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benisasoftboi · 4 years ago

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Unorganised thoughts on Trails of Cold Steel I:

So I did like it overall, but I have a lot more criticisms of it than I did of the previous games

Which also means I have way more to say!

Tl;dr - Rean Schwarzer, Estelle Bright you are not

Also, spoiler warning for both this game and the previous ones

So... the pacing in this was weird. Like I loved all the field study segments, they were SO fun, but there’s also the Trista segments between which very boring and felt like filler

I think it’s meant to make the ending feel more important, since you’re defending the school, but it kind of backfired because being forced to run around Thors (which is not a very interestingly designed location, by the way) over and over and over again actually made me kind of resent it. To a point where I low key wanted the ILF to destroy the school. Oops

Like I cared about Liberl and Crossbell because they were interesting, and big, so I never really got tired of them. I got tired of Trista very quickly

Also having everyone in school uniform made their designs less interesting :/

The other places were all super interesting, though! I think if I had to pick a favourite I’d say Bareahard, but they’re all contenders really

Oh also the other issue with the structure was that everyone had to be mad at someone at all times, and it was almost comical how systematic it was - Rean and Alisa don’t get on, that’s resolved, now let’s focus on how Machias and Jusis don’t get on, that’s resolved, IMMEDIATELY we’ll replace that with Fie and Laura, then the moment that’s resolved it’s Jusis and Milliam...

Like, be a little less formulaic in your character conflict

Anyway, characters!

I do not like the thing where the character’s name appears in front of them before they say it. It was irritating

Elliot: The one I would have been in love with when I was eleven. Elliot is good and sweet and did nothing wrong ever. Holy Song is the most useful craft in the whole goddamn game. He also has easily the best S-Craft in a game where most of the S-Crafts are *decidedly* lackluster, aesthetically speaking. I like Elliot. His friendship with Gaius is also very nice

Jusis: The one I would have been in love with when I was fourteen. So, the moment I saw Jusis, my immediate first thought was ‘oh, this guy is one half of a gay ship’. I had no clue who the other guy was going to be, but I knew there was absolutely no way that Anime Draco Malfoy wasn’t getting shipped with a man.

And then Machias opened his mouth, and... every franchise, no matter what, has its gay OTP (its homoTP, if you will) - that one, usually M/M, but sometimes F/F, ship that’s practically got a whole side-fandom just for itself. Up until now, I assumed Trails’ was going to be Olivier/Mueller - but while I haven’t checked, because I don’t want spoilers, I will be shocked if these guys aren’t actually it. They have every making - opposites attract, enemies to lovers, they sing together, other characters make jokes about it...

Like, this was deliberate, surely? Surely?

yes i ship it but like, against my will and resentfully and semi-ironically, because I hate myself for instinctively taking the bait >:(

Something something ‘Turbo-Gehenna’ joke

Anyway, I like Jusis. I think he’s a fun character, easily the most interesting of the boys, and I really enjoyed his development. He has a cute smile

I also thought he had the best voice acting in Class VII, so I looked it up and Ben Diskin! I love Ben Diskin! I couldn’t even tell, I had no idea his range was that great, wow!

I did think it was extremely weird that if you invite him to the Stella Garten, he says he wants to date a woman who is ‘like his mother’. Okay, Jusis.

Machias: The one I would have been in love with when I was seventeen. You ever meet someone who’s like... always right, really, but in such an obnoxious way that you wish they weren’t. Machias. He would have been way more interesting if he was just a really politically minded teen who needed to learn tact, rather than yet another member of the Trails Dead Family Member Club (the fact that it was revealed right after Elliot’s Dead Family Member Club story did not help). Still, he really did grow on me in the end. He’s a little dork

Gaius: The one I would be in love with now, if not for the fact that he’s only seventeen and thus a little baby in my eyes. I do love his design the most. Can he say even one line that’s not about the wind, though? I also like that he’s one of very few characters in this franchise to not have a tragic backstory, was very refreshing.

