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tarhalindur · 3 years

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Higurashi Gou final thoughts pt. 1

(Spoilers go under a cut:)

Taking this by arc:

Onidamashi-hen: The best executed first cour arc by a significant margin. Probably not coincidentally, it stays the closest to the structure of the OG arc and thus keeps more of OG’s tension ratchet than the other Gou arcs. I have two main issues, and I’m pretty sure both of them can be firmly pinned on the anime staff rather than Ryukishi07 himself. First, it pulls its punch on the stealth sequel aspect. I’m not entirely sure that going for a stealth sequel was the correct decision (it’s a cost/benefit tradeoff), but if you do you’re going for the wham of the sequel reveal, and the anime undercut this by putting the Rika/Hanyuu scene at the start of episode 2 rather than the end of the arc. Second, it overdoes the final Rena fight, making it so over-the-top that it’s difficult to take seriously. Neither of these issues exist in the manga (which has a believable amount of stabbing and has the Hanyuu scene at the end of the arc where it should be), and in the former case we also have a Ryukishi07 interview indicating that this was a change requested by the anime staff, so this goes on them. (Interestingly, by way of contrast I think this approach might actually work well for the Mieruko-chan adaptation that Passione has coming out later this year.)

Watadamashi-hen: The core issue here (above and beyond fridge logic after Satokowaski-hen) is the finale, which landed like a wet fart. It both escalates from zero to 100 *way* too fast and has the worst case of “tell don’t show” in the neo-question arcs - we learn about every single dead body in the arc from Ooishi’s end-of-arc narration. That’s relatively defensible for three of those bodies, which we only learn about secondhand even in OG Watanagashi-hen (though IIRC in OG two of those bodies have foreshadowing from rumors earlier in the arc, and unless I’m forgetting something that’s absent here), but all five? Yes, keeping Keiichi locked away from the final showdown removes fridge logic issues, but you have prominent security cameras - you can at least have him see the aftermath of the showdown on the screens (and freak out because of it). Adding insult to injury, the Keiichi vs. door scenes are also so over-the-top as to damage willing suspension of disbelief. The 0-to-100 issue is harder to fix, because the one thing Watadamashi did right was put the Rika-loses-it scene as an end-of-episode cliffhanger, and “Keiichi et. al. are about to enter the Saiguden” probably wanted an end-of-episode cliffhanger as well for discussion purposes (it might have been able to get away with using the commercial break). The simplest fix is the same one @tsuisou-no-despair floated: cannibalize an episode off of another first cour arc.

Tataridamashi-hen: Amusingly, I think Gou has retained OG’s tradition of having the Tatari- question arc being the weakest question arc. As I see it there are two interlocking core issues here which boil down to the same issue. Tataridamashi-hen goes for a very unconventional method of building tension: it doesn’t, instead relying on the viewer’s realization that something bad has to be coming to do so for it (the old “that can’t be right, we’ve still got twenty minutes left in the episode” reaction I more commonly associate with things like police procedurals). The problem is that this runs into the Endless Eight lesson: even flawless metatext should not be used at the expense of enjoyability of the actual text. And while the arc got some leverage out of “when exactly is this going to diverge?”, there’s a point much like Endless Eight itself when you realize where it’s going to diverge (i.e, not until the end) and that until then you’re sitting through the same events you remember from OG. It works about as well as it did for Haruhi. (Unless you’re a new viewer, but in that case staying too close to Minagoroshi-hen has other issues.) Worse, unlike Minagoroshi-hen itself (which did something similar to build tension but a) non-source readers hadn’t seen it before so it wasn’t foregone the same way and b) you had several more episodes after the subarc for the main event) the arc ends almost immediately after this. (The simplest fix here might have been cutting down on the arc time by speedrunning Minagoroshi events, reducing the amount of time you’d have to wait. You could even have a couple of obstacles collapse faster than expected; this late in the first cour it would serve as foreshadowing for Satokowashi-hen, and would also deal with unfortunate implications concerning the village’s prejudice considering that the staff knew Satoko was going to be the culprit. Trimming an episode would also neatly solve the issue of where to get an additional episode for Watadamashi-hen from!) The good news is that the final confrontation is the best of the first cour arcs (it’s somewhat more realistic than the other two, actually not that far behind some of the more memetastic OG moments except for Teppei’s eyes, and not showing Ooishi’s rampage is forgivable given that they knew they would be actually showing it in Nekodamashi-hen), but that’s damning with faint praise.

Nekodamashi-hen: The best Gou arc. The episode 15 jump cut is the stuff of legends and the best scene in the show by a sizable margin (the one thing the director does well is black humor, it seems), while the rest of the arc isn’t as good, it’s far shorter on demerits than the rest of the show. The one really, really obvious demerit is that they really didn’t need to spend half an episode on the intestines-ripping scene (if Ryukishi07′s comments are to be believed, once again we’re pinning this on Passione), but effects on my stomach aside there are worse issues to have.

Satokowashi-hen: And here we have the other side of the coin; this is the worst Gou arc, and it’s the one spot where I’m pretty sure Ryukishi07 himself gets some of the blame. There’s a few issues here. First, the single most obvious dangling plot thread from Matsuribayashi-hen (Satoshi’s fate) is effectively dropped despite being directly relevant to the other dangling thread that was picked up (how Rika treats Satoko and vice versa); this includes missing an opportunity to show Satoko’s character arc through different responses to learning about Satoshi’s condition. Secondly and compounding, Shion is also dropped along with the Satoshi thread; AIUI this is kind of understandable given final Satoko/Shion interaction in the Matsuribayashi-hen VN (which IIRC never made it into the anime), but dropping her without explanation still leaves something that looks awfully like a plot hole since a single conversation with Shion is potentially enough to stop the events of this arc from ever happening. (”Character X had information that would have stopped the tragedy but never had an opportunity to tell anyone” is a classic tragedy trope, but you should really have a *reason* for that character never having the opportunity as opposed to just having them vanish without explanation.) Finally, there’s just the general issue that while the ending points for both Rika and Satoko are reasonable the path they take to get there just doesn’t quite add up. I can kind of get there via a combination of “blame the director” (the loops montage could and should have easily shown Satoko’s deteriorating mental condition as she watched - using interlaced cuts to her face with changes in facial expression is a classic method) and mind caulk (Rika was exaggerating for effect when she described her desire to go to St. Lucia’s as a long-time thing and it only really kicked in after Matsuribayashi-hen, Satoko originally only planned to suicide in Matsuribayashi-2 and only took Rika out with her as a crime of passion after feeling betrayed, hence the next few loops lacking her murdering Rika) but being mind-caulkable is not the same as actual good execution.

I mean, I’ve banged on this drum before, but... the basic concept works. Really well. Satoko’s abandonment issues and Rika’s treatment of Satoko are two of the major dangling plot threads from OG Higurashi (*eyes both Minagoroshi-hen and anime-only Yakusamashi-hen*). It makes perfectly good sense that the latter comes back to bite Rika, especially in a sequel literally titled “karma”. I already suspected Satoko was on the autism spectrum based on OG, her being ADHD in addition to or instead of that makes perfectly good sense given those conditions often overlap. Rika’s desire to escape the well morphing into a desire to escape Hinamizawa entirely? Sure, just present it as that. Satoko steadily losing her support network as her friends are torn away from her by changing life circumstances, then going to a boarding school that she hates, that strips the rest of her support structure for her and starts to take even her one remaining friend (her childhood friend, no less - and one that Satoko is at this point attracted to romantically in true osananajimi fashion) away from her, and then starting to snap with some prodding from a certain witch? That’s a compelling story idea! But as present it just doesn’t quite work, and that’s on the execution.

(Side note: I wonder if some of what went wrong with Gou was just the kind of production issues endemic to modern anime, amplified by the pandemic. I remember at least one comment/blog post somewhere in the wake of WEP’s issues noting some of the effects that production issues can have on an anime, and one of the things they noted was excessive slavishness to the source material as a time-saving measure; that sounds awfully similar to some of Ryukishi07′s comments about how he didn’t expect Passione to take his script quite so literally, and to my admittedly untrained eye it sure looked like there were a bunch more other animation studios than usual mentioned in Gou’s credits...)

Final score: depends on your exact rating system, but given the range I’m looking at I can’t see how I can give it any score other than 3.4/5 for obvious reasons. (Pending Sotsu, anyways. It’s possible that Sotsu will resolve some of these issues - in particular, Ryukishi07 always has struck me as the kind of author who would get a kick into baiting us into falling for the same twist twice; it’s not impossible that the apparent lack of unreliable narrators so far is a double bluff, and that could affect the “question arc” scores in particular. More on this in a forthcoming solution space post.)

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erictmason · 4 years

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The Road To “Godzilla VS. Kong”, Day One

KING KONG VS. GODZILLA (AMERICAN VERSION)

Originally Released: June 26th, 1963

Director: Ishiro Honda

Writers: Shinichi Sekizawa, Paul Mason and Bruce Howard

Starring: Tadao Takashima, Kenji Sahara, Ichiro Arashima, Mie Hama, Michael Keith, Harry Halcomb

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“King Kong VS. Godzilla” is a movie whose reputation often precedes it amongst certain circles of Genre Film fans. Even if one is unaware of the convoluted, more than slightly seedy story behind its creation (short version: the original “King Kong”’s special-effects artist, Willis O’Brien, was interested in creating a sequel that would have pitted Kong against a giant animalistic version of the Frakenstein Monster, but shady producer John Beck wound up stealing the idea and, when American studios balked at the project for fear that the use of stop-motion animation to realize the effects work would be too expensive, wound up shopping it to the more cost-effective Toho Studios in Japan, who reconceived it as a new “Godzilla” project in hopes of revitalizing interest in the character), it is still one of the most singularly important Giant Monster Movies ever made. For one thing, it basically defined The Kaiju Movie as we know it today; sure, the original “Gojira” from 1954 (and by extension its Americanized adaptation, “Godzilla: King of the Monsters” in 1956) may have effectively created the genre, but you’ll notice the majority of such movies that exist today are more about Fanciful Title Bouts between two Clashing Monsters rather than somber moody Allegories about the horrors of Nuclear Weapons. For another, it’s the movie that really put Godzilla himself on the map as a Big Star in his own right; at the time, he only had two prior films to his name, and while one of them was the aforementioned genre-creating watershed “Gojira”, the other was “Godzilla’s Counterattack” from 1956, which proved such a box-office disappointment that it put the character into retirement for the better part of a decade (and to give you a sense of just how much less weight the name “Godzilla” carried back then, when that movie was released in America in 1959, it was initially re-titled “Gigantis The Fire Monster”). With “King Kong VS. Godzilla”, however, he would begin to star in more and more movies, building a film franchise that continues to this day.

So it’s a bit of a shame that I’ve never liked it all that much.

To be clear, the “it” in question here is specifically the American version of the movie, which is the one most Western audiences would be familiar with since, until recently, it was the only one readily available to us (though Criterion finally corrected that back in 2019, when they included the original Japanese version of the movie as a bonus feature in their “Showa Era” collector’s set). Certainly, it’s the one that I grew up watching as a kid, when my mom, ever so protective and knowing how easily upset I could be when Fictional Characters I Loved got hurt, made sure to watch ahead to see who exactly won the title match-up (and since it was Kong, I wouldn’t actually get around to finishing my viewing of the movie for a good long while). Back then, of course, I viewed it very much through that childish prism of who I thought should win, and it was exactly the kind of Schoolyard Logic you’d expect: Kong was supposed to be a great deal smaller than Godzilla, and where Godzilla had his iconic fire breath, Kong had no extraordinary powers; Kid Me understandably concluded that this match-up really ought to be a shoe-in for Godzilla, which worked out well since Godzilla just so happened to be the one Kid Me actually cared about. Kid Me was thus quite irritated to discover that, for the sake of this movie, Kong had in fact been significantly sized up and given random electricity-absorbing powers. It felt like cheating to Kid Me, and it left me less than positively disposed towards the film proper.

These days, of course, I’m able to give the film a somewhat fairer shake, though I would be lying if I said that My Inner Childish Fan-Boy is completely quiet on the matter (in particular, it always bothers me that, to emphasize the advantage Kong’s electrical powers give him in their fight, the movie explicitly cites Godzilla’s “vulnerability” to electricity, despite one of the most singularly iconic images of the original “Gojira” being his ability to walk straight through a power-line barricade). Indeed, my most recent re-watch for this very review honestly left me feeling fonder toward it than I was even on my last most recent re-watch (back in 2014, in preparation for the then-upcoming Gareth Edwards “Godzillla”, which we’ll also be getting to in this re-watch soon). The portrayal of the title monsters themselves in particular left me much happier this time around than it has in the past; the design for Godzilla himself- thick around the center with big heavy-browed eyes and what appears to be a constantly self-amused grin, huge sharp claws that dominate the fingers and a tail that moves with a real sense of weight and purpose-took me a long time to warm up to, for example, but these days I would happily cite it as one of the very best of the original series. Kong gets it a bit worse, sadly; the suit they design for him here (a fact that original “Kong” director Merian C. Cooper openly despised, incidentally; the idea of portraying Kong as just some guy in a gorilla costume was one of the things he explicitly set out to avoid in the original movie) has a distinctive enough face if not an especially memorable one, but the costume always looks and feels a bit raggedy, with the sagging pecs and ill-fitted arms (throughout the movie the suit switches between “regular” arms designed to allow the actor mobility, and extended arms to help give it a more ape-like gait; the result is that both versions feel weirdly out of place on the costume a lot of the time) looking especially awkward. However, even beyond how they look, the way the monsters act is genuinely enjoyable, with Haruo Nakajima as Godzilla and Shoichi Hirose as Kong both putting in fantastic performances that imbue them with a great sense of personality that is just consistently delightful all movie long. Whether it’s Godzilla hopping around, arms flailing in triumph whenever he manages to pull off another victory, or Kong drunkenly swallowing up giant pots’ worth of a narcotic usd to keep him docile, the movie very visibly delights in imbuing these creatures with fun foibles, and It’s no coincidence that the it’s at its strongest, not so much when the monsters are fighting, but when they are simply interacting as actual Characters: Godzilla here feels often like a particularly arrogant, boundlessly-energized child, while Kong is a bit more confused and subdued but quick to anger when irritated; their first meeting, when both these strong visible personalities most openly bounce off each other, is unquestionably my favorite moment of the movie.

The rest of it isn’t exactly bad, per se, but it is a lot less entertaining. Some of that is simply what the American version inherited from the Japanese original, not least of all the noxiously racist portrayal of the Natives living on a remote pacific island with Kong (here named “Faro Island” for some reason instead of the usual “Skull Island”). On top of the sins it recreates from the original “King Kong” (a fairly ooga-booga understanding of What Islanders Are Like, all of whom are portrayed by non-Native actors slathered in brownface make-up), it also includes a decently insulting bit wherein the initially-hostile islanders are pacified by the introduction of “magic” in the form of a hand-held radio and cartons of cigarettes. There’s also the fact that the plot is driven almost entirely by Random Contrivance rather than anything that flows naturally from either the characters or the premise; Godzilla and Kong have no real compelling reason to meet, let alone fight, other than the pure coincidence of their both happening to be active at around the same time in the same part of the world (the American version attempts to ameliorate this somewhat by stating that the two are “instinctive rivals” who will be “naturally driven to destroy one another”, but that flimsy lip-service to Motivation just winds up making the otherwise-arbitrary plotting feel all the worse), and we are constantly bombarded by Total Coincidences as a way of shuffling the characters around from place to place with dizzying frequency. But some of those troubles are only exacerbated by the approach the American version has taken to the material. We’ll talk about this more tomorrow, but the Japanese “King Kong VS. Godzilla” is, at heart, a Satirical Comedy; this, unsurprisingly, was not an idea that went over well with Universal Studios in America, who chose to try and reshape that comedy into a more traditional Monster Movie. An understandable objective, but not one the Japanese cut of the film made easy to achieve; to avoid the most overt Comic bits meant cutting almost all of the human characters in the film (most notably the eccentric executive Mr. Tako, played by Ichiro Arishima) down to only their most essential appearances, which in turn means that they all wind up feeling vaguely undefined and out of place in their own story (this feels especially true of our ostensible main character, Tadao Takashima‘s Sakurai, who is present enough to FEEL like a main character but has little left to do in this cut of the film). To make up the weight of all that cut footage, meanwhile, we get gobs of new footage consisting mostly of Michael Keith as a United Nations reporter talking at us in the most stultifying way possible, often joined by Harry Holcombe as an equally stultifying scientist (who apparently gets his knowledge of dinosaurs primarily from children’s picture books, which in fairness would explain a lot of the nonsense he ends up saying), though he also frequently talks with a fellow reporter played by James Yagi. These scenes are not, perhaps, without their charms, but they also deaden the movie’s pacing, especially since nine times out of ten they exist mostly to reiterate stuff we already know because it literally just happened. Given how much a faster pace seems to be one of the American cut’s top priorities (a sub-plot from the Japanese version about a submarine inadvertently encountering Godzilla is reduced to a single sequence for this version), that choice proves a counterintuitive one.

Because the other major problem with the American approach to this movie is that, to be frank, the Monster Action is nowhere near Epic enough to bear the weight this new cut puts on it. Again, it’s not without its merits; Godzilla and Kong’s outsized personalities do a lot to lend even the less effective sequences a certain fun spirit, and there is still an unmistakably strong sense of craftsmanship to the miniatures used throughout the movie to create the appropriate sense of scale for our Monsters to play around in (the demolition of a recreation of Atami Castle shines a spotlight on that very fact). But in terms of both their scope and their choreography, there’s just not enough There there; far too often, “King Kong VS. Godzilla”’s Big Marquee Action Scenes amount to the monsters just sort of lazily throwing rocks at each other, or else engaging in less-interesting recreations of their previous Iconic Moments (Kong especially goes through a truncated version of his original appearance’s third act, though here he ends up on top of the National Diet Building rather than the Empire State Building). That’s slightly less of a problem in the Japanese version; again, there, the main thrust of the film lies in its comedy, and thus the Monster Action being relatively lightweight is less of a hinderance and more a spicy Flavoring to the main story. But here, it is the main story, and while it’s pretty clear some real love went into the Effects Work (the puppetry especially is very solid; there are a few instances where the switch from Suit Actor to Puppet for Godzilla is borderline seamless, and I also enjoy the decently-animated feel of Kong’s facial puppet as well) it ultimately doesn’t have nearly enough substance to fill that role. This comes through especially clearly in the Final Showdown between the monsters; again, there is some deservedly iconic stuff here (Kong trying to shove a tree down Godzilla’s throat only to have it rebuffed in a puff of flames has become an impressively-enduring Meme for a reason) but, much like most of the story, winds up being driven far more by Contrivance than anything clever or satisfying (a bit where Kong knocks himself over feels especially annoying for how unmotivated it seems to be). It was always going to be a tall order to make a match-up with as much implicit weight to it (both metaphorical and literal) live up to the heightened expectations placed on it, maybe. But even taking that into account, it’s hard not to feel like “King Kong VS. Godzilla” could have put a little more effort into things.

