Dinkles possessed by the Loki Master, though Croid remained unaware of the evil spirit living within Mr. Dinkles' body. Still possessing Mr.
Dinkles, the Loki Master tried to steal Dr. Croid's plans for the Protomorphic Energy Extractor to extract the "energy" from Mr. Dinkles, but was discovered by the doctor's partner, Dr. Nevo Binklemeyer. Rather than kill him, the Loki Master forced Nevo at gunpoint to aid him in finding the most dangerous species in the galaxy for his kind to possess with the Energy Extractor.
When Ratchet, Clank, Qwark, and Dr. Nefarious arrive to stop Nevo believing him to be the villain , the Loki Master uses the technology to free himself from Mr. Dinkles and possess a giant Grivelnox to destroy them. After being removed from its host, the Loki Master attempts to possess Qwark, but is punched aside by Dr. Nefarious and left to die with no host. Ephemeris , also called the Creature Collector , is an interstellar machine built by Dr. Croid to find Mr. Dinkles after he goes missing.
However, under orders of the Loki Master that possesses Mr. Dinkles, it is reprogrammed by Croid's assistant, Dr. Nevo Binklemeyer, to collect the most dangerous species in the galaxy for the Loki to possess. After the demise of the Loki Master, Ratchet thinks of using the gigantic droid to fly back to Luminopolis after Nefarious and Lawrence steal the ship used by Cronk and Zephyr.
What happened to Ephemeris after All 4 One is unknown. Initially living in the Bogon Galaxy during Going Commando , he confronts Ratchet and Clank and blames them for Qwark's fall from glory, though he is appeased when Ratchet offers his a Qwark figurine albeit one previously pulled out of a sewer pipe by The Plumber. Over the years, Stuart became more and more embittered at seeing how the galaxy would always forgive Qwark in spite of his many, many scandals and mistakes, and he ultimately lost all faith in his idol.
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Seeking revenge, he eventually decided to frame Qwark for messing up his childhood and hired an army of Grungarians to aid in his plans. Stuart Zurgo is eventually confronted and defeated by Ratchet, Clank, and Qwark, who all proceed to bring Stuart to Galactic Authorities.
In Into the Nexus he appears a statue in the Museum of Intergalactic History and it is mentions ed that he has been sentenced to a fate worse than Zordoom Prison for his crimes: 50 years of living with his mother Lucille. Vendra Prog and Neftin Prog voiced by Nika Futterman and Fred Tatasciore are members of a race called Nethers, who exist in an alternate dimension called the Netherverse, and their primary goal is to allow the Nethers to enter into the Polaris Galaxy.
Vendra is considered the brains of the pair and primarily uses telekinesis to attack, while her brother Neftin is the muscle who favors brute force. At the beginning of the game, Vendra is imprisoned for questioning in regards to Neftin's whereabouts, but Neftin breaks Vendra out of prison with the help of ThugsLess. Using a Dimensionator of their own creation, they are then able to allow small numbers of Nethers out of the Netherverse so that they can weaken the dimensional fields enough to let all of them out, including their leader.
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However, the Nether leader betrays them and throws Vendra into the Netherverse while the Nether hoards attack the galaxy. Unwilling to leave his sister behind, Neftin begs Ratchet and Clank to save her and agrees to let themselves be arrested in exchange for their help in stopping the Nethers. After retrieving the original Dimensionator from its display at the Museum of Intergalactic History, Clank enters into the Netherverse and rescues Vendra while Ratchet fights and defeats the Nether leader.
At the end of the game, Neftin uses the Dimensionator to banish the Nethers back to their dimension, then keeps his word to Ratchet and turns himself and Vendra over to the authorities despite Vendra's protests. He is a Technomite, which are said to be the very creatures that made technology possible. However, while he claims that he dislikes how his kind are ignored, his true intentions are purely based on a hunger for power.
Originally, Otto had created defective technology which killed Qwark's parents, and also sent a fake e-mail to Qwark so he thought that Otto was his real father. Otto's ultimate creation was a device which could transfer another creature's brain cells into him. Before Captain Qwark could use it as revenge despite not knowing or caring about its function or effects , his pet monkey Skrunch interfered and it resulted in Otto having a monkey mind, to which Clank humorously states that Skrunch "just added another family member".
Luna voiced by Nicole Sullivan , initially introduced as a young, innocent girl doing a report on heroes who gets kidnapped later on by robots, is in fact a robotic puppet itself, built by the Technomites as bait for Ratchet and Clank and to capture footage of their actions. Normally speaking with a childish lisp as part of its disguise, it is capable of speaking in a normal adult female voice and then in a male Technomite voice. The puppet is later destroyed by Ratchet and Clank on Dayni Moon while using a farming vehicle to attempt to destroy them.