I can only assume, therefore, that Nord will undergo ethnic cleansing in Cold Steel II

Crow: oh boy Crow hahahahahaha. I don’t know how I feel now. Uhhhh... what did ‘the things I do for love mean’? I am curious

Alisa: I don’t like tsunderes much, and I found her ‘being mad at Rean for something that was absolutely not his fault’ thing very, very stupid and it did not endear me to her at all (also, like, if you had to have that - a better way would have been for him to accidentally injure her, rather than... ugh, look, I am a woman with large breasts - accidents really do happen irl. There’s no point in getting that mad about it. There just isn’t. I have no patience for this kind of plot). It also bothered me how possessive of Rean she got, I swear I picked Towa over her half out of spite. I don’t hate her, though, to be clear - I loved her plot with her mother and that scene in Nord. And her relationship with Ferris! She’s great when she’s not talking about Rean, basically

I don’t buy her as Rean’s love interest, honestly. Rean consistently shows more attraction to Emma, and has more (mandatory/canon) moments with Towa. It only felt one-sided to me

Laura: I like Laura a lot. I don’t really have anything to say about her, just that she was consistently good, and I appreciated her maturity and self awareness, I love her and Rean being sword bros, she’s just great

Fie: I think Fie was designed to appeal to exactly me personally. Tiny snarky badass girl with a great design? That’s everything I love and aspire to be! Best girl in the game (didn’t date her though because she’s fifteen and I refuse to date anyone who is younger than the protagonist when I play games set in high schools. Feels weird enough dating teens the same age as my character. Also she had 0 romantic chemistry with Rean)

Millium: She’s fine, good voice acting, want to know more about Lammy, no strong feelings

Towa: I wasn’t going to date anyone, but changed my mind because I really liked Towa... and then I looked at her, and saw a tiny girl with long, light brown hair and soft voice, and realised I just want to date myself

I checked, and according to Playstation Trophies, at least, she’s the least picked girl? The only characters picked less than her are the non-Crow boys (Machias is the least popular, which... I feel a little mean for finding hilarious lol)

Emma: I like Emma herself just fine. Don’t get me wrong. But she’s infuriating as a mystery character, because she’s the worst kind of mystery - the kind that relies on the other characters to NEVER AT ANY POINT ASK THE QUESTIONS THAT A NORMAL HUMAN WOULD ASK

Estelle would have asked

Rean has multiple opportunities to ask her to explain herself, and he doesn’t! One time, she straight up ASKS HIM TO ASK, and he doesn’t! That’s not mysterious anymore! That’s just incredibly annoying!

Lloyd would have asked

And no one else asks either! Some of them, fine - I can understand say, Elliot or Gaius or Millium - but Jusis!? Jusis, who has been there for pretty much all of her mysterious vague magic, and has repeatedly shown himself to be willing to be kind of rude, and may not be that interested in other people but certainly isn’t stupid - while they’re in the Schoolhouse Depths, Jusis isn’t going to grab Emma by the shoulders and demand she explain what she knows? He’s just going to go with it as she refuses to elaborate on things?

Really?

Kevin would have - actually, no, Kevin would have already known because Kevin Knows All, but he would have told everyone else, so same outcome

Rean: And that brings me to Rean. Rean... is a JRPG Protagonist. He is good, and noble, and he gives Inspiring Speeches, and he can date all the girls (which means we don’t really get any interesting opposite-gender friendships, because oh no, a threat to the harem!), and he is so, so boring. My god

Hey remember how I praised Sky for how great it was to have Estelle be an actual person with flaws and personality? No you don’t, no one’s reading all of these, but yeah - Estelle is just as colourful and full of life as the rest of Sky, while Rean is the least interesting character in Cold Steel no contest

Oh he has a super powered dark side, oh, well, that’s a game changer, never seen that before except in every 2000s shounen anime. Also we never actually learn the Super Rean rules, so that dramatic moment where he’s thinking about transforming to fight Scarlet isn’t actually that dramatic because I had never realised it could kill him until he said so in that moment

Oh except he’s also an awakener and can summon a Persona giant mecha suit! Because he’s the most special boy to be very special? I have never seen that in a JRPG before except in all of them

In Sky, Estelle wasn’t special. Except she was, but it wasn’t because she had super awesome secret awesome powers and all the boys liked her best. It was because she was flawed, but always trying, and because she was incredibly brave and optimistic no matter what, and because she was the kind of person who told a god summoning evil mastermind ‘lol no’ and then beat him with a stick, and because she really, believably loved her friends. She loved them. And they loved her. Not the player she was the avatar of. Estelle herself

Estelle Bright has ruined me for all other JRPG protagonists, is what I’m saying

Oh also Rean has that whole speech about how they can’t cancel the festival to protect people from an unknown threat, that’s not fair to meeeeee, and as someone who has lived through the year 2020 - go to Gehenna, Rean

Olivier is back!!! And yeah I’m going to keep calling him that, that’s who I know him as, and also Olivert is a silly name

Even more importantly, Mueller is back!!! And he and Olivier still have the best comedy dynamic in the series, joyous day! THAT is love and peace, baby!

