California).
With this release, Apple has ditched the 10.x numbering scheme for the first time since the NeXTSTEP-based operating system (built from technologies acquired from Steve Jobs in 1996) debuted in 2001. Instead of being called macOS 10.16, this version will be MacOS 11.
With Big Sur, Apple continues the trend of making the desktop interface look more like iOS.
Interface tweaks and enhancements don’t normally get my heart racing, but the overall look and feel presented in Big Sur signals increased integration between macOS, iOS, and iPadOS.
There is more translucency in Finder windows and the Menu Bar at the top of the screen.
Moreover, they’ve added a Control Center to macOS 11 that is basically a thematic counterpart to the Control Center on iOS and iPadOS devices.
It is interesting to see the new app icons in Big Sur. Apple has adopted the “squares with rounded corners” look from iOS for the built-in apps in macOS 11.
My friend Jason Combs Tweeted during the keynote that it is becoming harder and harder to distinguish between Apple’s various operating systems. That is indeed true, and macOS 11 takes things several steps further toward a unified experience. One other note: While it isn’t an interface change, per se, Apple has brought back the “startup chime” in macOS Big Sur (it was removed from macOS in a 2016 update). You’ll be able to toggle it on and off in System Preferences.
APPLE’S TRANSITION TO ARM PROCESSORS IN UPCOMING LAPTOPS AND DESKTOPS
Speaking of efforts to create a “unified experiences” among its various product lines…
Reports have swirled for years about Apple shifting its laptop and desktop lineup away from Intel’s x86 processors in favor of its own silicon (based on the “A” series chips powering iPhones and iPads) using ARM (Advanced RISC Machine) architecture.
They are referring to these new processors as “Apple Silicon” (lets hope they have a better name in the future).
Despite strong indicators Apple was headed in this direction, some prognosticators wondered if it would ever happen.
The rumors have finally come true. It is happening.
I’ve solely used Apple computers throughout my life (the brief exceptions being a couple courses in college that used DOS terminals and desktops running Windows 3.11).
My first experience using a personal computer was in 1982 when I took a summer school course that taught Applesoft’s BASIC programming language on Apple II computers.
I was a 9-year-old at the time (weird to think I learned to program lines of code at that age).
Over the years, I grew to love the Apple II and the various models of Macintosh computers I used (both personally and in my business).
When Apple announced a shift from PowerPC processors in 2005, they outlined an aggressive roadmap to move the entire Mac lineup to Intel processors (an effort that was complete by the end of 2006).
That transition saw software developers make what were called “Universal” apps (that ran on both PowerPC and Intel-based Macs) and introduced an emulation environment called “Rosetta” (that would run PowerPC apps — that had not recompiled — on the new Intel Macs).
Both technologies were designed the ease the transition between platforms.
Here we are — 15 years later — and Apple has announced a new transition that feels oddly similar to the one that took place in 2005.
In the coming months, developers will be able to make “Universal 2” apps (that will run on existing Intel-based Macs and the upcoming "Apple Silicon” Macs).
Apple will also include emulation software in mac OS 11 Big Sur called “Rosetta 2” (that will run Intel apps that haven’t been recompiled on the new "Apple Silicon” Macs).
As I watched the WWDC presentation on this switch, it was fascinating to hear Apple using similar messaging to the talking points Steve Jobs used during the 2005 transition.
I’m pretty excited to see what Apple is able to do with its desktop-class computers once they control the entire software/hardware experience. I have a feeling that the power-to-performance ratio will improve dramatically with Apple using its own silicon to power these machines.
Because Apple has been so dependent on Intel’s roadmap the past 15 years, it has becoming increasingly difficult for the engineers in Cupertino to create innovative machines for its pro users.
Intel’s struggles in recent years have been widely publicized. Making matters worse for Intel have been the advances AMD (Advanced Micro Devices) has made with its processor technology (some Mac users were hoping Apple would switch to AMD processors in its Mac lineup).