Darla Gratch voiced by Sylvia Aimerito is a female robot works as a news reporter for Channel 2 News first game only and later Channel 64 News in Going Commando and Up Your Arsenal , she is often seen reporting on planets in rather inconvenient times and does not seem to be aware of the chaos in her surroundings, this leads to her becoming an easy target to any creatures that would sneak up behind her and attack. He is portrayed as a good manager but very absent-minded, and frequently uses malapropisms or made-up words such as "imbeciliac", "cratefule or "soretainly". Fizzwidget hires Ratchet as one of Megacorp's Commandos and tasks him with recovering a stolen Experiment later called the Protopet.
Upon Ratchet's along with Clank rescue of it, Fizzwidget meets him and Clank on a desert planet but lands his ship on theirs, although he offers to give them a ride in his ship. As they take off, Fizzwidget "accidentally" presses a button that sends Ratchet and Clank up out of the ship and they both fall into a volcanic cavern. With the Experiment back in his hands, Mr. Fizzwidget begins to mass-produce the dangerous creature.
At the end of the game, it is revealed that "Fizzwidget" is really Captain Qwark in disguise the malapropisms and made-up words being a mistake on Qwark's part and is behind all the events of the game. The real Fizzwidget is shown at last following the Mutant Protopet's defeat and thanks Ratchet and Clank for saving the galaxy. Fizzwidget made a minor non-speaking role in the third game, being shown watching the premiere of Secret Agent Clank.
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Tom Bramwell of Eurogamer said that Fizzwidget "may not be the Captain Qwark successor fans will be after, but will still raise a smile in all but the angriest of gamers when he presents some of his fascinatingly incoherent but salvageable tirades. A small robot with a crush on Clank, the Female Infobot appears in Going Commando in her attempts to get Clank's attention.
Near the end of the game, she shows Ratchet and Clank the reason why: she was a witness to Captain Qwark as he talked about his plans to "save" the Bogon Galaxy by creating a disaster. She is then shot by Fizzwidget, who reveals himself as Qwark. The Infobot is later repaired and appears in the ending, where she gets to spend quality time with Clank. In the comic series, he is kidnapped by his former friend Artemis Zogg and forced to work in his mines on Planet Zaurik. At one point, Zogg boasts of his noble intentions to the President, who responds by calling him a villain worse than Tachyon and Nefarious.
In all of his appearances, he is always hiding behind a booth presumably due to his reputation as a black market salesman , leaving only his eyes visible. He is also present in several booths on different planets in Size Matters , selling weapon mods. Slim Cognito makes another appearance in Secret Agent Clank , where he appears in Prison Planet having been sent there for all those times of selling black market merchandise to Ratchet and gives Ratchet a code so that Clank can enter a high-stakes room in Les Paradis des Trechuirs Casino.
In return, Slim asks Ratchet to protect him from the other inmates, who "wanted to see him expire for selling them shoddy merchandise". He is also mentioned in Tools of Destruction as an inmate of Zordoom Prison. In the game, Slim's identity is shown. He is a Rilgarian working in the black market who builds Ratchet the illegal and dangerous RYNO superweapon after collecting all the plans. The Galactic Rangers voiced by Michael Bell and Chris Hatfield are robots who fight alongside Ratchet who they consider their sergeant in the battlefield missions throughout Up Your Arsenal. They are often cowardly, preferring to let Ratchet take care of the enemies himself.
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In some missions, they can be heard joking about previous missions over the radio contact. Likewise, they also reward Ratchet with new gadgets for helping them out in their missions. During the final battle with Dr. Nefarious, a number of Galactic Rangers with stronger weapons appear and help take out several enemies, clearing Ratchet's path to the doctor.
The Galactic Rangers also appear in the comic series assisting Sasha Phyronix. Exclusive to the re-imaged projects, Cora Veralux voiced by Bella Thorne is a young Markarzian who is the youngest recruit of the Galactic rangers. She was born and raised on the planet Novalis. Exclusive to the re-imaged projects, Elaris voiced by Rosario Dawson is of an unspecified species who is a member of the Galactic Rangers. She serves as Captain Qwark's second-in-command and provides support through the comm station.