Still, I was saying, at the start, that I walked away from “King Kong VS. Godzilla” happier this time than in many of my past viewings. And that is ultimately true: for as much as I find myself often wishing it could be a different movie, the movie it actually is already does manage to work decently well on its own terms. The dub-work here in particular honestly deserves notice; in contrast to the standardized casts Toho would start using for most of its “Godzilla” movies moving forward, here we get a more distinctive sounding voice-cast who manage to put some real Life into their performances (the voice they give to Kenji Sahara’s Fujita stands out especially to me, nasally and over-earnest but capable of some real Fire when the moment calls for it, as befits the character). And, again, whatever my beef with the Action Scenes, the actual portrayal of the Monsters really is uniquely fun (indeed, given how many other elements Toho would consistently crib from it, I’m often surprised that Godzilla’s distinctive body language throughout isn’t one of them), which winds up giving the movie enough Real Heart in the end to make it a positive Experience overall, even against the stuff that even now stands out to me as Not Up To Snuff. At the very least, it’s a lot easier for me to recognize how and why this movie created the Legacy it did, even if the American Version makes a bit more of a mess out of it.

#godzilla #king kong #godzilla vs. kong #kaiju #theroadtogvk #movies #review #ericthemason #my writing #king kong vs. godzilla

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terramythos · 4 years

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TerraMythos' 2020 Reading Challenge - Book 20 of 26

Title: Wolf by Wolf (Wolf by Wolf #1) (2015)

Author: Ryan Graudin

Genre/Tags: Alternate History, Historical Fiction, Dystopian, Science Fiction (...ish?), Young Adult, Third Person, Female Protagonist, Duology

Rating: 8/10

Date Began: 7/12/2020

Date Finished: 7/18/2020

In an alternate 1956, the Axis powers of the Third Reich and Imperial Japan won World War II. They host an annual motorcycle competition known as the Axis Tour, in which young people from both powers race across Europe and Asia. Yael, a death camp survivor with the ability to skinshift due to Nazi medical experiments, poses as Adele Wolfe, Germany’s only female competitor. Her goal? To win the race, get a private dance with Hitler, and assassinate him for the world to see.

But years of training and preparation are thrown off balance when Adele’s past relationships come back to haunt Yael in the form of her twin brother Felix Wolfe, and the presence of Luka Lowe, a fellow competitor and former victor, both of whom have complicated, unknown histories with Adele. Now Yael must keep up the charade while still assuring her victory in a difficult and deadly inter-continental race.

Who are you? (On the inside?)

The answer to this question was something Yael had to fight for. Her self-reflection was no reflection at all. It was a shattered mirror. Something she had to piece together, over and over again. Memory by memory. Loss by loss. Wolf by wolf.

Minor spoilers under the cut.

Wolf by Wolf was a surprise; I did not expect to like it nearly as much as I did. While it has a fascinating premise, it's certainly complicated enough to mess up. Alternate history, especially World War II, can be sketchy if not done well. Add in some science fiction elements, and I was skeptical. But while Wolf by Wolf isn't perfect, Graudin does pull it off rather well, and it was thoroughly enjoyable to read. She states in her author’s note that, with the troubling rise of alt-right movements in recent years, books that examine the true horrors and implications of Nazi ideology are important, and something like this could have very well been our world. I find myself agreeing, and I think she treats the subject with both the delicacy and brutal honesty it requires.

The novel’s inherent suspense is excellent. Wolf by Wolf has all the appeal of a spy novel with an extra layer that comes with the skinshifting aspect. All of Yael's interactions with the other leads (Felix and Luka) mean they genuinely think she's Adele, and it's interesting to see how Yael struggles to play the part. There's a lot of tense moments where she says or does something that Adele wouldn't, and she has to use her wits to get through it. I like the "becoming the mask" trope and it's in play here as Yael finds herself becoming attached to the other characters. The inherently fantastical element of skinshifting does protect her, as almost no one would guess it's why Adele is acting odd, so the fact she's able to keep up the ruse despite everything does make sense. That being said, I would have loved to see someone, especially one of the two male leads, figure it out. I spent the novel wondering how a scene like that would play out, and was disappointed it doesn't happen. There are certainly multiple teasing fake-outs. Presumably this will be A Thing in the next book, but it's still something I wish had paid off here rather than consigning it to the sequel. Semi-related, I found the ending twist and callback pretty interesting, and it has some fascinating implications for said sequel. I guess we'll see what Graudin does with all this material.

Probably the strongest aspect of the novel for me, personally, is how the book balances flashbacks. I think Graudin does a fantastic job (with some exceptions) doling out information, and gradually revealing Yael's backstory and pain points. Unsurprisingly, her past is heart-wrenching in a variety of ways. The part where her mother doesn't recognize her and the scene with Vlad and the numbers hit me especially hard. It's satisfying when the full implications of a symbol or line of dialogue aren't revealed until much later in the story. For example, the wolf tattoos are introduced early (literally the second chapter) but the emotional payoff is gradual, and I think that strengthens the impact. The pacing in general is really well done-- slow when it needs to be, and action-packed at other times. This is something I struggle with even in books I adore, so I’m really impressed with how this book handles it.

YA gets a bad (often undeserved) rap, and I adore the genre when it's done right. Unfortunately many YA novels fall into trends and tropes that just get annoying after a while, so I find I have to be selective. For the most part Wolf by Wolf avoids these. Yael is a distinct, interesting character who avoids typical YA protagonist cliches. Her tragic past is all the more poignant for being something real people faced (albeit with creative liberties), and her struggles with identity are extra compelling. That being said, I didn't find the romantic subplot with Luka very interesting. I think there's supposed to be some narrative tension where he seems to be a bad guy but has Hidden Depths etc etc... but it was so painfully obvious that I guessed his entire arc based on the first scene. I think there's some potential considering the Yael/Adele dichotomy, but again, it doesn't really pay off in Wolf by Wolf, which is a disappointment. The few romance scenes just take away from the more interesting base story. From what I can tell we get more of Luka’s backstory and perspective in Blood for Blood, so... fingers crossed that I can appreciate him more in retrospect? In general I found Yael’s interactions with Felix more interesting and genuine.

As for the writing itself, I'm torn. This novel makes heavy use of symbols, and consistently incorporates them into the prose. Usually, this is done to great effect, and there are plenty of excellent poetic and introspective passages. There's also stylistic elements such as heavy repetition and an occasionally-bolded INTERNAL MONOLOGUE. I also noted a lot of dramatic irony and narrative callbacks, which always hit with a punch. When these aspects are done well, it's great. But sometimes Graudin just doesn't seem to trust her readers. There are multiple incidents where the story REALLY wants you to know that X Symbol Means Y Thing and accomplishes this by... just telling you. There's also some clumsy expository dialogue that's jarring to read (very much "as you well know, this thing is true"). These may be in the minority, but are especially noticeable because the rest of the book is subtle about it. No idea why some parts are just like that, and this might be a nitpick, but it really bothers me. Young adults aren't stupid, and it's annoying when YA novels assume they need their hand held. As I said, it only happens a few times, and I am willing to look past it considering the other strengths of the novel.

Wolf by Wolf has its faults, but overall I had a great time reading it. The ending has some fascinating implications, so I'm interested to see what happens in Blood for Blood. From the brief preview at the end, it looks like we get more backstory for Luka and Felix, which I think might smooth over some of my criticisms depending on how it’s handled. I guess we'll see!

#2020 reading challenge #8/10 #taylor reads

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raven-wraith · 4 years

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This is Actually a Completely Subjective List Written in a Completely Objective Voice, so I’m not Wrong, Y’all just had a Bad Year: A Look at the Best Titles of 2020 A.D.

By Orova

I feel like a recap or an intro that encompasses the past year will be redundant to both the reader and the writer, so I just won’t. Instead, I’ll just say that due to circumstances provided by 2020, I had a lot of time to just shut up and play games. And games did I play. I played a lot of good games[1]. I played a lot of bad games[2]. I bought the newest games that came out[3] and I went back down memory lane with some classics[4]. But at the end of every day, I was completely satisfied with how I spent my time and did what I wanted. So this is a list of the games that surpassed satisfaction, pushed the bar higher, and made me reconsider what a truly great game can be in 2020.

The Last Of Us Part II

This game is a beautiful work of art and storytelling. If gripping gameplay is what you came for, then you’ll be staying for the story. Naughty Dog continues to come out with games that push current gen Playstations to astronomical heights, making that hardware and software work overtime to get a game that becomes so overwhelmingly tangible that it cause the player to stop. The Last of Us Part II is no exception to this rule. So often does this game take lefts and rights when you expect it to go straight that it is absolutely insane how much ground it truly covers. Sneaking about before getting into claustrophobic gunfights feels smooth and natural, the new mechanics and enemies are unique, and while the non-linear parts can overstay their welcome at times, the game is long enough for them to not fill in empty space.

When I first played this, I was with my girlfriend for the whole journey and at the end, I didn’t feel quite as fulfilled as I thought I should’ve from the sequel to one of the greatest games I’ve ever played. It wasn’t until I returned on a higher difficulty did I find just how much this game has to offer, making the story all the more powerful as every fight truly felt like my last and every enemy made me rethink my choices and decision making and every arrow I fired and molotov I threw felt a nice weight to it that I have to emphasize once more. This game is a beautiful work of art and storytelling as the gameplay speaks for itself before anything else.

Final Fantasy VII Remake

To those that actually care, I reviewed this game when it came out[5] and I was shocked to find how many people didn’t appreciate it as much as I did. Final Fantasy VII is one of the most influential titles of my life that being able to see Cloud’s hair rendered so cleanly in this dystopian futuristic gothic fantasy world was a miracle in my eyes. A dream come true. The action comes in spades with enough sword fighting and magic to make Power Rangers to look like a fucking picnic.

The graphical design of the game, the direction of animation, and the cunning take on a lot of depth we never got to see so early on makes me very excited for future titles to come. There are some downsides, lots involving the side quests and voice acting, but that is just some of its downsides to look past to find the content at its core. Shooting moonbeams out of your greatsword at stormtroopers while in chase on a motorcycle. Take down a tyrannical oil monger as an eco-terrorist. Find cats for a little girl. Is this a Bioshock? No. But is it a game I keep trying to remind myself to not replay? Yes.

Tony Hawk Pro Skater 1 + 2 Remake

Superman by Goldfinger played and my sister laughed as she watched me cry. This game brought tears to my eyes, literally. As I got to relive sitting in my grandma’s basement, I was propelled to complete absolutely everything I wanted to do. This game was a complete package and its delivery was spot on with what a remake should be. A collection on a past game with quality of life improvements, enhanced handling and accessibility, and a software overhaul.

The game is simple. Complete challenges, unlock drip, flex on your friends. Usually in that order. But it is finally that simplicity in a new game that makes it such a good title. We wanted the game we knew and loved and they promised that. Nothing more, nothing less, it is exactly what we got. A new soundtrack, updated graphics, and nostalgia not most can achieve is a massive point to play this game.

Huntdown

Contra meets Kung Fury. Why the fuck have you not grabbed a friend and played this masterpiece yet. I mean seriously. If you’ve got a roommate or SO or friend with nothing going on tonight, play this shit. It’s great. Moving on.

Mortal Shell

I would like to address the fact that, yes, this is a souls-like and it isn’t exactly the most friendly game because of it. However, this game came out of fucking nowhere and blew me on my ass. Going back to delivering on a promise, these guys crafted an unforgiving title with little to no hand holding to show that this-THIS[6]-is how you make a souls-like. It is balls to the walls skill based combat where the player has to use what little tools they have to overcome a myriad of enemies. Progress is possible only through rewards and items, meaning there is no grinding or farming, just straight gameplay.

This is a game where I paid half the price for a full game and got, while a shorter title, the enjoyment from a full priced AAA game. It takes no time to complete when the “click” happens and it is a fun, fulfilling title the whole time. There are some incredibly unique mechanics that forced me to break my souls brain and for that, it just makes the experience far more personal. If you aren’t weak hearted, I cannot recommend Mortal Shell enough.

Doom Eternal

When Doom Eternal dropped, my sister was playing Animal Crossing: New Horizons. After we both went into respective video game comas from it, we dubbed March 20th Doom Crossing Day. Doom is Doom. Nothing more to say past that honestly, but I will continue my rambling cause I know it’s what you all want anyway.

These guys keep cranking the intensity knob higher and higher. With Doom 2016 these guys said, “Hey, what if we gave the best first person shooter that requires no thinking whatsoever to completely obliterate enemies and zoom around the map at breakneck speeds?” With Eternal, the guys said, “Hey, what if we did what we did for 2016 except this time, we actually have the everyone (enemies and the player) move faster, hit harder, and actually require them to think?” With that, the gore orgy of Doom Eternal was born. Still very much a fast paced shooter with some extra content to fill the pockets of completionists, it delivers in fucking truckloads exactly what it wants from the player. To let loose and fucking floor every hellish abomination in their path.

And the soundtrack, while a sad story, is still one of the best things to listen to in gaming and probably the world.

Darkwood

The only thing that made me stop to consider buying this game was how reliant on a crafting system it seemed. I hate games that force crafting. I don’t know why, so I won’t elaborate. But, done with The Last of Us Part II and needing a survival horror itch to scratch, I sucked it up and bought it. After all, being an indie title for a genre I admire more than most, it couldn’t have been a terrible waste of time. That was probably the single best decision I made during the last year and Darkwood is not lost on me in that sense.

The fact that Darkwood has not only exposed the horizon of top-down horror, but it has experimented and perfected its use for the camera angle is astounding. The atmosphere rides on that perspective and, between the short days of scavenging and talking to the few NPCs you meet to the long nights crouched in the corner of your (un)safe haven, it is never lost. It’s a game where you constantly hear your heart in your ears. The combat can be sloppy at times but the story is one of a kind and its execution is phenomenal. If you are a fan of horror games or roguelikes, I cannot tell you enough. Get Darkwood.

Deep Rock Galactic

After lots of thoughtful consideration, I have deemed this the number one title of 2020. Not only did it keep me and my friends together and in touch during the hard times, it is a shooter that I support with my whole body. You and your friends play as a team of drunk space dwarves, tasked with a mission that sends you deep into a spider-infested planet, where you will have to use your class sets to fight, plunder, and escape the hostile environment.

With PvE at its core and ridiculousness as its foundation, Deep Rock Galactic is a masterpiece of cooperative shooting and procedurally generated dungeon crawling. Blending class play from Team Fortress 2 with unexpected and differing missions from Darkest Dungeon, one will find this lighthearted shooter is an easy, accessible title. With a hint of Risk of Rain to complete its graphics, the game is above all fun. That’s right. It. Is. Just. Fun. Shoot a spider that launches fireballs from its mouth, drink beer that teleports you into the farthest reaches of space, get rich off of gold veins while your team calls you greedy, dye your beard purple, and Rock and Stone in this amazing fusion of PvE and dungeon crawling.

Thank you for coming. There will be no score. It is simply a list where I feel those that need some new titles after the biggest disappointment of them all[7] should find some great titles in here for themselves. Have a safe next year and be patient. Patience is what will reward you. Practice is what humbles you. Hesitation is defeat. Toodles.

[1] Ghostrunner

[2] Hellpoint

[3] Mafia: Definitive Edition

[4] Silent Hill 3

[5] 9/10

[6] Not you Hellpoint

[7] Cyberpunk 2077 but I mean, we all saw this coming. I had to put it in here somewhere.

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britesparc · 5 years

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Weekend Top Ten #413

Top Ten Episodes of Star Trek: The Next Generation

So, the Star Trek: Picard of it all. At the time of writing I’ve only seen the first episode, and although it was a touch exposition-heavy, and bounced to a slightly distracting degree from one location and event to another (France! San Francisco! Japan!), it was really very impressive. It felt utterly like a sequel to the Next Generation era, whilst also feeling like something new (my wife compared it to Blade Runner). A more contemplative sci-fi experience, which suits the legacy of the series.

I’ve talked a little about Star Trek before. The Original Series is one of those things that’s baked into popular culture at this point, like Superman and Star Wars. I’ve no idea when I first heard of it, but I don’t remember not knowing who Kirk and Spock were. But I never watched it, even in repeats (not the way I watched, say, Batman ’66). I came to Trek through the films, chiefly The One with the Whales and, later on, Wrath of Khan and Undiscovered Country. The first thing I remember about The Next Generation was my cousins telling me that this week the captain is taken over by the Borg; I have a funny feeling that the first episode I saw was “The Best of Both Worlds, Part II”, with the whole “Resistance is futile” bit coming in the “Previously on…” section. And, to be honest, I wasn’t hooked. I didn’t really get into it until my teens, through repeats. But I saw enough for it to become my favourite of all Treks, and – like the original cast – I saw the movies and fell in love even more (Star Trek: Insurrection was one of the first films my now-wife and I saw together as a couple).

The 2009 reboot movie, and subsequent Kelvin Timeline universe, have been interesting and often entertaining, but they’ve not felt like “proper” Star Trek to me. A bit too flashy and gung-ho, more like space adventure movies; I feel like Trek should be more like Close Encounters and less like Star Wars. That’s not to say they weren’t enjoyable, just not Trek-y enough (and the less said about the second half of Into Darkness the better). I loved the original universe, with its sense of history and its forward momentum; my favourite stuff from the Kelvin ‘verse was the knowledge about life after Star Trek: Nemesis, with the destruction of Romulus and all of that. I wondered what Picard thought of it, how it played out politically, how the Federation had responded. Really, I just wanted to know what my favourite characters were up to. Was Riker still captain of the Titan? Did Crusher go back to Starfleet Medical? Was Geordi still being creepy on the holodeck? And did Data stay dead? With Discovery being another prequel series, I thought it might be a long time before we got any answers.

