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catsynth-express · 5 years

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MoMA 2019, Part 1: Surrounds & Permanent Collections

Most visits to New York include a stop at the temple of modernism, the Museum of Modern Art (MoMA). But this was my first visit since the massive multi-year expansion and renovation was completed. In some ways, it seems that not much has changed, but in other ways it has changed considerably, starting the members-only entranceway leading to a larger and more open lobby.

The second=floor atrium remains very much the same as it has been since the expansion in the early 2000s, a cavernous space looking up to all exhibition floors of the museum. It often is used to display monumental pieces or immersive performance works. Handles, a performance and sculptural piece by Haegue Yang combined both.

The name refers to the handles on all of the sculptural elements that allowed them to be slowly moved around the space by the performers. In between these motions, the performers gathered for vocal chanting that brought to mind the work of Pauline Oliveros. The sculptures and wall and floor elements had a simple geometric quality that reminded me of children’s building blocks. They also had bells and other sound elements mounted, again something that brought to mind Oliveros.

From the atrium, I always head immediately to the sixth floor and gradually work my way back down. The top floor featured Surrounds, an exhibition of large-scale installations by a diverse collection of contemporary artists. Some, like Mark Manders‘ Room with Chairs and Factory, were large singular pieces, with a gallery-sized replica of a factory. Others were large compositions of smaller elements. For example, Dayanita Singh‘s Museum of Chance was composed of numerous photograph prints made by the artist, assembled into large modular panels that could be easily rearranged in any number of configurations.

In his installation Architecture Is Everywhere, Sou Fujimoto challenges us to see the “architecture” in everyday objects. His installation is a field of small objects ranging from colored geometric design elements to potato chips placed on an array of pedestals.

The “architecture” in each object is readily apparent when one is invited to see it. Even the potato chips are curvilinear forms that might be at home in a 1960s futurist public space.

Perhaps the most of fun of all the installations was Sarah Sze’s Triple Point (Pendulum). A colorful collection of everyday objects are arranged, somewhat precariously, around a circle as a pendulum swings freely above, threatening mayhem of destruction. However, that never happens and instead, we end up with an intricate but chaotic dance.

The name of the piece, which derives from the “triple point” where water can exist simultaneously as ice, liquid, and vapor, illustrates the sense mix of chaotic and coexistence in the installation.

Descending to the fifth floor, some of the changes to the museum became more apparent. The terrace cafe overlooking the sculpture garden had been removed (actually, moved to a new location on the sixth floor), and replaced by an open gallery space showing various sculptures by Constantin Brancusi.

The remainder of the fifth floor and the entirety of the fourth floor housed an expanded and increasingly labyrinthine set of galleries for the permanent collection. The first gallery, which featured the oldest and most traditional works such as Van Gogh and Matisse, was by far the most crowded space in the entire museum. I quickly left to find some more open spaces and truly modern works, which began to appear in the 1910s and 1920s. In addition to Dada favorites, there were works celebrating machines, industry and the break with traditional forms of painting. Francis Picabia’s Dada Movement and Man Ray’s chess set are exemplars of these directions.

Georges Ribemont-Dessaignes‘ Silence depicts a musical instrument attached to machinery, perhaps speaking to the contradictory nature of music made by machines.

There was also a lively world of modernism and abstraction in Russia before the 1917 revolution, as exemplified by Kazimir Malevich’s minimalist Supremacist Composition: Airplane Flying.

The expanded galleries included a room of design pieces from the interwar period (these were previously displayed in the separate design gallery on a rotating basis).

There was also a new space devoted to so-called “outsider artists” of the period, including Morris Hirshfield. I was particularly drawn to his portrait of a white cat titled Angora Cat.

The collection continued on the fourth floor with the period between the end of World War II and the 1970s. This is usually my favorite section to linger in, with many iconic works of the 20th century. The Jackson Pollock’s are of course back on full display, but so is Lee Krasner, who is finally getting her due as a leading abstract expressionist painter.

The expanded galleries have given more room for women and other underrepresented artists. The photography of Helen Levitt was featured in a room that also included artists depicting life in Harlem in the 1950s. I particularly liked this photograph of hers with a black cat.