Sara really, really grew on me :) I want to see her interact with Schera so bad

I didn’t really like Sharon up until I worked out OH SHE’S OUROBOROS, because yessssss more of them! Also, yessss, guessed it!

Angie... predatory lesbian stereotype aside, Angie’s super interesting and I want to see more of her yes please

George is like, the most inoffensive character I’ve ever seen, but apparently he has haters? What!?

What is with these games and naming characters/things French words, and then PRONOUNCING THEM WRONG

I do not care that the official pronunciation is ‘Blue Blanc’. I will continue to pronounce it ‘Bleu Blanc’. Because that’s what you guys actually wrote, Christ alive

I have a French GCSE and I will use it for something, goddamnit

I took Jusis on the bike trip and he looked so adorably goofy in the little sidecar. Best moment of the whole damn game for me

I’m trying to imagine what it would be like to have played this game first, as I know a lot of people did. Specifically in regards to Olivier (or Olivert, I guess)

Like... imagine meeting this guy for the first time as a fairly serious leader of an important faction, participating in vital political machinations. Imagine meeting him here and not knowing about the Grand Chardonnay incident. Imagine not knowing about that time he stopped a riot by riding up in a boat and singing. Imagine not knowing he has a rivalry of aesthetics with a terrorist. Imagine not knowing what I was referring to when I said ‘that’s love and peace, baby’ just now

Incomprehensible

Side note, if you had told me, on one of those warm August days when I was first playing Sky FC, that the silly man in the white coat was actually one of the most important characters in the franchise, I would not have believed you for a second

But on that subject, I was also trying to work out who a first time player would be siding with... like, I’ve played Sky and experienced Zero (currently working way through Azure as well), which means that my immediate reaction to all of Erebonia’s politics was ‘trust whatever Olivier and the bracers say, don’t trust anyone else’. But someone starting with Cold Steel has no reason to have loyalties to those factions, so I’m curious

Side note, having played the previous games also massively impacted how I viewed the ILF - I’m very confident that I would have just taken them being evil for granted if I’d played this first, but considering they hate Osbourne... and Olivier does not like Osbourne... that kind of made me a lot more suspicious of who I was really meant to side with

I really liked most of the NPCs in this. I especially became weirdly fond of Beryl

However, I do now also have characters I actively dislike, a series first! Gwyn (creepy old man), Neithardt (sexist jerk, kick his arse Beatrix), and Dorothee (...could write a whole essay on the myriad reasons I do not like that particular archetype) get in the bin

Good god, every interaction between Rean, Emma and Dorothee made me want to smack the lot of them with my controller, Dorothee for being an absolute creep, and Rean and Emma for overcorrecting into low key homophobia (seriously Rean, you’re friends with a lesbian, the idea of the existence of gay men should not shock you this much)

Re: Elise... I heard the words ‘non-blood related younger sister’ and my eyes rolled so far back in my head I was afraid they wouldn’t come back down

Took me a while to figure out, but ideal team is Elliot, Jusis, Machias, with Laura and Fie as back-up

I would like to find whoever’s idea it was to make the S-Crafts unlock as the game progresses rather than just be there when you get the character, and shake them until they apologise. Have them evolve with the story, sure, but not having them at all wrecks the battle flow so much. Emma was unusable to me until chapter-goddamn-FIVE

I loved the Annabelle subplot, and the punchline that the person her family wanted to marry her off to was a Lakelord... I actually yelled

The concert was so hyped, and then there weren’t even any real songs (aside from the re-use of the end credit song from Sky, which made me very happy. And Olivier singing along made me laugh out loud)

TOVAL IS TOBY!?!?!

Man I’m so mad at myself for not reading Carnelia in/after FC (read it in 3rd), but still - what a reveal!