I know transitions like this can scare users, but I really think it is a positive development for Apple. Having lived through the previous transition (and having used PowerPC and Intel computers in our business during that time), it wasn’t as problematic as people have made it out to be.
As long as software developers retool their apps in the new version of Xcode (creating apps that use the Universal 2 binaries), users on both platforms should be fine.
Native versions of Microsoft Office and Adobe Photoshop were shown running on a new ARM-based Macintosh computer. Apple also showed a resource-intensive, Intel-based videogame (that hasn’t been rebuilt for the new architecture) running surprisingly well in the Rosetta 2 emulation environment.
Since many software companies have shifted to a SaaS model (software as a service), a lot of us have to “rent” productivity suites, like Adobe’s Creative Cloud suite of applications. The days of purchasing software with “perpetual” licenses is quickly becoming a thing of the past.
As a result, the idea of shifting to a new platform is a lot less intimidating than it was in 2005.
When you pay a monthly fee for your software, you’re not worried about having to fork over a couple thousand dollars for an upgrade when you purchase a new computer. The upgrades are included in the subscription fee.
Big players like Adobe and Microsoft have already been building new versions of their core software assets (as Universal 2 apps) that will run on existing Intel-based systems and Apple’s new ARM-based Macs.
Apple says the first of these news Macs will be available later this year, and that the transition will be complete in two years. I’m intrigued to see where things go from here.
FINAL THOUGHTS
In addition to the five items I highlighted, there is a whole lot more that is worth unpacking from this year’s WWDC keynote.
My post scratches the surface of the enhancements and refinements Apple is gearing up to offer in upcoming software and hardware releases.
One of the technologies previewed (that I didn’t highlight) is the new handwriting feature in iPadOS 14 called Scribble.
Scribble allows users to do more with the Apple Pencil on iPad devices that support it.
For example, you can sketch a basic shape (like a star) and the underlying programming can create a “cleaned up” version of your rough sketch.
Scribble allows you to use the Apple Pencil to input text in form fields outside of apps that typically support handwriting and drawing.
Safari is one such app. Apple Pencil users will be able to write terms in the search bar in Safari. The browser will then convert that to typed text and complete your search.
Another nice feature is the ability to take blocks of handwritten text in a note, highlight them, and select “Copy as Text” so you can paste the block into another application (such as Microsoft Word).
It will be interesting to hear how this feature works as people test the beta releases of iPadOS 14.
I know this post was more technical and “jargony” than the content I normally write on this blog. Since Apple is such an integral part of my marketing communications business — and my daily life — I wanted to share my thoughts on the news from Apple’s 2020 WWDC.
It’ll be fun to see where things go from here! To learn more about the technologies and projects featured in this blog post, visit www.apple.com.
I’ve written a bit about the content on Apple TV+ since it debuted last November and am trying to work my way through the service’s content offerings.
The new docuseries “Home” takes a look inside interesting homes across the globe (and the people behind their design).
To be honest, when I first saw the trailer for this nine-episode series, I thought it looked like things I had seen in the past on outlets like HGTV.
It turns out that “Home” has a pretty unique vibe. If you’re a fan of clever design, you might want to check it out.
In many respects, the series is more about the people “behind” the homes featured than it is about the homes themselves. At times, the series also takes a look at how a home can help define the individuals that live in it.
The first season’s episodes (each running about 30 minutes) were supposed to debut at the 2020 SXSW Film Festival. Due to the event’s cancellation (prompted by the COVID-19 pandemic), the series premiered on Apple TV+ April 17.
There are a number of highlights during the first season.
The first episode, titled “Sweden,” focuses on the Solvarms, a family in Sweden that lives in a log house that is built inside a greenhouse (a “naturhus”). The home (built by family patriarch Anders) provides a climate that is something akin to that of a Mediterranean country like Italy. As a result, growing season is double what is typically realistic in Sweden.
In addition to a more temperate climate, the home is engineered to reuse waste water to irrigate plants.
As interesting as the house is itself, the Solvarm’s family dynamic is just as much a focus of the “Sweden” episode. In particular, the story of autistic son Jonatan and how he has carved his own unique place within the home’s confines illustrates the power of creative architecture.