Exclusive to the re-imaged projects, Brax "Brute" Lectrus voiced by Vincent Tong in the film, Mick Wingert in the video game is an unspecified reptilian species who is a member of the Galactic Rangers and the strongest of the group. He became a member of the Galactic Rangers after winning the Dreadzone Challenge known as "Grapplemania. Merc is much more gung-ho and combat oriented, and looks for any excuse to blow something up. Green is frequently cowardly and prone to panic, but nonetheless is always dependable in a fight.
On the cover for the Japanese version of the game, both Merc and Green have legs. This is because midway through development Insomniac decided to remove their legs for unknown reasons. They can be seen with legs in some early gameplay videos. Germain in the movie are the announcers for DreadZone and reporters for Vox News. Dallas speaks in a sports announcer-like voice while Juanita speaks with a Hispanic lilt.
Throughout the game they commentate Ratchet's participation at DreadZone , usually by making him out as a villain on Vox News, telling fabricated stories about Ratchet and Dallas nicknaming him "The Butcher of Bogon", and using highly unflattering and at times fraudulent pictures and descriptions. Although Dallas will often complement Ratchet's performance, Juanita, the more sadistic and maniacal of the duo, insults him frequently and often hopes that Ratchet dies inevitably. Dallas also constantly flirts with Juanita one time checking her out from behind while they were not on the air to which she replies with insults and disgust.
The two eventually show respect towards Ratchet after Vox attempts to blow up the entire Dreadzone station and trapping everyone on board. After escaping DreadZone, Dallas and Juanita land their own Holo-vision sitcom in which they portray a married couple, but it is mentioned that Dallas arranged for their marriage to be legitimate, while Juanita spends every episode trying to kill her husband.
They later appear in the movie as civil news reporters. Nick Valentino of GameZone said that the commentary provided by the "hammy male commentator and his blood-thirsty co-anchor woman" is "over-the-top hilarious". Ace originally started his life as an orphan and was adopted as by a group of superheroes.
When that group destroyed his home planet, he left the group and later ended up with Vox as a competitor on DreadZone. After disintegrating Captain Starshield on Catacrom 4, he became DreadZone's Champion and leader of the Exterminator team, consisting of himself, Shellshock, Reactor and the Eviscerator. Despite Vox's attempts to franchise Ace, the test groups clearly dislike him, with one of the kids in the group even referring to Ace as a "tool". After being defeated by Ratchet in competition, Ace is briefly moved by the Lombax's heroism and tells Ratchet not to let Vox ruin him like he did to Ace.
Later, Ace is announced "dead" after his defeat by Ratchet, with Gleeman Vox attempting to sale Ace Hardlight memorial action figures to DreadZone fans. Ace is mentioned in Tools of Destruction as a prisoner of Zordoom Prison. In A Crack in Time , he is mentioned as having since been released and rehabilitated. Captain Starshield voiced by Phil Morris is the former number one ranked contestant of the underground combat show DreadZone who is killed by Ace Hardlight.
His only appearances is when he destroys three robots and when he is killed. The Smuggler voiced by Jess Harnell , as his name implies, is a smuggler of dubious legality, but he is mostly friendly to Ratchet and Clank in their adventures through the Polaris Galaxy.
Aphelion voiced by Rajia Baroudi is a Lombax-built starship with its own artificial intelligence. In Tools of Destruction , she is rebuilt by Ratchet on the planet Fastoon and becomes his new means of transportation through the Polaris Galaxy.
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In A Crack in Time , she is initially struck by a wave of time energy and crash-lands, but the Zoni restore her and give her new upgrades. Zurkon voiced by Marc Graue in the games, Brian Drummond in the film is a synthezoid designed to destroy and trash-talk the enemies it is summoned against. First appearing in Tools of Destruction , it has made consistent appearances in the series as one of Ratchet's most-recurring weapons. Later games introduce Mrs. Zurkon voiced by Ali Hillis and Zurkon Jr. During Clank's escape from captivity by Dr. Nefarious, Sigmund helps Clank get to safety, and the two of them travel together through the Great Clock.
As he learns about Orvus through his pre-recorded messages, Clank tries to get Sigmund to tell him where the real Orvus is, but he is initially unwilling to explain that Orvus went to the planet Zanifar to meet with Dr. Nefarious and never came back. Clank later overhears the truth from Sigmund, and he convinces the Junior Caretaker to help Orvus by sending a time portal to Zanifar in hopes that Ratchet can save him. Near the end of the game, Sigmund bravely throws himself against Alister Azimuth in order to prevent him from reaching the Orvus Chamber.