And so to Picard, a series I kinda thought I’d never see. Something I was very keen on was to go back and re-watch all of The Next Generation in preparation. I say “re-watch” but it turns out I’d seen a whole lot less of it than I thought, or at least had forgotten most of it. So it’s been a wonderful and rewarding experience for me, Code of Honor notwithstanding. I feel I’ve got a much better and more rounded view of the characters and the series than I ever had, which is nice. And it was fun in the first episode of Picard to spot some of the deep-cut references, from Bruce Maddox to Captain Picard Day.

Anyway, this is a really, really long preamble for me to say that this week’s Top Ten is my favourite episodes of Star Trek: The Next Generation.

The Best of Both Worlds, Parts I & II (Season 3, Episode 26/Season 4, Episode 1): yes, both parts; it’s inseparable to me. Massive and dramatic but loads of great character stuff: Riker becoming captain, Picard as a Borg, Guinan… Star Trek’s Lord of the Rings.

The Drumhead (4-21): a brilliant examination of institutionalised prejudice, honour, justice… but really what sticks in the mind is arguably Picard’s best speech, when he explains the concept of a “drumhead trial”. Outstanding stuff from Patrick Stewart.

The Measure of a Man (2-9): another fantastic courtroom drama episode, another brilliant Stewart monologue. This also has the benefit of being an existential look at what constitutes life, and potentially seeds plot points in Star Trek: Picard.

All Good Things… (7-25): one of the greatest finales of all time, it has everything: Stewart on top form, trippy timey-wimey shenanigans, the Enterprise blowing up, Q… and an incredibly touching final scene. The sky’s the limit indeed.

Family (4-2): after the epic bombast of both Worlds, we come back down to Earth, literally, as a broken Picard recuperates at his family chateau and mends fences with his disapproving brother. An unusual but simply beautiful episode of TNG.

The Inner Light (5-25): boy, these are all Patrick Stewart showpieces aren’t they? Here Picard lives a full life in forty minutes as an alien probe shows him the death of a civilisation. Incredibly bittersweet and an episode that left subtle character ripples.

Sarek (3-23): bringing back an iconic Trek character is one thing, but giving him a tragic mental illness, one that feels very true but also suitably sci-fi, is a masterstroke. Brilliant performances from Mark Lenard and, yes, Patrick Stewart.

Chain of Command, Part II (6-11): Part I has some cool sneaky stuff and tense character work on the Enterprise, but Part II is where the meat’s at: a phenomenal Stewart cruelly tortured by a terrifying David Warner. Star Trek does 1984, superbly.

Remember Me (4-5): woah, a non-Picard-centric episode! Gates McFadden on fine form as Crusher questions her sanity on a ship with disappearing crew, the Twilight Zone premise artfully realised in a gripping bottle episode.

Q Who (2-16): arguably, this is where TNG really begins. The always delightful Q brings our heroes face to face with the franchise’s Big Bad, the Borg. Here they are unknown, terrifying, unlike anything we’ve seen before; the seeds of so many stories are sown.

This was quite a tricky list to formulate, to be honest. The top half was fairly set, but there could have been any of a dozen episodes bringing up the rear. Another bottle ep that I adore is “Disaster”, which manages to be goofy, great fun, tense, and have some superb character work. Similarly I’m surprised I didn’t find room for “Yesterday’s Enterprise”, another iconic episode and another of the timey-wimey ones I love so much. And Q only appears twice, both times in episodes that don’t really centre on his brand of off-beat humour. It’s also interesting that so many of my favourites centre around Picard, and so many of them seem to – at this stage – feature plot elements that are going to be referenced in the new series (Bruce Maddox, artificial life, Romulans, the Borg… I hope Q gets a look-in too!). Anyway, TNG is great, I’m loving Picard, and what more is there to say?

#top ten #star trek #picard #the next generation #tng #patrick stewart #tv #movies

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grigori77 · 5 years

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2019 in Movies - My Top 30 Fave Movies (Part 2)

20. FROZEN 2 – so, another year, then, and once again Disney doesn’t QUITE manage to net the animated feature top spot on my list, but it’s not for lack of trying – this long-awaited sequel to the studio’s runaway hit musical fantasy adventure is just what we’ve come to love from the House of Mouse, but more importantly it’s a most worthy sequel, easily on a par with the much beloved origin. Not much of a surprise given the welcome return of all the key people, from directors Chris Buck and Jennifer Lee (who also once again wrote the screenplay) to composer Christophe Beck and songwriters Kristen Anderson-Lopez and Robert Lopez, as well as all the key players in the cast. It’s business as usual in the kingdom of Arendelle, where all is seemingly peaceful and tranquil, but Queen Elsa (Idina Menzel) is restless, haunted by a distant voice that only she can hear, calling to her from a mysterious past she just can’t place … and then she accidentally awakens the four elemental spirits, sending her homeland into mystical turmoil, prompting her to embark on a desperate search for answers with her sister Princess Anna (Kristen Bell), ice harvester Kristoff (Jonathan Groff), his faithful reindeer companion Sven, and, of course, living snowman Olaf (Josh Gad). Their quest leads them into the Enchanted Forest of Northuldra, a neighbouring kingdom, ruled by simple, elemental magic, that has remained cut off from Arendelle for decades, where they discover dark, hidden truths about their own family’s past and must make peace with the spirits if they’re to save their home and their people. So, typical Disney family fantasy fare, then, right? Well, Frozen 2 certainly dots all the Is and crosses all the Ts, but, like the original, this is no jaded blockbuster money spinner, packed with the same kind of resonant power, skilful inventiveness and pure, show-stopping WOW-factor as its predecessor, but more importantly this is a sequel that effectively carves out a fresh identity for itself, brilliantly taking the world and characters in interesting new directions to create something fresh, rewarding and worthwhile on its own merit. The returning cast are all as strong as ever, Menzel and Bell in particular ably powering the story, while it’s nice to see both Groff and Gad getting something new to do with their own characters too, even nabbing their own major musical numbers; there’s also a welcome slew of fresh new faces to this world, particular Sterling K. Brown (This is Us, Black Panther, The Predator) as lost Anrendelle soldier Mattias and former Brat Pack star Martha Plimpton as Yelena, leader of the lost tribe of Northuldra. Once again this is Disney escapism at its very best, a heart-warming, soul-nourishing powerhouse of winning humour, emotional power and child-like wonder, but like the first film the biggest selling point is, of course, that KILLER soundtrack, with every song here a total hit, not one dud among them, and there are even ear-worms here to put Let It Go to shame – Into the Unknown was touted as the major hit, and it is impressive, but I was particularly affected by Groff’s unashamedly full-bore rendition of Lost in the Woods, a bona fide classic rock power ballad crafted in the fashion of REO Speedwagon, while the undeniable highlight for me is the unstoppable Show Yourself, with Menzel once again proving that her incredible voice is a natural force all in itself. Altogether, then, this is an absolute feast for the eyes, the ears AND the soul, every inch the winner that its predecessor was and also EASILY one of Disney’s premier animated features for the decade. So it’s quite the runner-up, then …

19. ONCE UPON A TIME IN HOLLYWOOD – since his explosion onto the scene twenty-seven years ago with his runaway smash debut Reservoir Dogs, Quentin Tarantino has become one of the most important filmmakers of his generation, a true master of the cinematic art form who consistently delivers moving picture masterpieces that thrill, entertain, challenge and amuse audiences worldwide … at least those who can stomach his love of unswerving violence, naughty talk and morally bankrupt antiheroes and despicably brutal villains who are often little more than a shade different from one another. Time has moved on, though, and while he’s undoubtedly been one of the biggest influences on the way cinema has changed over the past quarter century, there are times now that it’s starting to feel like the scene is moving on in favour of younger, fresher blood with their own ideas. I think Tarantino can sense this himself, because he recently made a powerful statement – after he’s made his tenth film, he plans to retire. Given that OUATIH is his NINTH film, that deadline is already looming, and we unashamed FANS of his films are understandably aghast over this turn of events. Thankfully he remains as uncompromisingly awesome a writer-director as ever, delivering another gold standard five-star flick which is also most definitely his most PERSONAL work to date, quite simply down to the fact that it’s a film ABOUT film. Sure, it has a plot (of sorts, anyway), revolving around the slow decline of the career of former TV star Rick Dalton (Leonardo Dicaprio), who languishes in increasing anonymity in Hollywood circa 1969 as his former western hero image is being slowly eroded by an increasingly hacky workload guest-starring on various syndicated shows as a succession of punching-bag heavies for the hero to wale on, while his only real friend is his one-time stunt double, Cliff Booth (Brad Pitt), a former WW2 hero with a decidedly tarnished reputation of his own; meanwhile new neighbours have moved in next door to further distract him – hot-as-shit young director Roman Polanski (Rafal Zawierucha), riding high on the success of Rosemary’s Baby, and his new wife Sharon Tate (Margot Robbie). Certainly this all drives the film, along with real-life events involving one of the darkest crimes in modern American history, but a lot of the time the plot is largely coincidental – Quentin uses it as a springboard to wax lyrical about his very favourite subject and pay loving (if sometimes irreverently satirical) tribute to the very business he’s been indulging in with such great success since 1992. Sure, it’s also about “Helter Skelter” and the long shadow cast by Charles Manson and his band of murderous misfits, but this is largely incidental, as we’re treated to long, entertaining interludes as we follow Rick on a shoot as the bad guy in the pilot for the Lancer TV series, visit the notorious Spahn Ranch with Cliff as he’s unwittingly drawn into the lion’s den of the deadly Manson Family, join Robbie’s Tate as she watches “herself” in The Wrecking Crew, and enjoy a brilliant montage in which we follow Rick’s adventures in Spaghetti westerns (and Eurospy cinema) after he’s offered a chance to change his flagging fortunes, before the film finally builds to a seemingly inevitable, fateful conclusion that Tarantino then, in sneakily OTT Inglourious Basterds style, mischievously turns on its head with a devilish game of “What If”. The results are a thoroughly engrossing and endlessly entertaining romp through the seedier side of Hollywood and a brilliant warts-and-all examination of the craft’s inner workings that, interestingly, reveals as much about the Business today as it does about how it was way back in the Golden Age the film portrays, all while delivering bucket-loads of QT’s trademark cool, swagger, idiosyncratic genius and to-die-for dialogue and character-work, and, of course, a typically exceptional all-star cast firing on all cylinders. Dicaprio and Pitt are both spectacular (Brad is endearingly taciturn, playing it wonderfully close to the vest throughout, while Leo is simply ON FIRE, delivering a mercurial performance EASILY on a par with his work on Shutter Island and The Wolf of Wall Street – could this be good enough to snag him a second Oscar?), while Robbie consistently endears us to Tate as she EFFORTLESSLY brings the fallen star back to life, and there’s an incredible string of amazing supporting turns from established talent and up-and-comers alike, from Kurt Russell, Al Pacino and a very spiky Bruce Dern to Mike Moh (in a FLAWLESS take on Bruce Lee), Margaret Qualley, Austin Butler and in particular Julia Butters as precocious child star Trudi Fraser. Packed with winning references, homages, pastiches and ingenious little in-jokes, handled with UTMOST respect for the true life subjects at all times and shot all the way through with his characteristic flair and quirky, deliciously dark sense of humour, this is cinema very much of the Old School, and EVERY INCH a Tarantino flick. With only one more film to go the implied end of his career seems much too close, but if he delivers one more like this he’ll leave behind a legacy that ANY filmmaker would be proud of.

18. CRAWL – summer 2019’s runner-up horror offering marks a rousing return to form for a genre talent who’s FINALLY delivered on the impressive promise of his early work – Alexandre Aja made a startling debut with Switchblade Romance, which led to his big break helming the cracking remake of slasher stalwart The Hills Have Eyes, but then he went SPECTACULARLY off the rails when he made the truly abysmal Piranha 3D, which I wholeheartedly regard as one of THE VERY WORST FILMS EVER MADE IN ALL OF HUMAN HISTORY. He took a big step back in the right direction with the admittedly flawed but ultimately enjoyable and evocative Horns (based on the novel by Stephen King’s son Joe Hill), but it’s with this stripped back, super-tight man-against-nature survival horror that the Aja of old has TRULY returned to us. IN SPADES. Seriously, I personally think this is his best film to date – there’s no fat on it at all, going from a simple set-up STRAIGHT into a precision-crafted exercise in sustained tension that relentlessly grips right up to the end credits. The film is largely just a two-hander – Maze Runner star Kaya Scodelario plays Haley Keller, a Florida college student and star swimmer who ventures into the heart of a Category 5 hurricane to make sure her estranged father, Dave (Saving Private Ryan’s Barry Pepper), is okay after he drops off the grid. Finding their old family home in a state of disrepair and slowly flooding, she does a last minute check of the crawl-space underneath, only to discover her father badly wounded and a couple of hungry alligators stalking the dark, cramped, claustrophobic confines. With the flood waters rising and communications cut off, Haley and Dave must use every reserve of strength, ingenuity and survival instinct to keep each other alive in the face of increasingly daunting odds … even with a premise this simple, there was plenty of potential for this to become an overblown, clunky mess in the wrong hands (a la Snakes On a Plane), so it’s a genuinely great thing that Aja really is back at the height of his powers, milking every fraught and suspenseful set-piece to its last drop of exquisite piano-wire tension and putting his actors through hell without a reprieve in sight. Thankfully it’s not JUST about scares and atmosphere – there’s a genuinely strong family drama at the heart of the story that helps us invest in these two, Scodelario delivering a phenomenally complex performance as she peels back Haley’s layers, from stubborn pedant, through vulnerable child of divorce, to ironclad born survivor, while reconnecting with her emotionally raw, repentantly open father, played with genuine naked intensity in a career best turn from Pepper. Their chemistry is INCREDIBLY strong, making every scene a joy even as it works your nerves and tugs on your heartstrings, and as a result you DESPERATELY want to see them make it out in one piece. Not that Aja makes it easy for them – the gators are an impressively palpable threat, proper scary beasties even if they are largely (admittedly impressively executed) digital effects, while the storm is almost a third character in itself, becoming as much of an elemental nemesis as its scaly co-stars. Blessedly brief (just 87 minutes!) and with every second wrung out for maximum impact, this is survival horror at its most brutally, simplistically effective, a deliciously vicious, primal chill-ride that thoroughly rewards from start to finish. Welcome back, Mr Aja. We’ve missed you.

17. SHAZAM! – there were actually THREE movies featuring Captain Marvel out in 2019, but this offering from the hit-and-miss DCEU cinematic franchise is a very different beast from his MCU-based namesake, and besides, THIS Cap long ago ditched said monicker for the far more catchy (albeit rather more oddball) title that graces Warner Bros’ last step back on the right track for their superhero Universe following the equally enjoyable Aquaman and franchise high-point Wonder Woman. Although he’s never actually referred to in the film by this name, Shazam (Chuck’s Eugene Levy) is the magically-powered alternate persona bestowed upon wayward fifteen year-old foster kid Billy Batson (Andi Mack’s Asher Angel) by an ancient wizard (Djimon Hounsou) seeking one pure soul to battle Dr. Thaddeus Sivana (Mark Strong), a morally corrupt physicist who turns into a monstrous supervillain after becoming the vessel for the spiritual essences of the Seven Deadly Sins (yup, that thoroughly batshit setup is just the tip of the iceberg of bonkersness on offer in this movie). Yes, this IS set in the DC Extended Universe, Shazam sharing his world with Superman, Batman, the Flash et al, and there are numerous references (both overt and sly) to this fact throughout (especially in the cheeky animated closing title sequence), but it’s never laboured, and the film largely exists in its own comfortably enclosed narrative bubble, allowing us to focus on Billy, his alter ego and in particular his clunky (but oh so much fun) bonding experiences with his new foster family, headed by former foster kid couple Victor and Rosa Vazquez (The Walking Dead’s Cooper Andrews and Marta Milans) – the most enjoyably portions of the film, however, are when Billy explores the mechanics and limits of his newfound superpowers with his new foster brother Freddy Freeman (It Chapter 1’s Jack Dylan Glazer), a consistently hilarious riot of bad behaviour, wanton (often accidental) destruction and perfectly-observed character development, the blissful culmination of a gleefully anarchic sense of humour that, until recently, has been rather lacking in the DCEU but which is writ large in bright, wacky primary colours right through this film. Sure, there are darker moments, particularly when Sivana sets loose his fantastic icky brood of semi-corporeal monsters, and these scenes are handled with seasoned skill by director David F. Sandberg, who cut his teeth on ingenious little horror gem Lights Out (following up with Annabelle: Creation, but we don’t have to dwell on that), but for the most part the film is played for laughs, thrills and pure, unadulterated FUN, almost never taking itself too seriously, essentially intended to do for the DCEU what Guardians of the Galaxy and Ant-Man did for the MCU, and a huge part of its resounding success must of course be attributed to the universally willing cast. Eugene Levy’s so ridiculously pumped-up he almost looks like a special effect all on his own, but he’s lost none of his razor-sharp comic ability, perfectly encapsulating a teenage boy in a grown man’s body, while his chemistry with genuine little comedic dynamo Glazer is simply exquisite, a flawless balance shared with Angel, who similarly excels at the humour but also delivers quality goods in some far more serious moments too, while the rest of Billy’s newfound family are all brilliant, particularly ridiculously adorable newcomer Faithe Herman as precocious little motor-mouth Darla; Djimon Hounsou, meanwhile, adds significant class and gravitas to what could have been a cartoonish Gandalf spoof, and Mark Strong, as usual, gives great bad guy as Sivana, providing just the right amount of malevolent swagger and self-important smirk to proceedings without ever losing sight of the deeper darkness within. All round, this is EXACTLY the kind of expertly crafted superhero package we’ve come to appreciate in the genre, another definite shot in the arm for the DCEU that holds great hope for the future of the franchise, and some of the biggest fun I had at the cinema this past year. Granted, it’s still not a patch on the MCU, but the quality gap finally seems to be closing …