AND WHAT AN ENDING

I mean. At first

They did such a good job building the tension, and then-

The Crow twist, my GOD, when I tell you I freaked the fuck out... I was totally convinced that it was Claire. Or possibly Campanella on stilts. I completely overlooked that there was another major character with a C name, and honestly I’m glad I did because I have not been this shocked by a reveal in a while

And then I stopped taking it seriously when I saw the robots with heelys

It was all.. we had a very final boss-y final boss, right? Excellent final boss fight, very fun, very satisfying. And then the game just... kept going. I accidentally stayed up until 4 AM because I thought I was at the end and it just didn’t stop

And then it did. Very, very abruptly

(no seriously I was making some snarky comment about how goofy the flying robot suits look and then the game just ENDED, what)

(also worst *actual* final boss I’ve ever seen. the fact that they managed to make a battle between two giant robots, one of which was controlled by a traitorous former friend, feel like an anticlimax... that was impressive, honestly)

So Cold Steel I is... easily my least favourite Trails game so far. Again, I did like it, but like I say... Rean isn’t Estelle Bright. And that’s pretty much my main problem, in the end

Sorry, Class VII

OH MY GOD they never explained why it’s Class VII and not Class VI! My theory is that it’s either something about the Sept-Terrions, or the Seventh Division, since Olivier’s specifically connected to them. Or maybe both

Well - I’m excited to find out!

#long post #trails series #trails of cold steel #trails of cold steel 1 #kiseki series #erebonia arc

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that-shamrock-vibe · 5 years ago

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Disney+ What To Watch: My Top 10 Favourite Disney Live-Action Remakes

#2. 101 Dalmatians

Shockingly yes, the mid-90s live-action remake of my favourite animated movie of all time is not my favourite live-action remake, however it is up there as one of the best for several reasons.

First and foremost, real-life dalmatians. Whether or not these dogs are actually real or some of the animatronics provided by Jim Henson’s Creature Shop like the farm animals were, these dalmatian puppies are simply adorable. Seeing these puppies being born and playing around in the Dearly home make me so happy every time I see them and also when they are running across the snowy fields towards the Dearlys after escaping Cruella, heartwarming stuff.

Secondly, speaking of the De Vil, Glenn Close as Cruella De Vil is the original perfect casting just as more modern day Hugh Jackman as Wolverine, Robert Downy Jr. as Iron Man and Gal Gadot as Wonder Woman.

Not only does she embody what the original animated version of the villain personified, but because this movie combines the best parts of the animated movie and original novel, this version of Cruella is both very realistic to how an everyday fashionista is but also comes across potentially more devilish than the animated version.

The story is simple, but I disagree with that being a bad thing. Disney has so many fantastical movies that, for the mid-90s, would not translate well into live-action, they barely do in modern day. So having one it’s earlier more grounded hits to be one of the first mainstream live-action movies I thought was quite a smart move on their part because, even with the animatronics and possible cinematography trickery with the dogs, all they would really have to focus on getting right is the same portion of the movie that both Mary Poppins and Bedknobs and Broomsticks had to contend with 20 years prior.

One thing that never gets old for me is how fresh Glenn Close’s performance is every time I see the movie. It’s almost like every time I see it I find new nuance to her performance that I never discovered before.

Also, as much as I enjoyed the Badduns in the original animated feature, Hugh Laurie and Mark Williams as Jasper and Horace is not necessarily idyllic casting but brilliant casting none the less. It’s also a great introduction to Hugh Laurie for people that didn’t grow up on Blackadder and for Mark Williams about 5 years before the start of the Harry Potter movies.

In fact, obviously making the animals simply animals in this movie rather than anthropomorphic characters draws more attention to the human characters, because while they were important to the animated movie, aside from Cruella the main focus was the dogs.

Here though, Roger and Anita are just as fleshed out as they were in the animated original, in fact Anita moreso as she has a job and more of a solid connection to Cruella than simply being an old school friend.

The introduction of Cruella’s assistant Alonzo. another Blackadder alumnus who actually was technically replaced by Hugh Laurie in the franchise, is also another great addition because, not only does it add more comedy relief, but it shows that Cruella is cruel to everyone not just those who side against her.

Mr. Skinner as well is probably one of the most intimidating characters in a Disney movie, particularly seeing this as a 4-5 year old he was absolutely terrifying and the best part is, as I got older I learned to understand his traumatic backstory of having his throat clawed open.

The movie doesn’t have songs like the original but it doesn’t need them, having that jazzified rendition of “Cruella De Vil” in the end credits is all this movie needs.