Though overpowered by the Lombax, he buys Clank enough time to enter the Chamber and use it to prevent Ratchet's death. He first appears looking for Enessa and upon finding her, questions why she is out in the forest. When she tells him that Zyfoids have returned to their planet, Alpheus replies that they must return to the village for their safety. He helps Ratchet and Qwark fight off the Zyfoids to clear the path back to the village.
It is hidden in the temple of Zahn and has Ratchet go in to find it. As the lombax exits the temple with Qwark and Alpheus, they find that Lord Vorselon has arrived, looking for General Azimuth. Alpheus calls as many Fongoids as he can into the temple for their safety and helps Ratchet to protect the rest of the defending villagers while guiding Ratchet to his ship. Vorn Garblak voiced by Dave Boat is a Markazian debuting in the comic series. He works for Artemis Zogg as his assistant and Chief Warmonger, until issue 5 where he betrays Zogg upon freeing Talwyn after she had been captured by Artemis and his forces.
Vorn and Talwyn try to flee from Artemis by using an escape pod but Artemis himself, enters it as well. Klink first appears in the second issue, sentencing Ratchet and an Agorian out the airlock for violating the rule of "Expected Prisoner Behavior". Upon reporting to Artemis Zogg about this, Zogg punishes Klink by sucking him out the airlock and into space where he dies not long after.
Frumpis Croid is a Tharpod scientist and colleague of Nevo Binklemeyer. Croid and Nevo planned to construct the Protomorphic Energy Extractor after mistaking the Loki Master to be a strange manifestation inside Croid's creature companion, Mr. However, Dr. Croid awakened the next day and found his lab in severe damage, that the plans for the Protomorphic Energy Extractor had been stolen and that Mr.
Dinkles had gone missing, Croid assumed that Nevo had betrayed him and took the plans for his own use. Twenty-two years later, Dr. Croid reprogramed an old drone named Ephemeris to search for Mr. Dinkles, believing that without Mr. Dinkles in his grasp, Nevo's plan would fail. Obviously, that turns out to be a bad idea. Picking up a mysterious hitchhiker is an even worse idea.
And creepy, of course. Every ghost story introduces an element of uncertainty: are these things really happening, or are they in your head? Grace Nicole Kidman has turned being neurotic into a fulltime job; her children apparently suffer from a sensitivity to light, which means the gothic mansion they inhabit must be swathed in thick curtains at all times.
This makes things difficult for the new servants, who have turned up in a most mysterious manner A piano playing by itself, shaking chandeliers and some truly traumatic hallucinations add to the panic as Grace questions exactly who she is sharing her home with. The tension builds to almost unbearable heights before a truly haunting ending.
An intelligent script with a superb twist, quality acting and an atmospheric set complete with graveyards, mist and autumn leaves — what more could you want in a creepy movie? Well, that, and the fact that no one realised getting bitten by a ghoul would lead to death and reincarnation.
The zombie imagery is some of the most haunting ever committed to film, as vacant-eyed ghouls wander in and out of the shadows, chewing on dismembered body parts as they lurch around, constantly in search of fresh meat…. Say his name five times into a mirror and the Candyman appears.
Set in an urban tower block, this film demonstrates that horror can strike anywhere, not just in spooky old mansions in the middle of the countryside. A child murderer is stalking the streets of Berlin and, as the police seem unable to catch him, tensions run high. Most of the film is improvised; the actors are really filming the scenes themselves, working from a loose outline of the plot, but without prior knowledge of what half the scares were going to be.
What follows is the story of a mother who takes the search for her son to the limits of her sanity. It's a bona fide horror film but the ending might make you cry. Sneaky, too, since it managed to suggest that no one was safe. An awful lot of people must have breathed a sigh of relief once their own personal seven-day window was over. Or is it? Either way, though, the film is terrifying. In a decaying house on an old plantation, an old man is dying.
Is the old man actually under a spell? Why does he seem so terrified of his wife? And might Caroline herself be in danger? Insidious uses just about every trick in the book to creep out its audience, and for some people, that might seem like overkill. Part of the initial wave of soggy dead girl movies, Dark Water is occasionally very daft, but still effectively creepy. Yoshimi Matsubara is a divorcee, forced by circumstances to move into a crumbling apartment block with her young daughter, Ikuko.
Slowly, inexplicably, a small town is taken over by spirals. Some people become obsessed; others are killed, their bodies twisted into impossible positions. Unspeakably weird. A young boy is sent to a creepy orphanage, where the other boys scare one another by telling stories about the resident ghost, Santi, who was killed when the orphanage was bombed. Saskia and Rex are on holiday when Saskia suddenly, inexplicably, disappears. Rex dedicates his time to trying to find her, but to no avail.