16. ALITA: BATTLE ANGEL – y’know, there was a time when James Cameron was quite a prolific director, who could be counted upon to provide THE big event pic of the blockbuster season. These days, we’re lucky to hear from him once a decade, and now we don’t even seem to be getting that – the dream project Cameron’s been trying to make since the end of the 90s, a big live action adaptation of one of my favourite mangas of all time, Gunnm (or Battle Angel Alita to use its more well-known sobriquet) by Yukito Kishiro, has FINALLY arrived, but it isn’t the big man behind the camera here since he’s still messing around with his intended FIVE MOVIE Avatar arc. That said, he made a damn good choice of proxy to bring his vision to fruition – Robert Rodriguez is, of course, a fellow master of action cinema, albeit one with a much more quirky style, and this adap is child’s play to him, the creator of the El Mariachi trilogy and co-director of Frank Miller’s Sin City effortlessly capturing the dark, edgy life-and-death danger and brutal wonder of Kishiro’s world in moving pictures. 300 years after the Earth was decimated in a massive war with URM (the United Republics of Mars) known as “the Fall”, only one bastion of civilization remains – Iron City, a sprawling, makeshift community of scavengers that lies in the shadow of the floating city of Zalem, home of Earth’s remaining aristocracy. Dr. Dyson Ido (Christoph Waltz) runs a clinic in Iron City customising and repairing the bodies of its cyborg citizens, from the mercenary “hunter killers” to the fast-living players of Motorball (a kind of supercharged mixture of Rollerball and Death Race), one day discovering the wrecked remains of a female ‘borg in the junkyard of scrap accumulated beneath Zalem. Finding her human brain is still alive, he gives her a new chassis and christens her Alita, raising her as best he can as she attempts to piece together her mysterious, missing past, only for them both to discover that the truth of her origins has the potential to tear their fragile little world apart forever. The Maze Runner trilogy’s Rosa Salazar is the heart and soul of the film as Alita (originally Gally in the comics), perfectly bringing her (literal) wide-eyed innocence and irrepressible spirit to life, as well as proving every inch the diminutive badass fans have been expecting – while her overly anime-styled look might have seemed a potentially jarring distraction in the trailers, Salazar’s mocap performance is SO strong you’ve forgotten all about it within the first five minutes, convinced she’s a real, flesh-and-metal character – and she’s well supported by an exceptional ensemble cast both new and well-established. Waltz is the most kind and sympathetic he’s been since Django Unchained, instilling Ido with a worldly warmth and gentility that makes him a perfect mentor/father-figure, while Spooksville star Keean Johnson makes a VERY impressive big screen breakthrough as Hugo, the streetwise young dreamer with a dark secret that Alita falls for in a big way, Jennifer Connelly is icily classy as Ido’s ex-wife Chiren, Mahershala Ali is enjoyably suave and mysterious as the film’s nominal villain, Vector, an influential but seriously shady local entrepreneur with a major hidden agenda, and a selection of actors shine through the CGI in various strong mocap performances, such as Deadpool’s Ed Skrein, Derek Mears, From Dusk Til Dawn’s Eiza Gonzalez and a thoroughly unrecognisable but typically awesome Jackie Earle Haley. As you’d expect from Rodriguez, the film delivers BIG TIME on the action front, unleashing a series of spectacular set-pieces that peak with Alita’s pulse-pounding Motorball debut, but there’s a pleasingly robust story under all the thrills and wow-factor, riffing on BIG THEMES and providing plenty of emotional power, especially in the heartbreaking character-driven climax – Cameron, meanwhile, has clearly maintained strict control over the project throughout, his eye and voice writ large across every scene as we’re thrust headfirst into a fully-immersive post-apocalyptic, rusty cyberpunk world as thoroughly fleshed-out as Avatar’s Pandora, but most importantly he’s still done exactly what he set out to do, paying the utmost respect to a cracking character as he brings her to vital, vivid life on the big screen. Don’t believe the detractors – this is a MAGNIFICENT piece of work that deserves all the recognition it can muster, perfectly set up for a sequel that I fear we may never get to see. Oh well, at least it’s renewed my flagging hopes for a return to Pandora …

15. AD ASTRA – last century, making a space exploration movie after 2001: A Space Odyssey was a pretty tall order. THIS century, looks like it’s trying to follow Chris Nolan’s Interstellar – love it or hate it, you can’t deny that particular epic space opera for the IMAX crowd is a REALLY tough act to follow. At first glance, then, writer-director James Gray (The Yards, We Own the Night) is an interesting choice to try, at least until you consider his last feature – he may be best known for understated, gritty little crime thrillers, but I was most impressed by 2016’s ambitious period biopic The Lost City of Z, which focused on the groundbreaking career of pioneering explorer Percy Fawcett, and couldn’t have been MORE about the indomitable spirit of discovery if it tried. His latest shares much of the same DNA, albeit presented in a VERY different package, as we’re introduced to a more expansive Solar System of the near future, in which humanity has begun to colonize our neighbouring worlds and is now pushing its reach beyond our own star’s light in order to discover what truly lies beyond the void of OUTER space. Brad Pitt stars as Major Roy McBride, a career astronaut whose whole life has been defined by growing up in the shadow of his father, H. Clifford McBride (Tommy Lee Jones), a true pioneer who led an unprecedented expedition to the orbit of our furthest neighbour, Neptune, in order to search for signs of intelligent life beyond our solar system, only for the whole mission to go quiet for the past sixteen years. Then a mysterious, interplanetary power surge throws the Earth into chaos, and Roy must travel farther than he’s ever gone before in order to discover the truth behind the source of the pulse – his father’s own ill-fated Lima Project … this is a very different beast from Interstellar, a much more introspective, stately affair, revelling in its glacial pacing and emphasis on character motivation over plot, but it’s no less impressive from a visual, visceral standpoint – Gray and cinematographer Hoyt van Hoytema (who, interestingly, ALSO shot Interstellar, along with Nolan’s Dunkirk and his upcoming feature Tenet) certainly make space look truly EPIC, crafting astonishing visuals that deserve to be seen on the big screen (or at the very least on the best quality HDTV you can find). There’s also no denying the quality of the writing, Gray weaving an intricate story that reveals far greater depth and complexity than can be seen at first glance, while Roy’s palpable “thought-process” voiceover puts us right into the head of the character as we follow him across the endless void on a fateful journey into a cosmic Heart of Darkness. There is, indeed, a strong sense of Apocalypse Now to proceedings, with the younger McBride definitely following a similar path to Martin Sheen’s ill-fated captain as he travels “up-river” to find his Colonel Kurtz-esque father, and the performances certainly match the heft of the material – there’s an impressive collection of talent on offer in a series of top-quality supporting turns, Jones being just the icing on the cake in the company of Donald Sutherland, Liv Tyler, John Ortiz and Preacher’s Ruth Negga, but the undeniable driving force of the film is Pitt, his cool, laconic control hiding uncharted depths of emotional turmoil as he’s forced to call every choice into question. It’s EASILY one of the finest performances of his career to date, just one of the MANY great selling points in a film that definitely deserves to be remembered as one of the all-time sci-fi greats of the decade. An absolute masterpiece, then, but does it stand tall in comparison to Interstellar? I should say so …

14. BRIGHTBURN – torpedoing Crawl right out of the water in the summer, this refreshing, revisionist superhero movie takes one of the most classic mythologies in the genre and turns it on its head in true horror style. The basic premise is an absolute blinder – what if, when he crashed in small-town America as a baby, Superman had turned out to be a bad seed? Unsurprising, then, that it came from James Gunn, who here produces a screenplay by his brother and cousin Brian and Mark Gunn (best known for penning the likes of Journey 2: the Mysterious Island, but nobody’s perfect) and the directorial big break of his old mate David Yarovesky (whose only previous feature is obscure sci-fi horror The Hive) – Gunn is, of course, an old pro at taking classic comic book tropes and creating something completely new with them, having previously done so with HUGE success on cult indie black comedy Super and, in particular, Marvel’s Guardians of the Galaxy movies, and his fingerprints are ALL OVER this one too. The Hunger Games’ Elizabeth Banks (who starred in Gunn’s own directorial debut Slither) and David Denman (The Office) are Tori and Kyle Breyer, a farming couple living in Brightburn, Kansas, who are trying for a baby when a mysterious pod falls from the sky onto their land, containing an infant boy. As you’d expect, they adopt him, determined to keep his origin a secret, and for the first twelve years of his life all seems perfectly fine – Brandon’s growing up into an intelligent, artistic child who loves his family. Then his powers manifest and he starts to change – not just physically (he’s impervious to harm, incredibly strong, has laser eyes and the ability to disrupt electronic devices … oh, and he can fly, too), but also in personality, as he becomes cold, distant, even cruel as he begins to demonstrate some seriously sociopathic tendencies. As his parents begin to fear what he’s becoming, things begin to spiral out of control and people start to disappear or turn up brutally murdered, and it becomes clear that Brandon might actually be something out of a nightmare … needless to say this is superhero cinema as full-on horror, Brandon’s proclivities leading to some proper nasty moments once he really starts to cut loose, and there’s no mistaking this future super for one of the good guys – he pulverises bones, shatters faces and melts skulls with nary a twitch, just the tiniest hint of a smile. It’s an astonishing performance from newcomer Jackson A. Dunn, who perfectly captures the nuanced subtleties as Brandon goes from happy child to lethal psychopath, clearly demonstrating that he’s gonna be an incredible talent in future; the two grown leads, meanwhile, are both excellent, Denman growing increasingly haunted and exasperated as he tries to prove his own son is a wrong ‘un, while Banks has rarely been better, perfectly embodying a mother desperately wanting to belief the best of her son no matter how compelling the evidence becomes, and there’s quality support from Breaking Bad’s Matt Jones and Search Party’s Meredith Hagner as Brandon’s aunt and uncle, Noah and Meredith, and Becky Wahlstrom as the mother of one of his school-friends, who seems to see him for what he really is right from the start. Dark, suspenseful and genuinely nasty, this is definitely not your typical superhero movie, often playing like Kick-Ass’ deeply twisted cousin, and there are times when it displays some of the same edgy, black-hearted sense of humour, too. In other words, it’s all very James Gunn. It’s one sweet piece of work, everyone involved showing real skill and devotion, and Yarovesky in particular proves he’ll definitely be one-to-watch in the future. There are already plans for a potential sequel, and given where this particular little superhero universe seems to be heading I think it could be something pretty special, so fair to say I can’t wait.

13. STAR WARS EPISODE IX: THE RISE OF SKYWALKER – wow, this one’s proven particularly divisive, hasn’t it? And I thought The Last Jedi caused a stir … say what you will about Rian Johnson’s previous entry in the juggernaut science fiction saga, while it certainly riled up the hardcore fanbase it was at least well-received by the critics, not to mention myself, who found it refreshing and absolutely ingenious after the crowd-pleasing simplicity of JJ Abrams’ admittedly still thoroughly brilliant The Force Awakens. After such radical experimentation, Abrams’ return to the director’s chair can’t help feeling a bit like desperate backpedalling in order to sooth a whole lot of seriously ruffled feathers, and I’ll admit that, on initial viewing, I couldn’t help feeling just a touch cheated given what might have been if similarly offbeat, experimentally-minded filmmaker Colin Trevorrow (Safety Not Guaranteed, Jurassic World) had stayed on board to helm the picture. Then I got home, thought about it for a bit and it started to grow on me, before a second viewing helped me to reconcile all everything that bugged me first time around, seemingly the same things that have, perversely, ruffled so many more feathers THIS TIME. This doesn’t feel like a retcon job, no matter what some might think – new developments in the story that might feel like whitewash actually do make sense once you think about them, and the major twists actually work when viewed within the larger, overarching storyline. Not that I’m willing to go into any kind of detail here, mind you – this is a spoiler-free zone, thank you very much. Suffice to say, the honour of the saga has in no way been besmirched by Abrams and his co-writer Chris Terrio (sure, he worked on Batman V Superman and Justice League, but he also wrote Argo), the final film ultimately standing up very well indeed alongside its trilogy contemporaries, and still MILES ABOVE anything we got in George Lucas’ decidedly second-rate prequels. The dangling plot strands from The Last Jedi certainly get tied up with great satisfaction, particularly the decidedly loaded drama of new Jedi Rey (Daisy Ridley) and troubled First Order Supreme Leader Kylo Ren/Ben Solo (Adam Driver), while the seemingly controversial choice of reintroducing Ian McDiarmid’s fantastically monstrous Emperor Palpatine as the ultimate big bad ultimately works out spectacularly well, a far cry from any perceived botched fan-service. Everyone involved was clearly working at the height of their powers – Ridley and Driver are EXCEPTIONAL, both up-and-coming young leads truly growing into the their roles, while co-stars John Boyega and Oscar Isaac land a pleasingly meaty chunk of the story to finally get to really explore that fantastic chemistry they teased on The Last Jedi, and Carrie Fisher gets a truly MAGNIFICENT send off in the role that defined her as the incomparable General Leia Organa (one which it’s still heartbreaking she never quite got to complete); other old faces, meanwhile, return in fun ways, from Anthony Daniels’ C-3PO FINALLY getting to play a PROPER role in the action again to a brilliant supporting flourish from the mighty Billy Dee Williams as the Galaxy-Far-Far-Away’s own King of Cool, Lando Calrissian, while there’s a wealth of strong new faces here too, such as Lady Macbeth’s Naomie Ackie as rookie rebel Jannah, Richard E. Grant as suitably slimy former-Imperial First Order bigshot Allegiant General Pryde, The Americans’ Keri Russell as tough smuggler Zorii Bliss and Lord of the Rings star Dominic Monaghan as Resistance tech Beaumont Kin. As fans have come to expect, Abrams certainly doesn’t skim on the spectacle, delivering bombastic thrill-ride set-pieces that yet again set the benchmark for the year’s action stakes (particularly in the blistering mid-picture showdown between Rey and Kylo among the wave-lashed remains of Return of the Jedi’s blasted Death Star) and awe-inspiring visuals that truly boggle the mind with their sheer beauty and complexity, but he also injects plenty of the raw emotion, inspired character work, knowing humour and pure, unadulterated geeky FUN he’s so well known for. In conclusion, then, this is MILES AWAY from the clunky, compromised mess it’s been labelled as in some quarters, ultimately still very much in keeping with the high standards set by its trilogy predecessors and EVERY INCH a proper, full-blooded Star Wars movie. Ultimately, Rogue One remains THE BEST of the big screen run since Lucas’ Original Trilogy, but this one still emerges as a Force to be reckoned with …

12. JOKER – no-one was more wary than me when it was first announced that DC and Warner Bros. were going to make a standalone, live-action movie centred entirely around Batman’s ultimate nemesis, the Joker, especially with it coming hot on the heels of Jared Leto’s thoroughly polarizing portrayal in Suicide Squad. More so once it was made clear that this WOULD NOT be part of the studio’s overarching DC Extended Universe cinematic franchise, which was FINALLY starting to find its feet – then what’s the point? I found myself asking. I should have just sat back and gone with it, especially since the finished product would have made me eat a big slice of humble pie had I not already been won over once the trailers started making the rounds. This is something new, different and completely original in the DC cinematic pantheon, even if it does draw major inspiration from Alan Moore’s game-changing DC comics mini-series The Killing Joke – a complete standalone origin story for one of our most enduring villains, re-imagined as a blistering, bruising psychological thriller examining what can happen to a man when he’s pushed far beyond the brink by terrible circumstance, societal neglect and crippling mental illness. Joaquin Phoenix delivers the performance of his career as Arthur Fleck, a down-at-heel clown-for-hire struggling to launch a career as a stand-up-comic (badly hampered by the fact that he’s just not funny) while suffering from an acute dissociative condition and terrible attacks of pathological laughter at moments of heightened stress – the actor lost 52 pounds of weight to become a horrifically emaciated scarecrow painfully reminiscent of Christian Bale’s similar preparation for his acclaimed turn in The Machinist, and frequently contorts himself into seemingly impossible positions that prominently accentuate the fact. Fleck is a truly pathetic creature, thoroughly put-upon by a pitiless society that couldn’t care less about him, driven by inner demons and increasingly compelling dark thoughts to act out in increasingly desperate, destructive ways that ultimately lead him to cross lines he just can’t come back from, and Phoenix gives his all in every scene, utterly mesmerising even when his character commits some truly heinous acts. Certainly he dominates the film, but then there are plenty of winning supporting turns from a universally excellent cast to bolster him along, from Zazie Beetz as an impoverished young mother Arthur bonds with and Frances Conroy (Six Feet Under, American Horror Story) as Arthur’s decidedly fragile mother Penny to Brett Cullen (The Thorn Birds, Lost) as a surprisingly unsympathetic Thomas Wayne (the philanthropic father of future Batman Bruce Wayne), while Robert De Niro himself casts a very long shadow indeed as Murray Franklin, a successful comedian and talk show host that Arthur idolizes, a character intentionally referential to his role in The King of Comedy. Indeed, Martin Scorsese’s influence is writ large throughout the entire film, reinforced by the choice to set the film in a 1981-set Gotham City which feels very much like the crumbling New York of Mean Streets or Taxi Driver. This is a dark, edgy, grim and unflinchingly BRUTAL film, frequently difficult to watch as Arthur is driven further into a blazing psychological hell by his increasingly stricken life, but addictively, devastatingly compelling all the same, impossible to turn away from even in the truly DEVASTATING final act. Initially director Todd Phillips seemed like a decidedly odd choice for the project, hailing as he does from a predominantly comedy-based filmmaking background (most notably Due Date and The Hangover trilogy), but he’s actually a perfect fit here, finding a strangely twisted beauty in many of his compositions and a kind of almost uplifting transcendence in his subject’s darkest moments, while his screenwriting collaboration with Scott Silver (8 Mile, The Fighter) means that the script is as rich as it can be, almost overflowing with brilliant ideas and rife with biting social commentary which is even more relevant today than in the period in which it’s set. Intense, gripping, powerful and utterly devastating, this truly is one of the best films of 2019. If this was a purely critical Top 30 this would have placed in the Top 5, guaranteed …