Speaking of the ending, elevating the movie forward to the Dearly’s adopting the 84 abandoned dalmatian puppies rescued from Cruella along with the 15 they already owned which forced them to get a bigger place and actually seeing that bigger place complete with a newborn baby was a great ending to a movie, particularly after the establishment that Roger was able to afford it after he finally creates a world-class video game based on the movie’s adventure.

I also really enjoyed making Roger a struggling video game designer, because to me it is more unique than a struggling musician which we have seen countless times before.

They truly kept the best part of the original movie, they had that great meeting between Roger and Anita at the park, they had a different iconic introduction for Cruella than the original where she was introduced through her song, but here just having her march through her office building with her pelt sweeping behind her like the Devil Wears Prada was just so delicious.

The villain’s comeuppance scene also didn’t feel like the typical Disney live-action movie villain getting their comeuppance, it felt earned and it mattered. There was just such a great feel to this movie every time I see it. Right from when that acorn drops down the branches in the Great Oaks Entertainment logo screen to the closing credits with Dr. John singing “Cruella De Vil” I can’t say how much I love this movie.

So what do you guys think? Post your comments and check out more Disney+ What to Watch Top 10s as well as more Top 10 Lists and other posts.

#disney #disney+#disney plus #disney+ what to watch top 10s #disney+ what to watch #101 dalmatians #one hundred and one dalmatians #the hundred and one dalmatians

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scope-dogg · 6 years ago

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Brave Express Might Gaine: Final Thoughts

Might Gaine has become something of an unlikely Super Robot Wars mainstay, having been in the last two games and also in the upcoming SRW T. It’s a series I’ve been holding off on for a while while I waited for its ongoing fansub projects to finish, but with SRW T just around the corner, I was determined to see everything in the roster before the game came out, which led to a change of plans for me. While it’s true that the situation with English subs for this series is really rough and honestly makes it something of a tough recommendation, what we have was good enough for me to make it through and enjoy yet another solid entry in a series that’s yet to let me down.

The story setup is that in the future, the sudden depletion of fossil fuels leads to a revolution in technology, most notably in the form of a global electric train network, as well as the onset of super-powerful artificial intelligence and robotics. At the forefront of this is the Senpuuji Concern, a mega-corporation led by its brilliant teenage CEO Maito Senpuuji, who also moonlights as the leader of the Brave Express, a corps of railway-based transforming robots created to fight evil. Piloting the combined fighting mecha Might Gaine, Maito fights off a wave of robot-based crime that has arisen, although the Brave Express’ true purpose is to fight off an unseen great evil that still lurks in the shadows.

In terms of the other Braves shows I’ve seen, this one is probably most similar to J-Decker, which was the show that came immediately after this, at least in terms of the plot setup. The show’s main plot is a really slow burn up until the last few episodes, with most of the rest of the show being pretty standard episodic monster (or in this case, robot) of the week fare. That’s not to say that it isn’t entertaining though. Like J-Decker, Might Gaine has a pretty wild rogue’s gallery of robot super-villains. However, unlike J-Decker, it has a primary cast of four extravagant opponents - the mad scientist Wolfgang, bent on creating the ultimate battle robot, the Asian mafia kingpin Hoi Kow Low, Shogun Mifune, a man obsessed with recreating feudal era Japan, and Catherine Vuitton, a vain and conceited professional thief who has no issues with bringing misery to people in order to fulfil her strangest whims. Each of these four come up with some bizarre and unusual plots with each new episode, with weird and wonderful robot designs to match. It results in some episodes that I’ll never forget, such as Catherine’s plan to rid Japan of natto or Shogun Mifune’s plan to abduct world leaders to force them to ratify his appointment as supreme leader of Japan. This light-hearted tone is backed up by the cast of protagonists as well - at first, Maito seemed to be a pretty boring guy, being unrealistically skilled and successful at everything at a young age with no real character flaws, as well an a ridiculously rich billionaire to boot. However, it didn’t take me long to realise that it’s all clearly meant to be tongue-in-cheek, with Maito clearly meant as something of a parody of unrealistic main characters in anime. That was further driven home by his love interest Sally - the running joke with her is that she works wildly different jobs every week, and each time just so happens to be close enough to overlook Maito’s escapades and gaze on longingly as he fights.

That said, this early light-hearted, humorous tone actually belies how serious things get later on - firstly in the form of a series of increasingly high-stakes showdowns with Maito’s edgy rival Joe the Ace. It then gradually slowly works its way into the real plot and its surprisingly intense conclusion - this probably had the most serious and unexpectedly violent final arc out of any other Braves series I’ve seen - only Gaogaigar Final felt like it had higher stakes.