This sculpture by Barbara Hepworth is quite minimal, with the perfection of the sphere balancing with the “squishier” curves of the taller element.

There were also pieces that showed the works of artists beyond their most well-known. I would not have guessed this painting with other-worldly plant-like creatures as the work of Mark Rothko were it not for the title card.

There were of course pieces that did exemplify artists as we know them. Ellsworth Kelly had large geometric blocks of color, as one would expect.

I looked around these galleries in vain for perhaps my favorite work in the collection, Piet Mondrian’s Broadway Boogie Woogie – it’s like visiting an old friend when I see it – but it was nowhere to be found. [Spoiler alert: I did eventually find it and it will be featured in Part 2 of this series.]

As we move into the late 1950s and the 1960s, abstract expressionism gives way to more conceptual art and works in different media. This was the beginning of Fluxus, with its instructional pieces, happenings, and ephemeral works on cheap materials. There was an entire wall of “scores” for performance works by Yoko Ono. These are always fun – most have clear instructions that one could use to perform them today, though I wonder what was expected from the large black dot.

This is also the era of Nam Jun Paik’s experiments with analog video. Zen for Television takes video art to its most minimal, with a single line of a continuous signal on the screen. However, the vintage television set itself becomes a specific idea when viewed in the 21st century.

Abstract designs persist in this period, but also take on an industrial and repetitive nature. Sol Lewitt takes this to the extreme, but others Geraldo de Barros left room for variation, and perhaps to the works on paper from Fluxus.

Among my favorite photographers of this period are Hilla and Bernd Becher. There work depicting old industrial buildings and placing them into artistic compositions has been a huge influence on my own photography.

Even after this whirlwind through three floors, seven decades, and multiple exhibits, there was still much of the museum to cover; and I was determined to cover the entirety in one day. In the end, I succeeded, and the remainder of the visit will be covered soon in Part 2 of this series.

MoMA 2019, Part 1: Surrounds & Permanent Collections was originally published on CatSynth

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operationrainfall · 5 years

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Title Psikyo Shooting Stars Bravo Developer City Connection Publisher NIS America Release Date February 18th, 2020 Genre SHMUP Platform Nintendo Switch Age Rating T for Teen – Fantasy Violence, Suggestive Themes Official Website

I wasn’t originally planning on reviewing Psikyo Shooting Stars Bravo. Not cause it looked bad mind you, far from it, but because I’m not an expert at the SHMUP genre. I enjoy it, but it also regularly kicks my ass. While Steve did a great job of tackling Psikyo Shooting Stars Alpha, he’s also closer to a veteran of these games than I am. But since I’ve always been intrigued by the Psikyo games, I figured I’d give Bravo a shot. This collection brings together all three Sengoku Aces games (even though they’ve tweaked their original titles), as well as two Gunbird entries and a very strange puzzle game. Was Psikyo Shooting Stars Bravo my introduction to the hardcore SHMUP genre? Or did I go down in flames?

For simplicity, I’ll cover the games in the order I beat them in. I started with the Sengoku (Samurai) Aces games – Samurai Aces, Samurai Aces II: TENGAI and Samurai Aces III: Sengoku Cannon, then tackled Gunbird followed by Gunbird 2, and closed things out with Gunbarich. Pretty much every game in the Bravo collection has large elements of fantasy, as well as nods to Japanese culture aplenty. There are giant Daruma dolls, mecha samurai, assorted demons and all sorts of crazy elements. They all play almost identically, with a few exceptions. Some are inherently vertical SHMUPs, while others are horizontal. Some only arm you with bombs and regular gun attacks, while a couple of the entries here have charged sub attacks. And even though the games are technically pretty simple, in execution they are all quite challenging. While only some of the games here would classify as bullet hell, none of them are easy. At least not on the Normal difficulty I played them all on.