It starts off slow: a middle-aged man is thinking about dating again, but rather than trying to meet women via traditional methods, he holds a series of fake auditions for a non-existent movie. Pretty much every character in this movie is an awful person, and the way they treat one another is disturbing on many, many levels. Also directed by Takashi Miike, One Missed Call is a parody of the endless string of soggy dead girl movies made in Japan at the time. The premise is that, as the title suggests, teenagers are receiving missed calls on their mobile phones.
Sure enough, the kids all die just as the missed call predicted. Every day, he tools up and goes out to kill the bloodsuckers; every night, they surround his house and try to kill him. Part melodramatic family drama, part psychological horror, A Tale Of Two Sisters is all scary all the time.
But as always in these kinds of films, nothing is what it seems — you might need a second viewing to get your head round the ending. The use of light and shadow in this movie is just stunning; the first time Powell arrives at the Harper house is a particular highlight. Also, the bit at the end where the psychiatrist explains everything in great detail is utterly superfluous.
Getting the timing of a holiday wrong can have disastrous consequences, as City Of The Dead illustrates. Um, oops. For no apparent reason, one day every living being in the English village of Midwich falls unconscious. For hours, no one can get near Midwich without passing out. When they wake up, every woman in the village finds herself mysteriously pregnant. Re-Animator director Stuart Gordon toned things down a bit for this creepy fairy tale, but not much.
When a reclusive old lady dies in an isolated house out in the marshes, a young lawyer is sent to sort out her estate. The wonderfully named Mimsy Farmer plays Sylvia, a scientist haunted by melancholy and hallucinations. But are her problems really all in her head, or is there something else going on? Dark and twisted and incredibly gory, May is as sad and sweet as it is creepy.
A lot of that is attributable to Angela Bettis, whose performance is adorably unnerving. In this unauthorised take on Dracula , the evil Count is depicted not as a tragic or romantic anti-hero, but as a horrifying embodiment of the plague — complete with an entourage of rats. Max Schreck makes a brilliantly weird-looking vampire, all teeth, ears and fingernails; his shadow is especially unnerving.
Which turns out to be soon. The book explains that the town is plagued by vampires — and, helpfully, gives instructions on how to kill them.
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Vampyr is an early sound film, so while there is some sound and a little dialogue, most of the silent film conventions are still in place. It grabs you by the throat and drags you down the rabbit hole. Our world dissolves, his world takes over. That's a major accomplishment—when you make flesh and blood and wood and stone out of ink and paper. Though McCarthy's not afraid to stare into the abyss, he seems to also carefully consider his use of violence.
When I'm reading someone like Chuck Palahniuk, I often feel he's titillated by a kind of gorenography. He's writing violence in a way that feels excessive and part of some carnival sideshow meant to make people slap their knees and guffaw horribly. But he'll also pull back. He'll allow some violence to take place off stage, because he knows unseen acts can be as brutal and affecting as violence that's shown—perhaps more so. I feel that violence needs to be earned somehow—or it needs to earn out.
You need to pipe the oxygen in before lighting the flame—or, in the wake of some violent act, there needs to be repercussions: a period in which the characters suffer and soak up what has occurred. Making it part of the causal structure and making it emotionally resonant, too. I would hope that any narrative that wrestles with this sort of thing is meant to horrify, and not excite.
To discourage, instead of encourage, violence. And that's the problem with movies like Saw and Hostel : They make a bloodbath into a kind of joyous exercise. I've been practicing for these kind of scares my whole life. I grew up on genre: Westerns, sci-fi, fantasy novels, mysteries and spy thrillers—but especially on horror. Horror's always gripped me in its bony fist. Lovecraft, and Poe. There's something about me that's drawn to darkness and to the theater of fear. I can't quite put a finger on why that is—it's the same reason some people like romance stories while others like action movies.
But my greatest pleasure growing up was terrifying my sister by leaping out of closets with my hands made into claws, or scratching at her bedroom window. She slept with the light on until she was I guess that was training ground for the novelist I've become. I've become so attuned to craft that it's sometimes difficult for me to get lost in a story. When I grew up reading, the only thing that concerned me was the question of what happens next—and the pages turned so fast they made a breeze across my face. The Road , for the first time in a very long time, owned me emotionally in that same fashion.
I was able to turn off my craft radar and be swept away. I felt true terror. The kind of terror that used it make me, when I was a kid, wrap the sheets around my face and breathe through a little blowhole in fear of the shadow that seemed at the edges of my room.
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