I thought the presentation here was something of a mixed bag, although the fact that this isn’t really available to watch anywhere in good quality probably had a lot to do with that. Even disregarding that, this has the same problem that every other Braves series has, that being an over-reliance on stock footage, with the animation work outside of that not being particularly good. That’s offset by a great soundtrack however, plus the mechanical design is overall really good - even most of the jobber bad guy robots are memorable in one way or another, and Might Gaine itself and its eventual upgrade are probably contenders with Gaogaigar for my favourite lead Braves robot design. The supporting cast of Braves are pretty decent looks-wise as well, although it was kind of disappointing not to see each one developed as characters, with them all basically being background to the show’s human characters. I know a lot of Braves series fans loved how the Braves were really-well rounded characters in J-Decker, and even in Gaogaigar. Anybody looking for that kind of thing in here is probably going to be disappointed.

Now for the real sticky topic, those being the status of the subs in this show. The only subs that cover the whole series are a suspect set of Hong Kong subs that range from okay to awful, with the added annoyance of them changing the names of pretty much every major character for no real reason, despite the fact that the subs and the audio no longer match. However, there have been efforts to make a better fansub, which have been assembled into a youtube playlist - it currently covers the first 35 episodes, with more perhaps forthcoming in the future - however, right now the only way to watch those final 12 episodes is the Hong Kong subs. They’re not so bad that you can’t watch and understand, so long as you’re prepared to mentally filter the character names to the correct ones, but they’re still far from ideal.

Overall however, if you’ve got the commitment then it’s probably worth your while, because this was an enjoyable series once all’s said and done, and I enjoyed my time with it. Gaogaigar and J-Decker are probably easier points of entry if you’ve never seen anything in this series before, and personally I think both delivered on the Braves formula better, but even with that in mind and the weird subs there’s plenty to enjoy here. It hasn’t made it into three SRW games in a row for no reason.

As far as that goes, SRW V and X have already set a pretty clear formula for how this show might be implemented in T, although there’s still plenty of source material that they’ve yet to turn into scenarios. Most of all, I’m excited to see how Might Gaine and Gaogaigar play off one another - this is the first time two Braves series have been in the same SRW game.

With that out of the way, I’m getting really close to my aim of seeing everything in the SRW T roster - only Expelled From Paradise and Aura Battler Dunbine and its OVA remain. Expelled From Paradise is next - expect to hear my thoughts on that soon.

#might gaine #mecha #respect the robot

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tocinephile · 6 years ago

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The Morning After - Oscars 2019 Edition

My favourite photo from the 91st Academy Awards

My two favourite moments from last night’s Oscars are better represent in audio, those being Olivia Coleman’s speech when she won Best Actress over the heavily favoured Glenn Close, and when Rayka Zehtabchi exclaimed “I can’t believe a film on menstruation won an Oscar!”

It was fun keeping up with everyone’s reactions and remarks during the awards, and chiming in with many of my own even though I do, as always, find the speed of twitter a little breakneck. Also friends and colleagues who, knowing that I’m a big movie buff, came by or message me to discuss last night’s show. At times we got animated enough that random passerbys and company VPs felt the need to chime in, which is the best gathering of the minds possible in my world.

Here’s a list of the winners and what I thought of each recipient:

Best Picture

“Black Panther” “BlacKkKlansman” “Bohemian Rhapsody” “The Favourite” “Green Book” (WINNER) “Roma” “A Star Is Born” “Vice”

While not entirely classy of Spike Lee to turn his back when Green Book was announced, he was able to joke about it later that every time a film about driving was pit against his own film, he would lose to it (Do the Right Thing lost to Driving Miss Daisy) My silver lining was knowing that TIFF audiences picked yet another Best Picture winner. We do have quite a track record, don’t we? I really thought the Academy was going to make a different type of history in diversity by awarding a foreign film (Roma) with Best Picture. Or at least Black Panther, that would’ve been cool too.

Director

Spike Lee, “BlacKkKlansman” Pawel Pawlikowski, “Cold War” Yorgos Lanthimos, “The Favourite” Alfonso Cuarón, “Roma” (WINNER) Adam McKay, “Vice”

I agree with this win.