Another fun entry in the first season is titled “Hong Kong.” The episode profiles architect Gary Chang, whose “Domestic Transformer” apartment has a design like a Swiss Army Knife, maximizing the domicile’s 344 square feet.
Chang grew up in the apartment and purchased it in 1988 (for $40,000 U.S. dollars).
“These days, people explain your home in terms of the area,” Chang says in the episode. “To me, it’s totally irrelevant because it’s really about the distance between the family and between the furniture that is more important to realize.”
He believes luxury is in the details of your home and the way you use it. There are also some innovative technologies showcased in “Home.” For example, in the episode titled “Mexico,” we see houses being built for impoverished families in Nacajuca, Tabasco, Mexico. A startup called ICON (housed in Austin, TX) uses 3D printing technologies to build the homes (they work in conjunction New Story, a non-profit located in San Francisco, CA, that builds homes in poverty-stricken communities). The 3D printer ICON uses pumps out layer-upon-layer of a special cement mix that won't slump and hardens quickly. The process is something akin to layering frosting accents on top of a cake.
It is a fascinating way to build a home. While the homes are utilitarian in nature (the ultimate goal is to give the populace a home with walls, running water, and electricity), there is something attractive and novel about the layered aesthetic. “Home” reminds me a lot of the modern-living magazine I used to subscribe to called “Dwell.” I love that magazine and enjoy the publication’s editorial focus on interesting ways of living in the modern world.
(I really wish that Apple would start offering service bundles. I’d love to revisit “Dwell” digitally via an Apple News+ subscription, and it’d be terrific to have as part of a discounted bundle with Apple TV+.) Alternative forms of home design is a topic that appeals to me. The average home size has nearly tripled in the United States since the 1950s, and a growing segment of the population is rethinking their home-buying priorities. (My 2016 blog post “A Tiny House Transition” profiles an Omaha, NE, couple that attempted a tiny house lifestyle)
Some of the first season episodes of “Home” are stronger than others (I found the eighth episode titled “Malibu” to be less than compelling).
I think a series like “Home” has a lot of potential going forward. The show fits the unique direction Apple has been cultivating in its streaming service (something I’ll explore in a future blog post).
I think it would be interesting to see Apple develop other series in a similar vein that looked at industries like graphic design and product design. But maybe that direction would be too close to the Netflix series “Abstract: The Art of Design” (a show I recommended in my blog post “Three ‘Under-The-Radar’ Series Worth Binging”).
Overall, I found “Home” to be a pretty interesting addition to the nascent Apple TV+ lineup of original programming.
If you’d told me a month ago that “Mythic Quest: Raven’s Banquet” would be the show that would motivate me to subscribe to Apple TV+, I would have said you were crazy.
In that review, I wrote “I’m wary” as it regarded Apple’s foray into subscription services (which also includes a beefed up news offering, a video game arcade, and the company’s branded credit card).
Because Apple TV+ is focused on “originals only” (something the marketing team has tried to pimp as a virtue), I was skeptical about whether they’d be able to develop enough compelling programming to keep subscribers interested.
I’m still skeptical (based on the current lineup), but Apple has a winner in the new workplace comedy “Mythic Quest: Raven’s Banquet.”
The series focuses on a fictitious video game development company with the “highest grossing multiplayer role-playing game of all time” (called Mythic Quest… obviously!). The game is played in 20 countries on six continents.
As the first season begins, the team is getting ready to launch Raven’s Banquet — an expansion pack for the game.
Before I go any further, I should note that you DO NOT have to be a “game geek” to enjoy the series. I haven’t played video games since I parted with my PS2 several years ago, and haven’t delved into the current generation of games at all.
The joy of the nine-episode first season lies in the quirky characters and dysfunctional workplace dynamic seen in the show. It’s all done with a light touch and the show has some genuinely funny moments.
The tone of the show is sort of a whisked-together mix of the NBC show “Community,” HBO’s “Silicon Valley,” and the 1999 movie “Office Space.”