11. FAST & FURIOUS PRESENTS HOBBS & SHAW – summer 2019’s most OTT movie was some of THE MOST FUN I had at the cinema all year, a genuinely batshit crazy, pure bonkers rollercoaster ride of a film I just couldn’t get enough of, the perfect sum of all its baffling parts. The Fast & Furious franchise has always revelled in its extremes, subtle as a brick and very much playing to the blockbuster, popcorn movie crowd right from the start, but it wasn’t until Fate of the Furious (yup, the ridiculous title says it all) that it really started to play to the inherent ridiculousness of its overall setup, paving the way for this first crack at a new spin-off series sans-Vin Diesel. Needless to say this one fully embraces the ludicrousness, with director David Leitch the perfect choice to shepherd it into the future, having previously mastered OTT action through John Wick and Atomic Blonde before helming manic screwball comedy Deadpool 2, which certainly is the strongest comparison point here – Hobbs & Shaw is every bit as loud, violent, chaotic and thoroughly irreverent, definitely playing up the inherent comic potential at the core of the material as he cranks up the humour. Dwayne Johnson and Jason Statham take centre stage as, respectively, DSS agent Luke Hobbs and former SAS black operative Deckard Shaw, the ultimate action movie odd couple once again forced to work together to foil the bad guy and save the world from a potentially cataclysmic disaster. Specifically Brixton Lore (Idris Elba), a self-proclaimed “black superman” enhanced with cybernetic implants and genetic manipulation to turn him into the ultimate warrior, who plans to use a lethal designer supervirus to eradicate half of humanity (as supervillains tend to do), but there’s one small flaw in his plan – the virus has been stolen by Hattie Shaw (Mission: Impossible – Fallout’s Vanessa Kirby), a rogue MI6 agent who also happens to be Deckard’s sister. Got all that? Yup, the movie really is as mad as it sounds, but that’s part of the charm – there’s an enormous amount of fun to be had in just giving in and going along with the madness as Hobbs and the two Shaws bounce from one overblown, ludicrously destructive set-piece to the next, kicking plenty of arse along the way when they’re not jumping out of tall buildings or driving fast cars at ludicrous speeds in heavy traffic, and when they’re not doing that they’re bickering with enthusiasm, each exchange crackling with exquisite hate-hate chemistry and liberally laced with hilarious dialogue delivered with gleeful, fervent venom (turns out there’s few things so enjoyable as watching Johnson and Statham verbally rip each other a new one), and the two action cinema heavyweights have never been better than they are here, each bringing the very best performances of their respective careers out of each other as they vacillate, while Kirby holds her own with consummate skill that goes to show she’s got a bright future of her own. As for Idris Elba, the one-time potential future Bond deserves to be remembered as one of the all-time great screen villains ever, investing Brixton with the perfect combination of arrogant swagger and lethal menace to steal every scene he’s in while simultaneously proving he can be just as big a badass in the action stakes; Leitch also scatters a selection of familiar faces from his previous movies throughout a solid supporting cast which also includes the likes of Fear the Walking Dead’s Cliff Curtis, From Dusk Till Dawn’s Eiza Gonzalez and Helen Mirren (who returns as Deckard and Hattie’s mum Queenie Shaw), while there’s more than one genuinely brilliant surprise cameo to enjoy. As we’ve come to expect, the action sequences are MASSIVE, powered by nitrous oxide and high octane as property is demolished and vehicles are driven with reckless abandon when our protagonists aren’t engaged in bruising, bone-crunching fights choreographed with all the flawless skill you’d expect from a director who used to be a professional stuntman, but this time round the biggest fun comes from the downtime, as the aforementioned banter becomes king. It’s an interesting makeover for the franchise, going from heavyweight action stalwart to comedy gold, and it’s a direction I hope they’ll maintain for the inevitable follow-up – barring Fast Five, this is THE BEST Fast & Furious to date, and a strong indicator of how it should go to keep conquering multiplexes in future. Sign me up for more, please.

#frozen 2 #Once Upon A Time In Hollywood #crawl #crawl movie #Shazam!#Alita Battle Angel #ad astra #Brightburn #star wars the rise of skywalker #joker #joker movie #hobbs and shaw #2019 in movies

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wheatbeats · 6 years

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2018 is over and I feel compelled to write a retrospective of sorts, but since I don’t feel like talking about myself I’m gonna talk about Every Anime (Series) I Watched in 2018. Each one comes with a numerical rating out of 10 and a short blurb of what I thought about it.

Recovery of an MMO Junkie - 9/10 - Incredibly sweet and heartfelt, with mature adult characters who act as such. Drama and comedy both are mined from real issues rather than petty miscommunication, and is all the more compelling for it.

Land of the Lustrous - 10/10 - A delightfully unique setting with an enrapturing story and fantastically constructed characters. The moments of levity and sweetness only serve to make the deeply engrained sadness and loneliness more poignant. The CGI animation is shockingly gorgeous, and a triumph of the medium.

Kino’s Journey: The Beautiful World (2018) - 5/10 - Certainly entertaining in spots, but ultimately rings rather hollow. Not really an improvement on the original in any respect.

Princess Principal - 8/10 - An absolutely gorgeous setting brimming with atmosphere and style, and a fun ensemble cast. The series-wide arc is a little hard to follow or understand, but each individual episodic plot is really enjoyable and engaging.

The Vision of Escaflowne - 8/10 - A well-built fantasy that’s occasionally ridiculous but never not fun. The new dub is really slick and helps the series go down nice and smooth.

A Place Further Than the Universe - 10/10 - Extraordinarily sweet, earnest and heartfelt. Deftly written, smartly directed, and masterfully executed. I cried really hard, a lot.

Tsuredure Children - 8/10 - Cute, ridiculous, and eminently relatable. If you’ve ever had a crush, you’re bound to identify with at least one character in this series.

From the New World - 5/10 - Had a glimmer of potential, but mostly ended up fake deep, poorly paced, and fucking ugly to look at. The more I thought about this series the less I realized I enjoyed it.

The Ancient Magus’ Bride - 5/10 - An extraordinarily promising start that’s disappointingly squandered by wildly inconsistent tone, static plots, nonsensical character arcs, excessive cliffhangers, and hollow stakes.

Princess Tutu - 10/10 - An expertly built deconstruction of fairy tales as well as a sweeping, gorgeous love note to ballet, classical music, and romantic storybook heroism. Wonderfully intricate plotting and stunning character work, a true gem.

Kaiba - 8/10 - Brilliantly unique and emotionally engrossing, if not a bit obscure and hard to follow at times. You never have, and probably never will again, see an anime quite like this.

Girls’ Last Tour - 7/10 - Deeply atmospheric and sometimes quite poignant, but also dreadfully, awfully, agonizingly slow.

Haven’t You Heard? I’m Sakamoto - 9/10 - A smooth and even mix between laughable absurdity and actual real emotional stakes. Somehow, I feel like I learned something about myself.

Megalobox - 8/10 - Briskly paced and action-packed, but by far the biggest draw is a classic 90s aesthetic reminiscent of pre-digital legends like Cowboy Bebop. This series lives and breathes style.

Legend of the Galactic Heroes: Die Neue These - 6/10 - Would have the potential to be interesting if it wasn’t so hollow and boring. I wanted to get more engaged in the politics of this complicated war, but the plot is held at arms length and the characters are more like walking philosophy textbooks than actual people. That said, the ship designs are pretty cool.

Hinamatsuri - 10/10 - Sweet, pure-hearted, and gut-bustingly funny. Any moment I wasn’t laughing until my sides hurt, I was near to tearing up from actually caring about these characters so much. Each episode was a joy and I loved every second of it.

Golden Kamuy (S1) - 7/10 - Absurd, charming, and goofy, with a surprising amount of gore. Seems to care more about food than plot, but I’m kind of into it.

Revolutionary Girl Utena - 9/10 - Brilliantly dense, symbolic, and metaphorical. Sometimes hard to understand, sometimes hard to watch, but always excellent.

Dragon Pilot: Hisone & Masotan - 7/10 - Gorgeously animated and undeniably charming, but still a little awkward, garbled, and uncomfortable at times. The most earnest vore anime I’ve ever watched.

Steins;Gate 0 - 4/10 - A total, utter, crushing disappointment. Follows up a spectacular prequel with a nonsensical, contrived plot, inaccurate characters, and piss-poor visuals. This series is only carried by its relationship to the original. I will never trust again.

Princess Jellyfish - 7/10 - Charming, varied characters populating an unfulfilling narrative.

The Big O - 6/10 - Plenty of goofy, stylish fun, but slowly devolves into an inscrutable, incomprehensible mess. R. Dorothy Wayneright is the best part of this series by far. Roger Smith is a louse.

Aggretsuko - 7/10 - Fun and relatable, if a bit simple.

TOP 3

3. Hinamatsuri - This series came totally out of left field for me. I usually don’t emotionally respond to comedies very well but this one somehow hit all the right buttons. None of the humor was mean-spirited or put anyone down, the situations were absurd but didn’t cripple me with secondhand embarrassment, and on top of it all I really started to care about the cast. I wish I could get surprised like this more often.

2. Land of the Lustrous - As you can tell if you’ve been following me at all recently, this series has been absolutely consuming me from the moment I watched it. The plot is gripping and excellently paced, and I don’t know if I’ve ever been invested in another main character quite as much as Phos. It’s plenty easy to get wrapped up in thinking about the plot and the character arcs and the meta, but then when I go back and watch the series again I’m shocked by how good it is on a technical level, too. The CG animation is beyond gorgeous and the technical grace of each scene, the pacing, the colors, the music, the character animation, the voice acting, are all stellar. If this anime had more of an ending it would absolutely be my number 1 pick, but for now I just have to read the manga (AS SHOULD YOU, YOU COWARDS. IT’S EVERY BIT AS GOOD AS THE ANIME).

1. Princess Tutu - I, like many people, I think, reacted with derision at the title of this series, but by the time I was done I was completely blown away, and every time I thought about it more I was even more shocked. Every inch of this series shows some of the smartest construction I’ve ever seen in fiction, every layer is filled with stylistic flourish, brilliant writing, and metatextual commentary. You can dig as deep as you want and Princess Tutu will always have something to offer you. It’s been less than a year, I’ve already watched it twice, and I’m still discovering new things about it. A story this brilliant would be a once in a lifetime experience on its own, but Tutu is fulfilling on the surface level, too. Even if you’re not diving deep into what the series means you can still be just as enraptured by the characters. Fakir probably has the best redemption arc this side of Prince Zuko, and I could sing the praises of every other major cast member. And the music, the music! I was doomed from the start the moment I heard both The Nutcracker and Pictures at an Exhibition in the score. Princess Tutu takes some of the greatest masterpieces of western art music and builds off them, creating a sense of atmosphere as deep and vast and dramatic as the finest opera or ballet could ever be. Princess Tutu is one of the greatest works of fiction I’ve ever consumed, and absolutely the best I’ve watched this year.

BOTTOM THREE

3. From the New World - Immediately after I stopped watching this series I actually sort of thought I’d liked it, and I think the reason for this is because From the New World tries its very best to engage in ideas a bit deeper and more ambiguous than a lot of other anime do. But the more I thought about it, the more I disliked this series. Everything about the plot was confusing and off-putting, I didn’t find the characters particularly charming, and perhaps most of all, this series is butt-ugly. It might have a high score of MAL. but my advice is to give this series a hard pass.

2. The Ancient Magus’ Bride - I wanted to like this series so fucking bad. I fell in love with the prequel OVA and waited anxiously for each new installment to come out. I even bought tickets to my local Artsy Fartsy Theater to see the first three episodes when the screened there. And I liked them! Finally, an anime engaged in Celtic and English mythology, some of my favorites, and a protagonist with a truly gripping internal struggle. I was certain from the very first moment that this series would sit in my Top 10 list, and that Chise would be one of my favorite protagonists ever. And then it... didn’t happen. As the episodes unfolded I was treated to a series that had no idea how to establish or maintain stakes, how to relate its two main characters to each other, or how to use the wealth of mythology it was referencing and drawing from. How am I supposed to care when Chise gets stabbed in the chest every 2 episodes and then just kind of shrugs it off for the sake of drama? How am I supposed to be interested in the mythology when it’s all just watered-down fantasy archetypes with giant boobs? Don’t even get me started on the main villain. I feel very betrayed by this series and honestly I’m still bitter.

1. Steins;Gate 0 - This series is as much a lesson in betrayal as Ancient Magus’ Bride, but I think this one stings worse because it’s preceded by Steins;Gate, and anime I love dearly. I sincerely believe that the original Steins;Gate is one of the best anime ever produced, and this sequel struggles to live up to even a single aspect of it. As it began I was hopeful- I liked the darker tone, I liked the idea of a story within a failed timeline. But as I kept watching, I realized something awful: I was bored. All of the charm and intrigue was gone. The characters were all acting different, all looked different (why are all the girls wearing skintight winter coats? Why have their chests all inflated three sizes??), and there was no impetus for the plot. Steins;Gate was driven by simple goals; in the first half, it was to build a time-leap machine. In the second half, it was to save Mayuri. In Steins;Gate 0 the impetus is to... watch Okabe be sad. Hope he gets less sad. There’s nothing to keep the plot moving, and this listlessness was so overwhelming that the random bits of unforeshadowed action and unprecedented (for this franchise) violence felt cheap and confusing after the doldrums we just sat through. By the time the plot finally, finally, picks up towards the final quarter of the series, the damage is done. I don’t care anymore, I can’t figure out what’s going on, and I’m just so done with a franchise I used to love. One day I’ll go back and rewatch the original Steins;Gate and remind myself why I cared so much, but for now I’m nursing wounds. If you say the name “Kagari” in my presence, I’ll probably blitz the fuck out.

Here’s to a good 2019!

#princess tutu #land of the lustrous #hinamatsuri #the ancient magus' bride #steins;gate 0

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dukeofriven · 6 years

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There's a distinction to be made here. Like, you're right that the writing isn't good here. The writing in the Kingdom Hearts series is frequently terrible, especially when it comes to awkwardly inserting Sora & crew into Disney movies. The question, though, is whether or not you're enjoying it regardless. I can't currently tell if you are.

This is such a wonderful question and I love it so much. (The way to a writer’s heart is to ask them questions about themselves, because we are all mad egoists)The short answer is that I don’t write 2500 words on something I don’t think is worth exploring, and I certainly don’t spend six hours dissecting a two-minute scene if I didn’t derive any pleasure from it. The long answer: it is not “enjoyment” in the sense of ‘relaxing.’ I am not ‘enjoying it’ in the sense that I can zone out while watching it, or necessarily find delight in the viewing experience - which is not to say those are bad things, I just find that really, really hard to do. My brain works differently. I do find that sometimes ‘critique’ is conflated with ‘criticism,’ and that there is a prima facie tendency to presume that anyone critiquing anything has had a negative experience. There are very few things I love that I don’t find reason to critique (off the top of my head, Labyrinth and A Muppet Christmas Carol are the only two the jump to mind, and you can tell that one of their defining features is Childhood Love.Also Muppets.)But to say that I am not enjoying it would be untrue: when I don’t enjoy something I might write a lengthy piece on why, but I wouldn’t keep returning, day in and day out, to make the same complaints. (Except Mass Effect 3, because fuuuuck Mass Effect 3.) This liveblog gives me structure, first of all - something my life desperately needs to retain any kind of stability. I am in a bad depressive way right now, and those six hours I spent hyper=focussed on writing that perhaps absurd position paper on Tinkerbell was six hours I didn’t go to 7/11 and spend ungodly amounts of cash on enough taquitos and pseudo-meat to put me into septic shock. My day job is - or, rather, was until a week ago and I was essentially made redundant - writing terribly dry content for a market research firm on the praxis of sales analysis - ah, the glamorous life of a freelancer. When I write this liveblog, especially long-form posts, both for this and several other essays I’ve done over the years, what enjoyment I have! The ebb and flow of words, the simple joys in register and tone: I don’t focus as much on euphony as I might when writing prose, but simply glance through it and you can see how often I like playing around with modality. It is never not funny to me to write incredibly flowery phrases and counter-point with FUCK THIS or MOVIE BAD and vice versa. The act of writing is its own reward. Whether anyone else enjoys it, or finds it pretentious, or lowbrow, or simply boring, might matter to my ego, but the enjoyment of the act - that is entirely internal.But that all rather sidesteps the questions of ‘do I enjoy anything about Kingdom Hearts,’ so let me say this. In April of 2005 - almost fifteen years ago - I sat on my friend’s bed and watching him play this new game called Kingdom Hearts II, a sequel to a game I didn’t care about and had never played - but this KHII game? It transfixed me, at least for the time I got to spend at his house watching it. By the time he’d gotten into something called a gummi ship and was buzzing around a bad space sim with some Disney jerks I’d lost interest - but that prologue? Those first hours? They starred a kid named Roxas, and boy did I love him. I wouldn’t have said ‘love’ at the time, but that’s probably what is was. Roxas lived the ultimate imposter syndrome in a world built entirely for the benefit of someone else, doomed to be subsumed by somebody with bigger hair and bigger shoes. He had friends who didn’t really know him, and glitches bedevilled his steps, and there was a crushing weight of melancholy that pressed down upon him. Roxas was so, so sad - and he didn’t know why, he couldn’t even express why, and when he tried all he could come up with was banal platitudes about the end of summer, but that wasn’t quite right, that wasn’t really the issue, and he knew it wasn’t right. A countdown timer was tick tick ticking away in some grand cosmic joke that he could sense but could not confront. And there was this girl. There were two girls, really, both in dreams, one in fragments, the other who smiled at him with the saddest smile and eyes that knew the truth - that neither of them were real, and the dreamworld in which they all lived was as ephemeral as he had always feared.There’s an angering absurdity to Roxas, especially now that I’ve seen so much of Kingdom Hearts 1. We are told he is only half of Sora, or half his heart, something along those lines: he is Sora’s teleologic shadow. This is nonsense. Sora is barely a person, and Roxas is hauntingly familiar, painfully real - a kindred spirit to a long vanished 14 year old who even then was starting to grapple with the hollowness that rang in his ears, the disquiet that followed his soul. Half of Sora? Sora is a nobody . - Roxas is the true person. If there was justice in the world, than Roxas, Prufrock and I would take a long trip into the country in search of meaning and stability of being.“Why am I doing this?” you might ask. “Why do this when you don’t seem to like Kingdom Hearts.” Of course I like Kingdom Hearts - I love it. It gave me Roxas, and eight hours of a surreal and wistful summer’s end. Perhaps a bit too narrow focus for real enjoyment, and yet here we are. I am here for Roxas - no more, no less. If I must fight through dross and narrative gossamer to reach him again, so be it.The shortest answer: I said the game was poorly written; I never said I wasn’t enjoying it.

#gilphon #kingdom hearts #sora #donald duck #goofy #dukeofriven liveblogs kingdom hearts #disney #roxas

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aion-rsa · 3 years

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25 Best First-Person Shooter Games Ever Made

https://ift.tt/34Cqosq

Game genres go in and out of fashion all the time, but for nearly 30 years, first-person shooters have been one of the industry’s most reliable sources for blockbuster experiences that often help dictate the future of the medium.

There’s no one element that makes FPS games so brilliant, and that is, ironically enough, exactly what makes them brilliant. The history of the genre is written by developers who used a certain point of view and a gun or two as the basis for a variety of experiences that continue to surprise us even after we told ourselves that we’ve seen it all.