Visually, the entire package of Psikyo Shooting Stars Bravo is quite attractive. Even my least favorite entry visuals-wise, Sengoku Cannon, still has some diverse enemies and complex artwork. I loved the hand drawn portraits in all the games, and even found the tiny models to be impressive. There’s tons of things generally happening in the games, humans running, machines gearing up, bullets flying and more. Tons of credit goes to the massive and evolving boss designs, and flashy and bombastic visual effects. Musically, each of the games does what’s necessary, and adds a bit of flourish. I like the audio retorts found in some of the games, such as shrieks of victory or screams of defeat. Though all the games are great musically, my favorite is TENGAI, especially how the soundtrack shifts when bosses are near, adding drama. Overall, the Bravo collection has fantastic art and sound design.

There were a couple minor quirks I encountered while playing Psikyo Shooting Stars Bravo. One happened when I first booted up Gunbird. I picked Marion and started playing, only to find there was no music whatsoever. There were sound effects, but no tunes. That only happened once, but it was a bit strange. Worse by far was the first time I played Gunbird 2. Though I know for a fact I picked Normal difficulty, the entire game was dialed up way harder. I barely got through the first stage, and was sweating bullets the entire time. Subsequent playthroughs were fine, but this was still an odd blip in an otherwise smooth experience. Also, while this isn’t a glitch, I really found it unfortunate that the Bravo collection had no compendiums, galleries or music boxes. I would have died for some behind the scenes insights into the development of the games, some artwork and the ability to listen to tunes. I also would have appreciated a gallery showing the endings I’d collected so far. The lack of these doesn’t make this collection horrible by any stretch, but it does prevent it from getting a perfect score from me.

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Apparently all the Samurai Aces games take place in Feudal Japan, and revolve around stopping a cult before they can resurrect their demonic god. I say “apparently” since it’s hard to get much plot from any of the games in the Bravo collection. The first Aces game is enjoyable. It features great and complex artwork, lots of moving parts and big foes. So long as I could hoard my precious bombs and powerups, I did pretty well. Having said that, I do feel the game can be a bit unbalanced in some stages. More tricky is that in all the games in this collection, the stage order is randomized. You’ll only play so many stages each playthrough, meaning sometimes you’ll be able to avoid the harder ones and others you won’t. All in all though, the original Samurai Aces was a fun romp with some really quirky characters, including a bald monk, tomboyish shrine maiden and even a dog. Don’t ask how that last one works, it just does.

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While the first Samurai Aces game was a vertical SHMUP, the second one, called TENGAI, switches things up. Not only does this entry move the Aces games to horizontally focused mayhem, but it also introduces sub weapons. Once you’re powered up to a certain level, you’ll be able to charge and unleash more powerful shots from your spectral familiars. My personal favorite is a fire breathing lemur companion. I actually loved this game the most of all in this series, and felt it was both the most well balanced and also had some amazing bosses. Not that the first game had horrible bosses, it didn’t, but I appreciated how modular the ones in TENGAI were, shedding parts and evolving into strange and dangerous new forms as you fought. This game also introduces the concept of recurring mini-boss foes that hound you, and even engage in some banter before battles. Oh and fun side note, the tomboyish Miko, who is also known as Koyori, gets a hell of a makeover in this game. Let’s just say with her newfound curves you can’t call her a lean tomboy anymore. But she’s just as arrogant and spunky as before.

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The third Aces title, Sengoku Cannon, is also the strangest. You could tell they were trying to make use of newfangled polygonal graphics in this game, and it actually hurts it quite a bit visually. Most stages are empty space filled with angry foes and quickly moving background landscapes. Worse was that the bosses are just floating humanoids that assault you with all manner of projectiles. Oh and did I mention, this is the first true bullet hell in the Bravo collection? That said, once I got past my dislike of the graphics in this particular entry, I really grew to enjoy the unique mechanics. This one played similar to the other games, but introduced a secondary Cannon attack which seems key to the score received at the end of stages. It also sometimes turns all enemy projectiles into coins when you kill enemies, which I’m a bit perplexed by. Though the bullet hell takes getting used to, it’s also mostly pretty fair. I grew to anticipate and avoid streams of bullets the more I played, and started to even get a little cocky. That is until the latter portion of the game, where the developers show us what they’re really capable of, and flood the screen with all manner of annoyance. It’s rough, but thankfully all the games in the Bravo collection allow you to tweak the parameters, giving yourself more lives and continues. Suffice to say, I dialed my lives up to 9 and continues to 3, and was thus able to beat all of the games in Psikyo Shooting Stars Bravo. The only exception is the last game, but I’ll save that for later.