The ringleader of the “Mythic Quest” team is Ian Grimm (Rob McElhenney) — a creative director who exudes an oddly charming “God complex” as he perpetually pushes his vision for the game. McElhenney imbues a sort of an everyman Ryan Reynolds vibe. (Bridget called him a “poor man’s Ryan Reynolds.”)
As Grimm tries to navigate the ever-changing world of the game, he’ll use pithy phrases like “just let me noodle” to describe his creative process.
The game’s lead engineer is Poppy Li (Charlotte Nicdao) — a plucky hipster who serves as a foil to some of Grimm’s more grandiose plans (the interplay between Li and Grimm is one of the show’s strengths).
The executive producer of the game is David Brittlesbee (David Hornsby) — a Ms. Pac-Man-loving, straight-arrow manager who sports a ’stache that looks like it jumped out of an 80s detective show.
The head of monetization is Brad Bakshi (Danny Pudi) — an aloof bean counter concerned about maximizing the game’s revenue potential. One of his contributions to the game is the MQ Grand Casino (referred to as “an artless money grab that has no connection to the game”).
(I loved Pudi as Abed Nadir on “Community”… ).
The main slate of characters is rounded out by C.W. Longbottom (F. Murray Abraham). Longbottom is a washed-up science fiction writer (winner of the 1973 Nebula Award) who builds the narrative structure for the game. Ian met him at a state fair where he (Longbottom) was selling rotisserie chicken.
(A look at the character’s bookshelf in the second episode shows his bibliography of novels — including one called “Dances With Elves”).
Highlight episodes for me were Episode 3 (“Dinner Party”) and Episode 5 (“A Dark Quiet Death”).
The third episode had me chuckling in quite a few spots. It was definitely a novel take on crisis management in a 21st century tech company. Since we provide PR services in our business, we could sympathize with “Mythic Quest’s” trod-upon community relations expert Sue (Caitlin McGee).
A number of fans online have talked about how good the fifth episode is, and I wholeheartedly agree with that sentiment.
It is a tonal/narrative shift from the other eight episodes in the first season, and features “New Girl’s” Jake Johnson as the developer of a video game called Dark Quiet Death. The episode builds an emotional core for the first season, and illustrates the melancholy side of partnerships in business. It’s a really terrific story.
The series was created by “It’s Always Sunny in Philadelphia” writers Rob McElhenney, Charlie Day, and Megan Ganz.
My friend Jason Combs recommended “Mythic Quest: Raven’s Banquet” to me shortly after it dropped on Apple TV+, and I’m glad I checked it out.
There were a number of interesting supporting characters in the first season. Game testers Rachel (Ashly Burch) and Dana (Imani Hakim) added dimension to the series. David Brittlebee’s assistant (and the company’s newest employee) Jo (Jessie Ennis) provides moments of levity as a slightly unhinged fan girl of Ian Grimm. Snarky programmer Michelle (Aparna Nancherla) adds… well… snark.
The show manages to poke fun at the trappings of millennial life as it regards the so-called “influencers” in pop culture. Many of these moments are played out via a 14-year-old gamer known as “Pootie_Shoe” (Elisha Henig) — a live streamer with over 10 million followers who can determine the success (or failure) of a video game with one flippant comment.
I also want to mention how much I enjoyed some of the fun cut scenes and interstitials that were included in the structure of the show. Video game maker Ubisoft is one of the series producers.
Bridget and I breezed through the first nine episodes of “Mythic Quest: Raven’s Banquet” in a couple days. The first two episodes are available for free (without a subscription) on Apple TV (via the website or the app) if you’d like to check it out for yourself.
It can be a crapshoot recommending comedies since it is a genre that appeals to specific tastes. I’ve had an affection for workplace comedies like “Community,” “Parks & Rec,” and “Superstore” for quite some time, so this show was right up my alley.
We had a good time watching the first season. It was irreverent, charming, and a lot of fun. With all the craziness going on in the world right now, I think you’ll enjoy escaping into “Mythic Quest: Raven’s Banquet” too.