Those are the games we’re here to celebrate today. The best first-person shooters ever may have inspired each other, but each ultimately brings something special to the table that helps it stand out among some considerable competition. Many offer something different, but the one thing that most share is the feeling you get just from hearing their names.

Before we dive into the list, here are a few notes about the criteria used to make these selections.

Defining a first-person shooter can be tricky. An FPS must obviously have a first-person perspective and shooting, but when in doubt, we looked closely at the “shooter” part of the equation. The more a game emphasized shooting/combat as a core part of the experience, the more likely it was to be considered part of the genre.

How “fun” an FPS game is ultimately determined whether it was selected and how it was ranked among the rest, but innovation, historical significance, and longevity were all used as prominent “X-factors” to determine rankings.

Single-player only and multiplayer only FPS games were not necessairly faulted for lacking either mode. However, special consideration was given to games that did both well.

25. Superhot

Superhot is one part puzzle game, one part FPS, and one part cinematic gunfight simulator. This unique shooter is built around the ability to slow down time by standing still. Taking a moment to survey the situation is the key to victory, but only speed will save you in this impossibly stylish and devilishly difficult game.

Definitely play Superhot in VR if you ever get the chance to do so, but there’s no bad way to play one of the most creative and engaging FPS games ever made as well as one of gaming’s most potent shots of pure adrenaline.

24. DUSK

2018’s DUSK may be a tribute to several genre classics that came before it, but the way that this game so perfectly recreates the feeling of playing those games rather than how so many of them actually play today strangely elevates it above many of those FPS pioneers.

Even people who usually don’t like the “find the key, labyrinth levels, blistering pace” style of FPS game that DUSK pays homage to often find themselves hopelessly addicted to this game’s airtight mechanics, exceptional pacing, and how it reminds us that, above all else, game are meant to be fun.

23. Metro 2033

Metro 2033 owes a debt to some games that came before (including S.T.A.L.K.E.R.: Shadow of Chernobyl, which many members of the Metro 2033 team worked on), but when it comes to this style of atmospheric FPS game, it may still be the very best.

Metro 2033 embraced its survival horror concepts in a way that even the incredible entries into this series that followed were never quite able to recreate. The atmosphere in this game is so thick and intimidating that it can make you feel like your gasping for air as you play it, which makes it that much more impressive that you’ll feel consistently compelled to push forward no matter how daunting things become.

22. Borderlands 2

While I feel like the original Borderlands is honestly kind of underrated in the grand scheme of the franchise, it’s hard to deny that Borderlands 2 is when this series really found its footing and remains the game the Borderlands franchise is chasing to this day.

Not everyone was a fan of this game’s humor, but that desire to go this far over the top is arguably the reason why Borderlands 2 so confidently combined the best aspects of co-op games, looter RPGs, and first-person shooters. From its base campaign to its incredible DLC, this is still one of the best FPS adventures you can share with friends.

21. Far Cry 2

As the Far Cry series (and the FPS genre) continues to “evolve,” it’s easier than ever to appreciate Far Cry 2 and how so many of the things that this game was initially criticized for now feel like a breath of fresh air.

Far Cry 2 is a hostile game that is constantly trying to kill your through disease, often uncontrollable fires, a lack of resources, aggressive enemies, and a lingering bleakness that only grows more powerful as you begin to understand its story and world. It’s an oppressive game that forces you to think on your feet in ways that few other FPS, open-world, or survival games have ever equaled. I’d say I miss this Ubisoft, but honestly, this was a bold and brilliant experiment even for that studio’s glory days.

20. Wolfenstein 2: The New Colossus

I think the best compliment you can pay Wolfenstein 2 is to say that Wolfenstein: The New Order exceeded nearly every expectation possible and not even that game could prepare us for the places this sequel would go.

Wolfenstein 2 is the greatest tribute to excess this side of a cocaine party on ‘80s Wall Street. Just when you think you’ve seen the most shocking thing this game will do, it finds a way to up the ante time and time again. It certainly doesn’t hurt that it also improves the surprisingly tight action mechanics that helped make its predecessor such a sleeper hit.

19. Team Fortress 2

It wouldn’t be entirely accurate to say that nobody thought Team Fortress 2 was going to be a success. Actually, many people at the time expected it to be a very good game. Yet, few were prepared for just how engaging TF 2 would be and how its growth would change the video game industry forever.

Look beyond the ways TF 2 controversially moved us towards the “games as a service” era, though, and you’ll find that it’s simply one of the most mechanically enjoyably multiplayer FPS games ever made as well as a testament to the ways that personality can turn an already great game into something magical.

18. SWAT 4

What separates SWAT 4 from so many incredible tactical FPS games that came before and after? If I had to attribute this game’s brilliance to any one thing, it would have to be “level design.”

SWAT 4 uses its somewhat unusual premise (compared to other tactical FPS games) as the basis for some truly creative missions that somehow make seemingly common environments more compelling than even some of the most elaborate fantasy worlds. From infiltrating a cult leader’s camp to descending into the basement of a serial killer’s home, SWAT 4 constantly finds new ways to use its incredible tactical gameplay to surprise you.

17. The Operative: No One Lives Forever

It’s true that No One Lives Forever’s seemingly permanent residence in licensing Hell has only amplified the voices of those who call this 2000 FPS game one of the best ever made, but that doesn’t mean that Monolith’s spy shooter doesn’t deserve all the praise it gets.

The thing that impresses me most about NOLF all these years later is that it’s actually a comedy game. While being a genuinely funny comedy game is usually an accomplishment in and of itself, NOLF goes one step further by also offering one of the most creative and engaging FPS campaigns ever crafted. This game holds up favorably under even the most discerning design analysis, but its most lasting legacy is the smile it puts on your face.

16. GoldenEye 007

Perfect Dark may technically be the better game, but if innovation, historical context, and fond memories are all tie-breaking “X” factors, then GoldenEye 007 absolutely deserves a spot on any list of the best FPS games.

A million words have rightfully been written about what GoldenEye did for console FPS games, but I don’t know if it’s possible to praise this game enough for the ways it celebrated the unique joy of local multiplayer or the surprising strength of its single-player campaign. Some at the time may have written GoldenEye off as a lesser version of the best PC FPS games, but the years have been kind to the purity of this experience.

15. Battlefield: Bad Company 2

Bad Company 2’s multiplayer is chaotic, creative, memorable, addictive, and all of the other things you associate with the Battlefield series’ legendary multiplayer at its very best. What separates this game from the other amazing entries in this franchise, though, is the strength of its single-player campaign.

Bad Company 2’s loving embrace of destructible environments is perfectly complemented by an often dark sense of humor that you rarely see in military shooters. It’s hardly a surprise that some Battlefield fans are still chasing the high they got from playing this game for the first time.

14. Halo 3

Halo 2 was an incredible game that changed the console FPS landscape forever, but it was also a game plagued by development issues that led to an unforgivable crunch period, a campaign that fell well short of its potential, and some notable balance problems. Your fond memories of that game are well-deserved, but when it comes down to it, Halo 3 offers a more complete experience.

Halo 3’s incredible multiplayer is arguably the perfect version of Halo‘s legendary multiplayer and the kind of competitive game that’s easy to miss at a time when there are so few titles that try to do what it did. This brilliant sequel’s campaign also felt like a proper send-off for the series (even if it ultimately proved not to be), while Halo 3’s Forge mode brought the creativity and longevity of the PC mod scene to Xbox 360 gamers everywhere.

13. Titanfall 2

Before you decide to be too hard on those who can’t stop talking about Titanfall 2 and refuse to stop begging for a proper sequel, consider that Titanfall 2 may just be one of the most complete FPS games ever made.

Titanfall 2’s multiplayer arguably realizes the considerable potential of its predecessor, but it’s Titanfall 2’s campaign that often inspires fans to scream at you to drop everything and play this game. Few games from even the golden age of FPS campaigns rival the ambition and creativity of Titanfall 2’s narrative, and fewer still have nearly as much heart.

Games

25 PC Games That Changed History

By Matthew Byrd

Games

PC Gaming Innovations That Changed the Way We Play

By Matthew Byrd

12. BioShock

I’ll leave the “Is BioShock a first-person shooter?” debate up to you and instead focus on how BioShock used the core concepts of a first-person shooter to elevate the art of video game narratives through the often-overlooked benefits of environmental storytelling.

BioShock’s story and world explore the dark underbelly of the entire first-person shooter concept. Are our actions our own, or have we been forced into the perspective of a largely helpless instrument? BioShock may have followed in some pretty big genre footsteps, but that strangely makes it all the more impressive that it’s often seen as the definitive experience in this particular subgenre.

11. Quake 3 Arena

Many who doubted that Quake 3 could abandon the single-player campaigns of its predecessors and sell itself based solely on the appeal of its multiplayer deathmatch modes were typically silenced the moment they played the game and experienced its exhilarating speed.

Quake 3 emphasizes speed in a way that few games before and fewer since ever dared to. Slowing down is often a death sentence, but what’s really impressive about this shooter all these years later is the surprising depth of its seemingly arcade-like gameplay and how it challenges you to master a series of mechanics that are often tragically underutilized in modern multiplayer gaming.

10. Unreal Tournament

It’s still incredible to think that Unreal Tournament and Quake 3 were released just weeks apart, and it’s even more incredible to think that Unreal Tournament arguably beat Quake 3 at what some considered to be its own game.

Putting aside that debate for the moment, let’s just come together to praise Unreal Tournament for its mechanics, visuals, modes, weapons, and, most importantly, arguably all-time great multiplayer map design. This is simply as satisfying and intense as PC multiplayer shooters get.

9. Doom (2016)

It’s easy to forget now, but there was a time when most people were expecting Doom to be one of 2016’s great disappointments. Not only was the Doom franchise on the ropes at that time, but this game’s rather disappointing multiplayer beta left some fearing the worst

Instead, Doom turned out to be arguably the best first-person shooter of its era. Even if you were an optimist who predicted the ways Doom would so successfully harken back to the breakneck pace of the best games in this series, you probably couldn’t have guessed the ways that this game’s amazing soundtrack, humor, and genuinely incredible storytelling would effectively combine the best of retro and modern FPS games while raising the bar for the genre.

8. Call of Duty

With all due respect to the Medal of Honor franchise and its many great installments and lasting innovations, it’s a testament to the quality of Call of Duty that it offered such a definitive WW2 shooter experience that you now have to remind people that Medal of Honor was even a thing.

The Call of Duty team went for broke with this one and somehow found a way to turn the most intense moments in Medal of Honor: Allied Assault into an entire FPS campaign. Call of Duty challenged every perceived technical limit of its era and boasts level/campaign design that you could argue has never been bested.

7. Left 4 Dead 2

Left 4 Dead wasn’t the first game of its kind, but the co-op zombie shooter tapped into something that many of us never knew we wanted. Its blend of almost arcade-like action, incredible level design, cinematic presentation, and near-perfect difficulty made it an instant addiction for millions.

Well, Left 4 Dead 2 was all of that and more. It’s certainly the best game of its kind, but in the grand history of FPS games, the thing that really sets Left 4 Dead 2 apart is how easy it is to return to it all these years later and how the desire to play this one with friends just never seems to go away.

6. Counter-Strike

Released at a time when multiplayer FPS games were supposed to be as fast as possible, Counter-Strike bucked nearly every genre trend by forcing players to embrace a methodical form of gameplay where just a couple of bullets could determine a game. It was the kind of bold experiment that could only have come from outside the industry, and it was absolutely brilliant.

Counter-Strike is arguably the greatest competitive FPS game ever made. Even in its early stages, it was an intelligently balanced multiplayer experience that required a unique set of skills. Remarkably, though, learning the ropes in this game rarely felt like a chore. It’s one of the most important FPS games ever, and it’s certainly one of the best.

5. Halo: Combat Evolved

It’s a shame that the “Combat Evolved” part of Halo’s full name is so often overlooked as that’s really the thing that separated this legendary shooter from nearly every FPS game at the time. The methods you use to battle Halo’s Covenant enemies may seem standard now, but the way this title forced you to carefully consider your combat tactics against truly intelligent A.I. opponents really did help change everything.

Then again, how can you fault anyone for mostly remembering Halo for its multiplayer? 16-player LAN matches may seem humble now, but the fact is that even the biggest online multiplayer games can’t quite match the feeling of experiencing Halo‘s local multiplayer at its biggest and boldest.

4. Half-Life

Nobody was really looking for a game like Half-Life in 1998. Honestly, few people at that time could have envisioned such a thing. In an era where FPS games were defined by their heavy metal style, B-movie campaigns, and deathmatch multiplayer, the idea of a first-person shooter with a story to tell and a world to sell that wasn’t constantly sacrificing action for narrative seemed impossible.

Do you know what’s really impressive, though? Half-Life didn’t just use the FPS format to tell an incredible story: it did it in a way that redefined what we talk about when we talk about immersion in games. Few developers to this day are able to replicate that style of storytelling, and even if they were, fewer still would ever be able to innovate the FPS genre quite the same way that Half-Life did.

3. Doom

The often-cited “godfather” of FPS games really needs no introduction. There’s a reason why first-person shooters were called “Doom clones” for years after this game’s release.

What’s truly amazing, though, is that Doom did things in 1993 that modern game developers still struggle to recreate. Even an unmodded version of Doom still has the ability to grab you by the throat and not let you go until you’ve seen the end of its brutal campaign. Doom was certainly the first in a lot of ways, but the thing that matters most may just be the ways it’s still the best.

2. Half-Life 2

It’s been said that part of the reason why Valve has hesitated to finish Half-Life 3 is that they reached a point where they felt like the expectations for the game had become unrealistic and detrimental. Well, you could argue that Half-Life 2 was released under similar circumstances. How do you make a sequel to one of the greatest, most innovative, and beloved PC games of all time? How would that game ever meet expectations?

Well, Half-Life 2 didn’t meet expectations: it exceeded them. Half-Life 2 didn’t so much blaze a path forward for the genre as it leaped into the air and landed somewhere other developers couldn’t quite see but desperately wanted to be. This is a nearly perfect single-player game that does things with pacing and level design that honestly feel even more refreshing all these years later given how many studios have strayed from the light of this title’s brilliance.

1. Call of Duty 4: Modern Warfare

There are two eras of Call of Duty games, and each of them represents two distinct eras of FPS design. The first era (as represented by the first few Call of Duty games) was more about single-player campaigns and complimentary multiplayer options. The second era of the franchise focused on evolving a style of multiplayer that would turn this series into a global phenomenon.

Well, Call of Duty 4 is the game that bridges those two eras and somehow manages to feature arguably the best single-player campaign in FPS history and some of the best multiplayer in FPS history.

Even at a time when we were spoiled by incredible Call of Duty campaigns, Modern Warfare stunned people with its shocking story and brilliant missions (highlighted by the legendary “All Ghillied Up”). We didn’t know it at the time, but the game’s multiplayer would also go on to change competitive FPS titles forever and help turn this franchise into a multi-billion-dollar household name.

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This is a complete FPS package that represents nearly everything we’ve ever wanted from this genre. It’s a true triumph that delivers in terms of multiplayer and single-player in a way that few games since have ever dreamed of attempting to replicate.

The post 25 Best First-Person Shooter Games Ever Made appeared first on Den of Geek.

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entergamingxp · 4 years

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A Blessing in Disguise Review — Always Trust the Pizza, Zach

July 8, 2020 9:00 AM EST

Deadly Premonition 2 marks the return of Francis York Morgan and his brand of weirdness. He can also skateboard now. It’s rad.

To call the first Deadly Premonition a cult classic feels like a bit of an understatement. Swery65 and the team at Access Games created one of the most intriguing, yet technically terrible games in recent memory. In 2010, the game felt like a modern-era version of Shenmue’s “gameplay” mixed with an oddball murder mystery like Twin Peaks.

Fans of the original release will be happy to know that the trademark weirdness is still alive and well in 2020. In fact, this prequel/sequel, Deadly Premonition 2: A Blessing in Disguise, feels like it was entirely designed back in 2010, and then Swery just held onto it for 10 years.

As such, this makes it a very difficult game to give you a clean-cut review score. In fact, I wouldn’t be surprised if several people just read the score and skip my text in their haste to take to the comments section to complain. Your enjoyment of Deadly Premonition 2 mostly comes down to what you value most in your video games.

In short, if you like wacky casts and a harebrained plot that barely makes sense, Deadly Premonition is probably worth a try. However, if you need your games to play at a consistent framerate or want precise control over your actions, maybe look elsewhere.

That dichotomy between two thoughts of game design is represented in nearly every aspect of Deadly Premonition 2. It might be tough to fully explain all of my thoughts on my favorite game outside of NieR: Automata or the Yakuza series over the last half-decade while also feeling hard-pressed to call it good. That said, I’ll do my best while going into some spoilers, so fair warning.

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“York is, perhaps, my favorite protagonist in gaming history.”

Let’s start with the most important aspect of Deadly Premonition 2, which is the characters. This cast of misfits is often hilarious, always compelling, and sometimes full of more emotion than you previously thought possible. Obviously, the star of the show is Francis York Morgan and his alter ego, Zach. York is, perhaps, my favorite protagonist in gaming history. His encyclopedic knowledge of B-movies and his willingness to explore anything in the search of truth make him the kind of guy you’d love to have on your side.

At times, he might seem to not really understand normal humans, but then you realize that he’s just on another plane from the rest of us. Sure, he refuses to call Arnold Schwarzenegger anything but Arnold S. And, I’ll grant you that mentally hopping out of conversations to talk to what some would call an imaginary friend is probably not the best way to handle an investigation, but York is always there to surprise you with his deep understanding of how people work. He’s able to assess situations in ways that other characters can’t because his worldview is so different from the norm.

York isn’t the only character worth talking about. There’s David, whose four separate personalities fulfill the roles of your hotel’s chef, concierge, bellboy, and owner. There’s also Mrs. Carpenter, the bowling granny. Or maybe, like me, you love the always-cursing crawdaddy farmer Chuck. The man might have a short temper, but when he goes off on you in his heavy Louisanna accent, it’s a thing of beauty. You haven’t seen a better putdown wordsmith in video games.

And, it would be a mistake to not also talk about York’s young assistant, Patti. As a foil to York’s oddball behavior, Patti is sublime. She refuses to put up with his crap and even takes a few Jim from The Office-like moments to look at the camera, asking “is this guy for real?” with her blue eyes.