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It was a special treat to play through the Gunbird games, since I had actually bought one of them individually months before. I hadn’t thought I was capable of beating it then, but I found the first Gunbird to be pretty well balanced the more I played it, at least on Normal. When this and the other games in the collection loop after you beat them, it seems as though the difficulty also ramps up significantly, making things much more hectic. So while that did prevent me from getting an uber score in the games, I still enjoyed them. Gunbird specifically had some really strange characters, including a Witch, a mechanical man, a cloud riding beauty, and even a very odd carpenter. Though this one does play quite a bit like the first Samurai Aces game, it has a bit more cartoonish spunk and humor. There’s some 20+ endings in this game alone, and they all depend on how you choose to spend a wish granted by a feline genie. I didn’t realize how important that decision was until I beat the game, decided to beat the genie mercilessly, then was trapped as a replacement genie for my sins. Yes, this is a bonkers game, and I really loved that about it.

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Gunbird 2 was the most visually impressive game in the entire Bravo collection, and it was also the most relentless. While it doesn’t quite go the route of consistent bullet hell that Sengoku Cannon does, it is really, really challenging. It also features chargeable sub attacks and modular boss battles with multiple waves, and a really odd final boss. If you like recurring side characters, those are here too. They’re a team of naughty pirates that reminds me a lot of Team Rocket, just a lot more competent and armed with dangerous mecha. Also, the endings in Gunbird 2 are even more insane than those in the first Gunbird. While the first game revolved around finding mirror pieces to open a path to a genie’s wish, here you find elemental vials to develop a potion that will grant your greatest desire. My first ending was as Alucard (yes, that Alucard) who turns out to be utterly bald. His wish grants him an amazing afro that he completely hates. Another one has a rotund man on a flying carpet get a makeover. Honestly the insanity in both Gunbird games were what I loved the most about them, and that’s why it’s worth your time to beat the game again and again to find all those endings. Just be ready to suffer through Gunbird 2, cause it’s pretty brutal. Though not as tough as I found the last game I played, Gunbarich.

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I can hear you saying that I shouldn’t have had trouble with the one puzzle game in this collection. And sure, Gunbarich doesn’t appear to be that rough. It’s a brick breaking game in the vein of Breakout, and you can control recurring character Marion the Witch, amongst others. The tricky thing is, each stage requires you to break every block and do so in a limited time frame. If you fail, you’ll lose a precious life. Or if the ball gets past you, you’ll also lose a life. Which starts to add up as enemies spit balls back at you, or try and paralyze you with other attacks. And though you’ll find powerups here like in the other games, they don’t explain what these do at all. There’s even boss fights, and though they’re not as rough as those found in the rest of the Bravo collection, they are far from easy. And this particular adventure seems to be the longest too, so you’ll have to really work for that ending. I ended up turning my continues to unlimited just to beat Gunbarich, and it was still a rough ride. Don’t let the candy coated aesthetic fool you, this one is hard as nails.

All in all, I really enjoyed playing through Psikyo Shooting Stars Bravo. For $39.99, you get 6 distinct, entertaining and challenging games. Though I didn’t play it in TATE mode or multiplayer, I had a fun time. Thankfully, you can tweak things to make the experience more palatable to your tastes. While I miss features like galleries and sound tests, I still would highly recommend this collection. I spent probably 5 hours playing through all the games, though there’s plenty of replay value to get all those endings. The name Psikyo is legendary for good reason, and this serves as a wonderful tribute to their legacy.

[easyreview cat1title=”Overall” cat1detail=”” cat1rating=”4″]

Review Copy Provided by Publisher

REVIEW: Psikyo Shooting Stars Bravo Title Psikyo Shooting Stars Bravo

#City Connection #Gunbarich #Gunbird #NIS America #Psikyo Shooting Stars Bravo #Samurai Aces #Shmup

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sylvestermcilwra-blog · 7 years

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newsexplored · 7 years

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Five Things We Want From Star Wars Battlefront II

New Post has been published on https://newsexplored.co.uk/five-things-we-want-from-star-wars-battlefront-ii/

Five Things We Want From Star Wars Battlefront II

Unless you’ve been living under a rock in the Tatooine desert, EA and DICE recently announced a sequel to 2015’s Star Wars Battlefront.