Lead Actress

Yalitza Aparicio, “Roma” Glenn Close, “The Wife” Olivia Colman, “The Favourite” (WINNER) Lady Gaga, “A Star Is Born” Melissa McCarthy, “Can You Ever Forgive Me?”

I was ecstatic to have guessed wrong in my Oscar picks for this category. Both Olivia Coleman and Glenn Close were such strong contenders (as was Melissa McCarthy). Glenn Close carried her film, Olivia Coleman elevated her already very good movie to another level.

Lead Actor

Christian Bale, “Vice” Bradley Cooper, “A Star Is Born” Willem Dafoe, “At Eternity’s Gate” Rami Malek, “Bohemian Rhapsody” (WINNER) Viggo Mortensen, “Green Book”

It’s nice that Rami Malek won, and I guessed he would. But I think Christian Bale was still better.

Original Song

“All The Stars” from “Black Panther” by Kendrick Lamar, SZA “I’ll Fight” from “RBG” by Diane Warren, Jennifer Hudson “The Place Where Lost Things Go” from “Mary Poppins Returns” by Marc Shaiman, Scott Wittman “Shallow” from “A Star Is Born” by Lady Gaga, Mark Ronson, Anthony Rossomando, Andrew Wyatt and Benjamin Rice (WINNER) “When A Cowboy Trades His Spurs For Wings” from “The Ballad of Buster Scruggs” by David Rawlings and Gillian Welch

I don’t think any other song legitimately had a chance.

Original Score

“BlacKkKlansman,” Terence Blanchard “Black Panther,” Ludwig Goransson (WINNER) “If Beale Street Could Talk,” Nicholas Britell “Isle of Dogs,” Alexandre Desplat “Mary Poppins Returns,” Marc Shaiman, Scott Wittman

One last time I’ll say this: Where was First Man? After not seeing it on the list I really had no one to root for.

Adapted Screenplay

“The Ballad of Buster Scruggs,” Joel Coen , Ethan Coen “BlacKkKlansman,” Charlie Wachtel, David Rabinowitz, Kevin Willmott, Spike Lee (WINNER) “Can You Ever Forgive Me?,” Nicole Holofcener and Jeff Whitty “If Beale Street Could Talk,” Barry Jenkins “A Star Is Born,” Eric Roth, Bradley Cooper, Will Fetters

I think a writing Oscar is an excellent award for Spike Lee to win. I’m rarely familiar with the original story vs its adaptation, therefore it’s hard to say who did the best job of adapting their source material. That said, any way you slice it, BlacKkKlansman was a great script.

Original Screenplay

“The Favourite,” Deborah Davis, Tony McNamara “First Reformed,” Paul Schrader “Green Book,” Nick Vallelonga, Brian Currie, Peter Farrelly (WINNER) “Roma,” Alfonso Cuarón “Vice,” Adam McKay

While I put my money on Green Book, I can’t fathom why anyone would think it’s a better script than The Favourite nor Vice (I didn’t see First Reformed, and I think Roma is at least on par with Green Book) Destroyer was an original script right? I’m personally disappointed it wasn’t up for any writing awards.

Live Action Short Film

“Detainment,” Vincent Lambe “Fauve,” Jeremy Comte “Marguerite,” Marianne Farley “Mother,” Rodrigo Sorogoyen “Skin,” Guy Nattiv (WINNER)

I didn’t watch any of the shorts this year.

Visual Effects

“Avengers: Infinity War” “Christopher Robin” “First Man” (WINNER) “Ready Player One” “Solo: A Star Wars Story”

Again, please to be wrong in this category. If anything I would have said First Man stood out more in audio achievement, but visual effects were also excellent and I’m glad the film got at least one Oscar because it is such a fine technical achievement.

Documentary Short Subject

“Black Sheep,” Ed Perkins “End Game,” Rob Epstein, Jeffrey Friedman “Lifeboat,” Skye Fitzgerald “A Night at the Garden,” Marshall Curry “Period. End of Sentence.,” Rayka Zehtabchi (WINNER)

Amazing acceptance speech. I want to see this now.

Animated Short

“Animal Behaviour,” Alison Snowden, David Fine “Bao,” Domee Shi (WINNER) “Late Afternoon,” Louise Bagnall “One Small Step,” Andrew Chesworth, Bobby Pontillas “Weekends,” Trevor Jimenez

Also a fine, inspiring acceptance speech by Domee Shi. I didn’t see any other shorts but I did watch Bao several times over and my Torontonian pride swelled when it won. Growing up Asian, there’s a lot of embedded humour in this short as well, the husband character is still my absolute favourite.