Unfortunately, while all the characters in the game are memorable (yes, even you, The Mirror), when you actually start playing the game, it all starts to fall apart.

I’m no frame rate expert. Frankly, as long as it’s consistent, I don’t really care for most games. That said, calling Deadly Premonition 2’s framerate smooth is like calling games with randomized loot boxes a fun form of “surprise mechanics.” It’s just an outright lie.

In the main overworld, the game chugs like a stay-at-home mom whose son just dropped out of college and has taken up binge-drinking boxed wine. I can make that joke because I dropped out for a year before going back to finish. Except, I was the one drinking, not my mom.

“As a foil to York’s oddball behavior, Patti is sublime.”

Anyways, don’t expect technical brilliance. Even expecting technical competency is a big ask. But, does any of that matter when you can skate around the beautiful town of Le Carre in 15fps or less?

The answer is absolutely not. See, Deadly Premonition 2 might not understand what framerate is, but it does understand fun. And, to that end, Swery and his team have replaced the boring driving from the original game with skateboarding.

That’s right, friends. York’s rented hybrid card was stolen during his trip to Le Carre and, in its place, he’s become a true “Sk8er Boi.” At first, all he can do is ride around, but, once you meet your very own Mr. Miyagi in Emma, you’ll quickly learn the “FORBIDDEN ARTS” of skateboarding. Basically, you’re going to become an impossible-landing machine. It’s super rad.

At least, it (and the rest of the game with it) is as long as it’s working. We talked about Deadly Premonition 2’s frame rate, but that was only the tip of the iceberg. Expect to run into several bugs. The game only hard crashed on me once, but, like a jealous former lover, it teased me all the time. Load times in Deadly Premonition 2 are apparently something the game thinks you should savor.

They’re incredibly long and sometimes you’re just looking at a black screen for 10 minutes wondering if you Switch exploded on the inside from running this Xbox 360-looking game. Additionally, I also ran into several soft locks during my playthrough. Basically, what happens is randomly your buttons stop working. You can’t shoot bad guys. You can’t run. Heck, you can’t even skate. Truly, it’s the worst timeline.

That first problem will really hurt you, though. If you can’t shoot, you can’t fight off bad guys in the game’s dungeons. This means you have no choice except to load back to a checkpoint.

Speaking of the dungeon, imagine you’re playing a Persona game. The only difference is that, in place of deep rock-paper-scissors RPG combat, you’re shooting enemies in the face. The best you can say about it is that it’s so easy, you barely have to think about it.

Seriously, I don’t think I used a health pack until the last boss. At the end of the game, I had well over 100 healing items, and it wasn’t because I was being stingy. Personally, I didn’t really mind. The story and characters were the reason to play. However, if you’re looking for good gameplay, this ain’t it.

“Like a good book, the story is a page-turner.”

Deadly Premonition 2’s often bonkers story is full of heart. If you asked me to tell you exactly what happens, I’d be hard-pressed to tell you. However, what I will say is that I was glued to the TV throughout the game. Like a good book, the story is a page-turner. I’m just not completely sure if the total tale makes sense or not.

To me, it’s an exploration of a man who lost everything and is trying to get it back. It’s also about a man who is willing to follow any possibility in his search for the truth. And lastly, it’s about RED TREES. I’m sure that last line means something to a small number of you.

But, while the main story is a bit of a wild one, I can say one thing with absolute certainty; In his time in Le Carre, York has developed an obsession with bridges. I know this because he’s told me that somewhere in the neighborhood of 150 times.

See, while the cutscenes are mostly great, York only has 15-20 stories that he tells while you’re exploring the town. And he’s going to tell them to you over and over again. If you wanted to hear York wax poetically about Charles Bronson’s name, you’re in luck. He’ll be doing that a lot.

Deadly Premonition 2 is a test of how much crap you can put up with for one of my favorite experiences in this generation of video games. It’s like if a chef brought you the finest crab in the world, but to eat it you have to crack open the shells with your toes while getting mud thrown at your face and being forced to listen to your least favorite song play over-and-over again. At some point, you have to ask yourself, is the crab really worth it?

For me, the answer is a resounding yes. I don’t know if Deadly Premonition 2 will end the year ranked as the best game of 2020 in the annals of DualShockers’ history, but it will probably be my favorite one.

“Deadly Premonition 2 just wants to tell its story, tell it well, and be its own weird, little self.”

The game actually provides one of the best analogies I think of to describe itself. York is a student of cinema. He can tell you the director and year of release for almost any film in existence. However, he’s never heard of E.T., a seminal movie in film history.

Only crazy people and children haven’t heard of E.T. You might not like it, but you’ve heard of it. You probably know the story. You’ve certainly heard about him phoning home. But York hasn’t. He’s too focused on Scatman Crothers’ performance in The Shining to pay attention to that popcorn movie. He doesn’t have time for your summer blockbusters.

Imagine a man who not only hasn’t seen a Marvel movie in 2020, but hasn’t even heard of them. That’s York. He’d see a poster for The Avengers and be like, “This masked man in red, white, and blue tights reminds me of Simon Wincer’s 1996 film The Phantom starring Billy Zane and Kristy Swanson.” And then you’d have to hear him talk about it lovingly for five minutes, while some great smooth jazz plays in the background. Did I mention the music rules? But, like every other aspect of Deadly Premonition 2, that has to come with a caveat. Because, just like the first game, the audio mixing is all over the place.

Anyways, Deadly Premonition 2 is exactly the same. It’s a game that feels like it has never played any games released after the original. It doesn’t care about frame rate or good controls. It’s made a few changes to the overall formula but mostly casts aside the advances game design has made in the last ten years. Deadly Premonition 2 just wants to tell its story, tell it well, and be its own weird, little self. Your ability to either live with that or not will determine how deeply you fall in love with the citizens of Le Carre.

July 8, 2020 9:00 AM EST

from EnterGamingXP https://entergamingxp.com/2020/07/a-blessing-in-disguise-review-always-trust-the-pizza-zach/?utm_source=rss&utm_medium=rss&utm_campaign=a-blessing-in-disguise-review-always-trust-the-pizza-zach

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myupostsheadcanons · 7 years

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Myu Reads

I am making a list of books/series that I read and enjoyed over the past few years, especially since I began listening to audio books regularly. I am making this list not in order of favorite to least but In The Order of Fluff to Grimdark.

The Wind in the Willows.

Charming characters, each with unique personalities, a classic, well-written series of short stories that has lessons for all ages to learn.

The Wizard of Oz.

Experience the magic of Oz. Much of which was removed in the classic movie adaptation. It wasn’t a dream after all.

Anne of Green Gables.

The tale of a spunky orphan girl being taken in by an middle-aged brother and sister duo.

A family dynamic that is not seen in modern westernized settings any longer.

Slice of Life. Light reading. The first book is the best book.

Howl’s Moving Castle.

Howl is a roguish wizard out to have fun and games manipulating the world around him. Sophie just wants to make hats and live a simple life, but is forced by a curse into adventure and into the path of Howl.

The movie and book are only alike on the surface. There is more charm in the books and Howl actually has a backstory.

Mrs. Frisby and the rats of NIMH

A tale of a mom wanting to save her children, told on top of the story of humanity corrupting nature and abusing animals.

A true “strong female protag” without the need of the female being either cruel, cold, or emotionally distant.

A Wizard of Earthsea

The movie Tales from Earthsea used the character’s names only and lifted elements from all the books rather than just adapting the first one.

Honestly I remember more from the sequel books more than I do the first one.

The Chronicles of Prydan (The Book of Three, The Black Cauldron)

A hero’s tale of a simple boy, an assistant pig keeper, wanting to become something greater and finding out that being a hero it isn’t all glory and fame.

Characters and Lands based off of old Welsh mythologies, the same ones that also inspired the Welsh folk heroes that later became King Arthur’s Court.

The Once and Future King

The Sword in the Stone half of the book would have made it closer to the top of the list. But the second half involved some rather graphic deaths and fights (a gory depiction of killing a unicorn among them).

Edgar Rice Burroughs John Carter of Mars (Barsoom) and Tarzan

Both characters helped define what would later become the modern super hero genera.

John Carter was a direct inspiration to Super Man and the Tharks popularized the idea of little “green men” of Mars. (The entire population of Barsoom are very color-coordinated, tbh. Green, Red, Black, White, Yellow). Many ideas created in this series are prolific in Science Fiction of today.

Tarzan of the Apes can be read by itself, no need to get into the later books. The original character is so popular that any attempt to stray too far from the core characterization leads into disaster. The movie “Greystoke” is perhaps still the best adaptation of the character to screen, and it was a deconstruction of the character.

Redwall

It is easy to get away with whole-sale death when it is done with animals, however many of the animals act human-like and that needs to be taken in consideration

Baby’s first “Dark Fantasy”. Dialog is written plainly for younger audiences, but subject matter is straight out of adult fantasy (mass murder, kidnapping, slavery, war of attrition).

Harry Potter

If you just watched the movies you are missing out on a lot of the descriptions and world-building in the books, especially in the second half of the series: Goblet of Fire, Order of the Phoenix, Half-Blood Prince, and Deathly Hollows.

The second half is when the series went from older-child reading to young adult as the characters went from child to teenagers in the books themselves.

Ready Player One, Armada

An easy introduction to retro 80′s and 90′s pop culture, old computer games, and science fiction dystopia.

If you are a layman, a young adult, or didn’t pay attention to most of the media during that era the books do gloss over and explain most of the references made.... sometimes too often.

Armada is not as well seeped in pop culture as RPO, but it is a much more streamlined story and you can get a clearer judge on the author’s actual writing capabilities without the kick-back of nostalgia.

The Hitchhiker’s Guide to the Galaxy

There are just somethings that can’t translate well from text to screen.

One of those series that is best when read in High school or if you are a fan of British Humor.

The Scarlet Pimpernel

A masked hero come to save French Aristocrats and Nobility from the guillotine of the Revolutionist Government. Among one of the first novels to set down the common tropes for heroes with secret identities to come.

History and backstory might be a bit too heavy for younger audiences to understand.

The Complete Sherlock Holmes Collection

There are two great audio book versions of this: one by Simon Vance, the other by Stephen Fry. Vance is a long time audio book professional and also narrated the Dune books and in general just having him read the book is a good indicator that it would be done well. Fry is a famous comedian and colorful character actor and was in the recent Holmes movies as Mycroft Holmes.

Barns n Noble has a beautiful leather-bound hardback edition of the Complete Collection as well for $25, if you are the type of person that reads the book and listens to the audio at the same time. The book will look nice on your shelf afterwards.

Victorian/Edwardian Horror-Romance: Frankenstein, Dracula, Phantom of the Opera

Classic stories, adapted and retold many times, it is always nice to get a perspective on the original works if you are only familiar with their newer incarnations.

Miss Peregrine’s Home for Peculiar Children

Darker than the movie.

A reminder that all N*zis are bad.

Children characters get killed just as often as adult characters

Deals heavily with mental issues and adults/authority figures gaslighting children.

Neil Gaiman’s The Ocean at the End of the Lane, Stardust

A couple “lighter” examples of Gaiman’s work.

Stardust is classic fantasy with a bittersweet ending.

Ocean is told mostly through the POV of an adult remembering his “magical” neighbors as a kid and his traumatic experiences with his parents and babysitter.

The Lost Fleet Series

What the modern space battle genera should be.

The battles are in real-time, using real physics. It may take hours or even days to find out if that heavy ballistics missile is going to hit its target or if the target moved out the way.

The characters are typical for the genera, but are still engaging. Though the love-triangle rears its ugly head.

NPC’s (Spells, Swords, and Stealth Series)

A new game is hitting select markets. One that has consequences not only for the characters in the game, but the players. NPCs inside the game find themselves thrust into the role of adventurers when a PC party drops dead in their small town.

Classic “role reversal” or unconventional class/char combos (Gnome Paladin? Half-Orc Wizard? Noble Lady Barbarian? City Guard Rogue?) It’s kind of the norm now days after the whole “Drizz’t the Ranger Dark Elf” became so popular in the 90′s.

Star Wars: Heir to the Empire (Trilogy)

The first official trilogy of the Star Wars Expanded Universe, now known as the Legacy series.

It is always interesting to read through some of the EU to see what the Cinematic Universe is “borrowing” from.

Grand Admiral Thawn was such a popular character that he survived being rebooted.

2001: A Space Odyssey

If you have no idea what was going on in the movie. The book will help.

H. P. Lovecraft’s Collection of Horror

There are lots of copy cats, but only one original H. P. Lovecraft.

Mild in terms of today’s standards, but still thought provoking.

Good you are still wanting something creepy/spooky with out it being full of gore, swearing, or other ‘adult’ content, or looking for nothing exceedingly long

A “next step up” after reading Dracula, Frankenstein, and other fiction of that era (penny dreadful, or horror romances).

Heinlein’s Lazarus Long Universe (basically, most of his books)

It is decent until the last 5 books when things really get duct-taped together, then you’ll want to pull your hair out

Time Enough For Love, Number of the Beast, Cat that Walks through Walls, and To Set Sail Beyond the Sunset are some of the worst offenders.

An Incest warning is needed.

The ideas of these stories are timeless, the writing not so much. Characters are antiquated and firmly in the “men’s club” of old-school science fiction. (Even the “strong female protag” in some of the stories still find time to be a wife and mother above all else. Many of the relationships are “open relationships,” so frequent wife/girlfriend swapping)

Starship Troopers

If you ignore the rest of Heinlein’s work, make an exception to at least read this one

Warns of the dangers of being in a global totalitarian society.

POC main character. Juan “Johnny” Rico. Something that was unheard of at the time of publishing.

The Silo Series (Wool/Rust)

Post-Apocalypse science fiction.

Not as dark as say something like bleak The Road or the bloody Red Rising, a PG-13 book.

Set firmly in the middle-ground of fiction despite the setting, the characters aren’t one-note, a solid little series of books and short stories

With some editing it could have been an other dystopia YA series.

The Great Book of Amber (The Amber and Chaos Chronicles)

High fantasy written with a modern voice. A Shakespeare and Arthurian setting. Avalon, Oberon, The “fairy realm,” Civil War. Court intrigue, back stabbing, fratricide. Unicorns.

Written in the 70′s and 80′s. Likely inspiration for other series like ASOIAF, Dresden, and The Witcher. Suggest reading this one before either of them.

The two main POV characters are enjoyable with a snarky sense of humor. The side characters have personality as well.

Multi-dimensional universe, one of the better ones.

Has a Table Top Game.

Welcome to Nigh Vale: A Novel.

Quarkie, Mysterious, and odd.

Heavily inspired by H. P. Lovecraft, X-files, and other conspiracy theory genera, but treated in a mundane manner which makes it unnerving in itself.

Do Androids Dream of Electric Sheep? (AKA: Blade Runner)

The book that inspired Blade Runner. To the point that many further publications of the book often call itself Blade Runner instead of its actual name (including the audio version).

The book and moves are only alike in theme, and some plot points

The book is bleaker, more Fallout than Ghost In the Shell.

Dune, Dune Messiah, Children of Dune, God Emperor of Dune

The “Lord of the Rings” of Science Fiction.

What started out as a “deconstruction” of campy science fiction like John Carter and Flash Gorden, and a “take that” to Issac Asimov and Heinlein’s style of writing shaped all science fiction written afterwards.

GRRM (A Song of Ice and Fire) is often compared to Herbert... for good and bad reasons.

Neuromancer.

The book that brought us the first REAL Cyberpunk in the 80′s.

It is interesting to see the ways they thought computers would be part of 21st century society back in the Cold War Era.

Mort(e)

Animals take over the world killing most of mankind along with it.

A mysterious “virus” sweeps through the animal population, and the Ants in charge began culling the animals to remove it.

The Hunger Games Trilogy.

There is a lot less HAM in the books than in the movies.

Upper Young Adult. Class Warfare. Post Apocalyptic Dystopia. Children killing children.

You can get into Katness’s head a lot easier, understand her reasons for being emotionally distant with people.

Jurassic Park, The Lost World

Dinosaurs and Assholes. Perfect Michael Crichton books.

The second one should be read just for the fact that the movie is nothing like it. The first movie had a passable resemblance, with some character tweaks... the second movie barely resembles the book at all.

The second attempt of Crichton writing a series about “high-tech theme parks gone wrong” (the first being Westworld)

Android’s Dream (John Scalzi)

When you find out why the book is called “Android’s Dream”... feel free to be grossed out.

Let’s just say the book isn’t about androids...

The Illuminatus Trilogy

Written in the 70′s. Plenty of Sex, Drugs, and Rock-and-Roll.

Some of the conspiracy theories will throw you for a loop, then suddenly you’ll remember that this is a comedy/parody book and gods are real.

fnord.

Cryptonomicon

A long fictional account about the invention of computers. Told against the backdrop of WWII and the Early 2000′s internet boon.

I feel this one is on par with the Illumanatus Trilogy when it comes to tone and feel, but with no magic-chaos-cults involved.

Parodies of Historical figures, large a corporation with their fingers in many-o-pot, main characters that would be considered counter-cultured for their time period finding themselves in over-the-top situations.

Neil Gaiman’s American Gods

Personally I found the book to be slow and meandering, but interesting as a whole.

Basically defines what people think Gaiman’s style is. Dark imagery, weird shit happening, and lots of contemplating your navel.

The Comoran Strike Detective Novels.

What J. K. Rowling is doing whenever she isn’t milking the corpse of Harry Potter.

Would be a better series in general without the fake love triangle...

The Godfather

The movie is better than the book, but then the movie is like in the top-5 best movies of ALL TIME.

The movie does follow the book for the most part, with some variation for time and content.

The Guns of August (Non-Fiction, WWI novel)

Accounts what caused WWI and the events of the first two months of the war.

It doesn’t demonize the Germans, Russians, or any of the sides in particular. It explains quite clearly as to what all their motivations were getting into this war and how the war ended up becoming a complete slog.

Realm of The Elderlings Series (Robin Hobb)

If you ever want to experience “the feelz” in book form.

The relationship between FitzChivalry and the Fool is one of the most anguished you’ll ever read about.

There is a lot of ship baiting however, as the Fool is genderfluid and Fitz refuses to believe their relationship is anything other than close-brotherly love...

About 60% of the entire series is seen through FitzChivalry “head as thick as a brick” Farseer ‘s POV, be prepared for lots of PTSD.

The Mists of Avalon

The classic tale of King Arthur imagined and told through the eyes of the women of the court.