The original was a game that showed huge promise, but left many feeling disappointed thanks to a lack of key features, like a solid campaign, local multiplayer, and actual space battles (seriously, a Star Wars game with no space battles? Lame).

We already know that DICE (along with Criterion and Motive) are introducing a focused single player campaign, space battles, and all of the big stuff we were hoping for – here are five more things that would make Battlefront II a worthy sequel.

Reworked Vehicles

DICE

One of my favourite aspects of Battlefront was the ability to leap into various vehicles, AT-AT or AT-ST and really cause some carnage, racking up as many kills as you could before going out in a blaze of glory.

Getting hold of one of these vehicles would require you to grab a token which would spawn at various points on the map – the obvious problem here being that as soon as a token spawned, half of your team would make a mad dash towards it, forgetting about the objective in a bid to be the one who claimed the prize – not exactly conductive to good teamwork.

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DICE could reduce the inter-team scramble for these vehicles by removing the tokens entirely, perhaps replacing with a system that lets everybody spawn into a set vehicle once per game, or else has some kind of cooldown to keep things balanced.

Galactic Conquest

Anybody that played the original Battlefront games during the glorious days of the PS2 will know what Galactic Conquest is, and it’ll no doubt be at the top of most wishlists for the new game.

Galactic Conquest was a brilliant single-player mode in which you – as the name implies – had you slowly take on opposing factions until you conquered the entire galaxy, which planets rewarding you with new soldiers, weapons, and gear depending on whether you attacked or defended.

We know we’re getting a campaign, but if DICE really want to beef up the solo experience, then they need to bring back Galactic Conquest as an additional mode, and maybe throw in the option to play online with mates too.

Seamless Space Battles

Battlefront (2015) did a good job of incorporating seamless transitions between infantry combat and vehicular mayhem, but I think it can be taken even further by working in the proper space battles that we’re all desperate for.

As Rogue One proved, it can be pretty fucking cool to see an epic space battle kicking off at the same time as a ground skirmish – so how about games where the team on the ground is reliant on a space-bound team completing set objectives, and vice versa?

Just imagine hovering around the Death Star, fighting off imperial ships while you wait a team inside to lower the shields, allowing you to swoop in and blow shit up… there’s potential there.

Simmer Down On The DLC

Safe to say, the general consensus around the DLC for Battlefront was that it wasn’t handled well at all (and that’s putting it mildly).

The good news is that we’ve been told Battlefront II (probably) won’t have a Season Pass, but will have ‘something different’. While we all ponder what that means, and whether or not it’ll end being a good thing in the long wrong, we can take comfort in the fact that EA and DICE don’t want to fragment the community this time around.

Could we get nothing but free content, similiar to Titanfall 2 (also published by EA)? We can dream, but I doubt it for an IP as massive as Star Wars.

Plus, we already know that Battlefront II will have a preorder bonus that ties-in to The Last Jedi movie, because it’s 2017 and it’s against the law not to have preorder incentives.

Modular Maps

One of my own personal problems with Battlefront was that DICE tailored specific maps for specific modes. While this didn’t exactly ruin the game, it did somewhat limit the variety when the only times we could see Hoth was during a 40-man supremacy or Walker Assault.

The DLC for the 2015 game addressed this issue, slicing larger maps into smaller sections for select modes, which greatly bolstered the available maps, giving players more options.

Battlefront II should do this from the beginning, and if DICE really want to keep us happy, then the odd free map update wouldn’t hurt either. Keep things fresh, and all that.

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Battlefront II has a hell of a lot to live up to if it wants to come close to the greatness of its namesake, but I think all the pieces are in place for a genuinely fresh FPS – EA just need to take their time and make sure they get it right.

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yesshinypizzastudentthings-blog · 8 years

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DAKINE Heli Pro II 28L Backpack - Women's - 1708cu in

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