There are no real villains in the series, even the most morally dark among them have justifiable reasons for what they are doing. Unlike something like Once and Future King. Mordred, Morgause and Morgan are not evil stereotypes, they have human real-world reasons for what they do.

The Red Rising Trilogy

The Adult Fiction version of The Hunger Games.... In SPACE.

Color-coded for your convenience.

All the surrounding characters are more interesting than the main character.

Your favorite character is likely going to die.

Darrow always reminding you about his fridged wife... even after he finds a replacement goldfish.

The Cycle of Arawn, The Cycle of Galand

In a world of black magic and white magic, it isn’t always clear on which side is good or evil.

Plot holes you can drive a truck through, or at least hope will get resolved/remembered in later installments.

Most of the charm of this series is the relationship between Dante and Blaze. The way they both converse with each other and the people around them is very reminiscent of Buffy Speak.

The Dresden Files (Harry Dresden... Wizard)

Dresden has a great mix of humor and cynicism.

Plenty of action, not entirely predictable in plot, and a heaping helping of stopping the forces of evil from destroying all existence.

A modern-era fantasy with plenty of demons, fairies, vampires, and ghost. Never loses the feel that it is set in the modern times.

Stephen King’s Horror-Fiction (The Stand, Under The Dome, IT, The Shining/Doctor Sleep)

The human condition at its worse told in speculative horror fiction.

The Forgotten Warrior Series (Son of the Black Sword)

Future Earth, brought back to an age of magic (or science-like magic) when demons fell from the sky and ravaged the planet. An entire race, the last survivors of the people that turned away the demons and drove them to the sea, are forced to live as slaves, vagabonds, and in perpetual poverty.

The Witcher Novels

Books are published OUT OF ORDER in America. Please read The Last Wish and Sword of Destiny short-story collections before the Saga books.

CDPR Games are a Fan-created sequel to the books, so the games spoil the books (especially the third game).

Netflix is making a (new*) show adaption of the novels with the author’s approval and getting advice from the game makers as well.

*we don’t talk about the old show.....

The First Law Trilogy

It will get worse. When ever you think things can’t get any worse. It always does. And you watch the characters struggle all the way through it and everybody around them dying along the way.

Don’t get too attached to anybody without a POV.

A Song Of Ice and Fire

The modern “Gold Standard” for Dark Fantasy when Game of Thrones brought it to the mainstream.

Just about everything black and grim can, has, and will happen.

Nothing is glorified, everything is awful. When something problematic to our modern society happens within the narrative, it is often treated with the weight that these issues are a problem and part of their corrupt society (things like incest, child murder, rape, abuse....)

Hannibal Lector Series (Red Dragon, Silence of the Lambs, Hannibal)

humanizes the most horrible of mankind.

if you had at least watched any of the movies and/or the show, read the books as well.

Dogsland Trilogy (J. M. McDermott)

Nothing good will come out of this. There is no hope for any of the characters. It starts out black and will end just as black. It is like a slice of life for the dirt poor and shunned. Forever on the run from hunters and discriminated against just because of being born. It ends where it began.

The Road

A story about a father and son at the end of humanity. There is nothing that can be done, a harsh struggle to delay the inevitable death of man kind.

#book recommendations #book rec #myu reads

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ramajmedia · 5 years

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The 5 Most Disappointing Sequels (& 5 Most Underrated) Of All Time

There’s no doubt that we’re living in a heydey for sequels. The only trouble is in sorting the good from the bad. Sometimes, a sequel can be built up to perfectly over time only for the final product to feel like it had no effort put into it at all. Other times, sequels can come and go so quickly in the life of a franchise that greatness passes by unnoticed.

Here are five sequels that failed to live up to the expectations set by their outstanding predecessors and five that deserve more appreciation than they’ve received from critics and the public at large.

10 Disappointing - Jack Reacher: Never Go Back

Christopher McQuarrie has been one of Tom Cruise’s most significant creative collaborators from the past decade and the two of them found an understated kind of magic when McQuarrie stepped into the role of director on Jack Reacher.

RELATED: Tom Cruise’s 10 Most Memorable Characters

The two would go on to parlay that chemistry into Cruise’s flagship franchise, the Mission: Impossible series, to great success. But it left the Jack Reacher franchise in need of a new director and Edward Zwick’s follow up, Never Go Back, contains none of the things that charmed about the original. The score, cinematography, choreography and overall style of storytelling are noticeably altered, and none of them for the better.

9 Underrated - A Nightmare On Elm Street 2: Freddy's Revenge

The first sequel to Wes Craven’s smash hit 1984 horror movie A Nightmare on Elm Street is one of its strangest, and that really is saying something. Initially panned by critics and considered the black sheep of the franchise by fans, Freddy’s Revenge has only grown in notoriety and popularity over the decades because of its glaringly apparent homoeroticism.

It’s a subject that’s caused controversy that exists to this day, centering around lead actor Mark Patton’s feelings of being outed by the movie, with writer David Chaskin only admitting to the blatantly overt themes in the screenplay relatively recently. Patton has since produced a documentary titled Scream, Queen! My Nightmare on Elm Street which illustrates his experience with the movie and homophobia in Hollywood at that time.

8 Disappointing - U.S. Marshals

Tommy Lee Jones’ performance in The Fugitive not only earned him his much-deserved Oscar, it produced one of the most famous pieces of of improvised dialogue in the history of cinema. With seven other Oscar nominations for the movie, it was no surprise that a sequel centering on Jones’ secondary character got greenlit.

RELATED: 10 Best Robert Downey Jr. Roles According To Rotten Tomatoes

U.S. Marshals was – and still, very much, is – a black hole a of a movie. Sheer, crushing, nothingness. You can’t even really hate it because, to hate it, you’d first need to remember it. A quality made all the more baffling by the fact that Jones was joined by immensely charismatic supporting actors Robert Downey Jr. and Wesley Snipes.

7 Underrated - Beneath The Planet Of The Apes

The first sequel to the infamous adaptation of Pierre Boulle’s original novel, Planet of the Apes, was a success on release, spawning a series of sequels and reboots lasting right up until today. But it remains one of the most poorly reviewed of the Apes movies despite being one of the best.

Beneath the Planet of the Apes is daringly bleak in its outlook, even topping the original’s ending in terms of abrupt shock value. Few stories that are designed to make money for more sequels have the kind of guts to end all life on Earth and leave the audience walking out in total silence as the credits roll.

6 Disappointing - Ocean’s Twelve

Steven Soderbergh’s remake of the Rat Pack classic was an intoxicating serenade to stardom itself. Its lightning-in-a-bottle brilliance was unlikely to have been recaptured by anyone and, while they do seem consciously aware of that fact, the sequels inescapably feel like a waste of the talent involved.

RELATED: 21 Wild Details Behind The Making Of The Ocean's Movies

While Ocean’s Eleven felt like it was pulling off an impossible trick, its true power came from a masterful balancing of tone between thoughtful melancholy and comedic hijinks. Ocean’s Twelve got all of Ocean’s Eleven’s brainy qualities but none of its fun ones, and Ocean’s Thirteen vice versa.

5 Underrated - RoboCop 2

After taking over from George Lucas on Empire Strikes Back and securing Star Wars as one of cinema’s most significant franchises, Irvin Kershner only directed two more movies. Never Say Never Again, which brought Sean Connery back to the role of James Bond for one last time after two retirements and, finally, the sequel to Paul Verhoeven’s iconic 80s sci-fi splatterfest RoboCop.

RoboCop 2 was considerably less loved when it came out but its memory has remained as vivid, particularly as it’s one of the science-fiction movies of that era that made an accurate prediction of the future. Unfortunately that prediction was the bankruptcy of the city of Detroit but it does highlight the movie’s achievements in social satire. Kershner generally amplified what was most enjoyable about RoboCop, especially the work of visual effects guru Phil Tippet.

4 Disappointing - The Ring Two

Gore Verbinski’s remake of Hideo Nakata’s seminal horror movie was worthy of the original in every way. It was so successful, unfortunately, that it’s largely thought of as the catalyst for Hollywood’s subsequently careless pillaging of Asian horror movies for remakes over the following years. It was, however, Nakata himself who ruined the American version of the series with the monumentally inferior sequel.

RELATED: The 13 Most Underrated Horror Sequels Of All Time

Interestingly enough, just after shooting began, The Ring Two’s production offices had to be cleared out after they were seriously flooded in, what the assistant production coordinator described as, “something out of a horror movie, for lack of a better term.” The eerie connection between water and evil in the movies wasn’t lost on the cast and crew but, unfortunately, nobody took the hint.

3 Underrated - Predators

A few years after breaking into Hollywood with his $7000 indie debut El Mariachi, Robert Rodriguez was working on his first studio movie for 20th Century Fox and submitted a treatment to them for a Predator sequel. It was dismissed and buried in a pile somewhere for fifteen years until it was unearthed and finally greenlit.

With a flawless cast and a creative drive from a much more emboldened Rodriguez – now with his own studio to produce the movie how he wanted it – Nimród Antal’s sequel delivered the most devout recreation of the original Predator’s sense of fun so far. Naturally, everything that worked about it was abandoned for a far more unsuccessful reboot made under stricter studio control. That’s show business for you.

2 Disappointing - Book Of Shadows: Blair Witch 2

The sequel to the game-changing found footage horror movie The Blair Witch Project was a rushed affair, as sequels to surprisingly successful low budget horror movies often are. The sequel debuted in cinemas a grand total of fifteen months after the original and dumped both its narrative universe and its defining found footage style.

RELATED: 15 Worst Horror Movies Of All Time

Whilst it’s true that Book of Shadows isn’t as bad as its reputation suggests it definitely isn’t that good either. Most reappraisals focus on what the social commentary of the movie was intended to be before studio mandated last-minute reshoots and editing changed it. But there’s no real evidence that the original vision would have been much better.

1 Underrated - The Color Of Money

Released twenty-five years after the original, Martin Scorsese’s continuation of Robert Rossen’s towering 1960s pool drama The Hustler stands as one of the most underappreciated Scorsese movies, sports movies, and sequels of all time.

The movie certainly has appreciation, it won returning star Paul Newman an Oscar for Best Actor. It wasn’t without its detractors, however. It generally did well critically but it received Scorsese’s only Two Thumbs Down ever from Siskel and Ebert. Ebert being one of many who speculated that Newman only won the Oscar as a show of respect for The Hustler but Newman already had an honorary Oscar for acting from just the previous year.

Legacy aside, The Color of Money is one of Scorsese’s boldest and most experimentative movies. It respects the original absolutely but never lives in fear of it, creating a timely update of The Hustler’s examination of American dramatic character.

NEXT: 25 Best Movie Sequels Ever Made

source https://screenrant.com/movie-sequels-disappointing-underrated/

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arkus-rhapsode · 8 years

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Fairy Tail Anime 2009 vs 2014

Hey there! For today’s discussion I’ll be looking at Fairy Tail and it’s 2014 sequel series, Fairy Tail 2014. Now that title may seem fictitious as we’ll be comparing the two series more than we’ll be picking a “better” one.

First a small background, Fairy Tail the series got it’s first anime adaption in 2009 done by A-1 Pictures, Dentsu entertainment, and Satelight productions which ran from 2009 to 2013. But the series made a return in 2014 done by A-1 Pictures and Bridge. With two different adaptations there became a divide in the fan base over which one was better. Now for all those wondering where I stand, I will state that the 2009 adaptation is my prefered version, but are these the words of stubborn man who isn’t willing to accept a different version or am I justified in my stance. Well, lets compare the two and find out.

Alright, first thing will tackle is probably the most prominent reason why people prefer the 2014 version of FT, the style. The 2014 anime is often claimed to better represent Hiro Mashima’s manga style and I’m inclined to agree with that. The 2014 definitely does capture the manga. I won’t say the 2009 was off but there were noticeable differences. The outlines were much more broad as well expressions being cubicle at times. So I can see that 2014 does do a good job transferring the style to it. To an extent.

While 2014 does adapt it well, it isn’t adapting all of FT’s style. A mangaka is an artist, and an artist’s will find a way to evolve as they go, it’s one of the great experiences of following a long running manga. But lets remember how FT looked when it started out.

Longer limbs, thinner lines, more exposed faces, this was FT when it started out. Heck we wanna go further back and see what Hiro’s earlier art looked like…

It’s amazing to see how far one can come with advancing their work. But that begs the question, if a style is ever evolving then how can there be a “true” transfer” of it the small screen? Well that’s simple, it’s not transferring, it’s adapting and adaptations aren’t carbon copies of the original. So while 2009 didn’t capture that more “messy” look of early FT, it still stayed true to the series and produced an adaptation that made it’s own style while keeping true to it’s roots. One thing that a lot of people love from the first anime was the magic circles, but rarely did Hiro ever draw a magic circle in the manga. This shows that something that the adaptation was able to add something to the experience that wasn’t the originally in the series. 2014 does this as well with it’s interpretation of effects such as coloring of techniques. Many anime series, such as Attack on Titan, Jojo’s Bizarre Adventure, and Hunter x Hunter, all feel as they represent their original series faithfully while creating their own look to it, that is an adaptation.

But does that mean 2014 fans are wrong saying that it’s better adaptation of style, well no. The 2014 style actual does capture the art style of, well, the 2014 manga. It is a clear representation of the manga, at that time and does capture it closer than any of the 2009 version did. So it’s not hard to see why people really like it.

Next thing we’ll cover is probably what I feel is why many think the 2009 version is superior and that’s coloring. Now with a series originating from a medium that’s portrayed in black and white, adding color often heightens the interest of the adaptation. The 2009 really did capture what fairy tail felt like, it was a bright, colorful world, and very vibrant. The 2014 series not so much. Now that is once again unfair because when it started off the series did have bright coloring, not as bright as the first series but still colorful. But upon moving toward the Tartaros arc the series coloring went more and more dull and darker.

It perplexes me on how 2014 went from something like this…

To something like this.

I’ve heard the defense that this more darker coloring is more to fit the darker tone of the tartaros arc and I could understand that. But making the colors and world darker doesn’t nessicarely make a situation seem dark, that seems to fall more on things that effect the mood such as the music and acting as well. But Coloring does effect mood as well but here I’ll point to the tower of heaven arc that was made using the style of the 1st series. It was still dark, but the brightness wasn’t turned down. It played with shading, used cooler colors, and had a night time setting, but the brightness was never turned down. So can dark scenes be done without completely sucking out the brightness, of course.

Now for the my big problem is the dullness. with dullness it truly did look dead, not that there was no color but it seemed it’s brightness was all washed out and hard on the eyes. This is troubling as colors tended to blend into this dull, dark image at times which did have a serious effect on my enjoyment. Another reason I wasn’t a fan of this dullness also effected character’s expression. In anime, it’s well known that expression comes primarily from eyes and with these duller tones and and filters sometimes eyes will seem like dark pools that don’t match the expressed emotion.

However there are times where I felt these duller tones actually worked. Mostly in the sun village arc. The effect of the dull coloring but with enough brightness felt as if it truly was sunlight caught in in ice. The setting feels almost out of the real world and is just visually amazing.

Another, was all of the Fairy Tail Zero. The washed out color actually gave off this sense of age as if it really from an older era. Hell, this applies to a lot of flashbacks in the 2014 series like Mirajane’s this look helps it look and feel older. Another praise for these dull colors was again in FT Zero with the dying magnolia. There really did feel this sense of a dying town. So even while I didn’t personally like the choice of these duller looks but it’d being lying if I said there weren’t times they were effective.

Now on to the part that’s a real tough one to call and that’s Animation. Both of these series do have notable differences with animation the biggest is the shots of scenes. The first series used a lot more wide shots which while did show of the the setting, it didn’t really have much going on so we’d end of having a big space with not much happening. This I think was done more balanced in the 2014 version where it had more up close shots so the situation felt more personal while also using wide shots when needed, ether to show off a set or fit in group shots. Another big thing in animation is movement. I will say that that it is a lie to say FT 2014 was nothing but still shots, there was standard movement similar to the first series at multiple points in 2014 anime. But whereas I can say that for some of the 2014 animation at points, the 2009 one was consistent with that movement throughout it’s run.

But it’s inevitable. When talking about the 2014 series to bring up it's over abundance of still shots. Now it's important to remember that not all of 2014 was still shots, that tends to be blown out of proportion, but there is still and above average amount of them. These shots were infamous for ruining a lot of scenes that many were eager to see animated. Now, I'm not going to act like there wasn't still shots in the 2009 series because there were, however none to the extent I could say I felt immersion breaking as the 2014 series did. Now the animation movement for 2009 wasn’t good all the time, there were times when it looked like bad flash animations.

But here’s a thing that I don’t hear that many mention and that’s impact. In a battle series like this the connection of attacks needs to be felt and while both these series tended to botch it up a number of times, I’ll say the 2009 series was the bigger offender. With it’s clear movement it really seems odd that it had impact that felt off. I’ll always feel the biggest case of this was Jura vs Brain when Brain used Dark Capriccio, and the impact of connecting to jura felt less like a piercing laser blast and more being hit by a rock. While poor impact seemed to not bother me with still shots, it bothered me more when there was a lot more speed and intensity put into the animation. So when It comes to animation both really do have their ups and downs.

And finally the big deciding factor, the audience. This is a tough one to get a grasp on because opinions people have is completely subjective, but here’s what I can find as trends. Many who prefer the first series often discovered Fairy Tail through it and tend to have it as something sacred to them. Others I’ve met who’ve loved the first series were fans of the manga who were so happy to she the series brought to life for the first time. But for people who really loved the 2014 series they seem to prefer something that had a much more sense of manga style and were also just happy to have FT make progress that they didn’t want it to revert back to an older style. Looking over comparing these two I, a firm lover of the 2009 series, can see it wasn’t perfect and had issues that my nostalgia helped over come. And I’m sure a lot of other 2009 fans feel that way, this sense of nostalgia that connects to us and makes it more preferable. But 2014 fans also have seen that while their series has its flaws it still is doing something different. It’s trying to show off FT that didn’t feel as represented as in the 2009 series. There is many ins and outs of people’s own opinions but that’s okay because that’s what being in a fandom is all about.

As I stated this was not a who’s better post, more a comparison post. And even though I do still stand by in my preference of series 1, I still see there are thing in series 2 that are amazing. I’m sure that we’ll all mention what’s better for many years to come, but after all this I feel as both 2009 and 2014 keep in the spirit of the series and were faithful to their series and in the end maybe that’s all that matters.

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