Animated Feature

“Incredibles 2,” Brad Bird “Isle of Dogs,” Wes Anderson “Mirai,” Mamoru Hosoda “Ralph Breaks the Internet,” Rich Moore, Phil Johnston “Spider-Man: Into the Spider-Verse,” Bob Persichetti, Peter Ramsey, Rodney Rothman (WINNER)

I really gotta see this movie.

Supporting Actor

Mahershala Ali, “Green Book” (WINNER) Adam Driver, “BlacKkKlansman” Sam Elliott, “A Star Is Born” Richard E. Grant, “Can You Ever Forgive Me?” Sam Rockwell, “Vice”

As expected. Though Richard E Grant is still my favourite, anyone catch his interview with Ryan Seacrest on the red carpet? And how he’s besties with Melissa McCarthy now? Love it.

Film Editing

“BlacKkKlansman,” Barry Alexander Brown “Bohemian Rhapsody,” John Ottman (WINNER) “Green Book,” Patrick J. Don Vito “The Favourite,” Yorgos Mavropsaridis “Vice,” Hank Corwin

Fixing up a film in editing doesn’t warrant it as best edited film of the year! I cannot believe Bohemain Rhapsody won in this category. Especially again films such as The Favourite and Vice, the former’s editing has a hand in shaping its visual mastery, the latter is entirely built from the art of editing. What the hell?

Foreign Language Film

“Capernaum” (Lebanon) “Cold War” (Poland) “Never Look Away” (Germany) “Roma” (Mexico) (WINNER) “Shoplifters” (Japan)

Capernaum was still better ;)

Sound Mixing

“Black Panther,” Steve Boeddeker, Brandon Proctor and Peter Devlin “Bohemian Rhapsody,” Paul Massey, Tim Cavagin and John Casali (WINNER) “First Man,” Jon Taylor, Frank A. Montaño, Ai-Ling Lee and Mary H. Ellis “Roma,” Skip Lievsay, Craig Henighan and José Antonio García “A Star Is Born,” Tom Ozanich, Dean Zupancic, Jason Ruder and Steve Morrow

-and-

Sound Editing

“Black Panther,” Benjamin A. Burtt, Steve Boeddeker “Bohemian Rhapsody,” John Warhurst (WINNER) “First Man,” Ai-Ling Lee, Mildred Iatrou Morgan “A Quiet Place,” Ethan Van der Ryn, Erik Aadahl “Roma,” Sergio Diaz, Skip Lievsay

Just because a film is about music doesn’t automatically qualify it for best sound! Have all the Academy voters gone out of their mind??? If you’re gonna go by that misguided logic then at least give it to A Star is Born. It’s been a day and I still can’t fathom how anyone could think the sound editing of Bohemian Rhapsody is better than First Man, A Quiet Place, and Roma!

Cinematography

“Cold War,” Lukasz Zal “The Favourite,” Robbie Ryan “Never Look Away,” Caleb Deschanel “Roma,” Alfonso Cuarón (WINNER) “A Star Is Born,” Matthew Libatique

This was a pretty stacked category and Alfonso Cuaron did make a beautiful looking film. I don’t know if it was more striking that Cold War or The Favourite, but all in all he did deserve the win.

Production Design

“Black Panther,” Hannah Beachler (WINNER) “First Man,” Nathan Crowley, Kathy Lucas “The Favourite,” Fiona Crombie, Alice Felton “Mary Poppins Returns,” John Myhre, Gordon Sim “Roma,” Eugenio Caballero, Bárbara Enrı́quez

Fine. At least it wasn’t Roma, and I get that more often than not the period film usually wins it, so it’s cool to shake it up. The Favourite is still my fav.

Costume Design

“The Ballad of Buster Scruggs,” Mary Zophres “Black Panther,” Ruth E. Carter (WINNER) “The Favourite,” Sandy Powell “Mary Poppins Returns,” Sandy Powell “Mary Queen of Scots,” Alexandra Byrne

Again, I like The Favourite more.

Makeup and Hairstyling

“Border,” Göran Lundström and Pamela Goldammer “Mary Queen of Scots,” Jenny Shircore, Marc Pilcher and Jessica Brooks “Vice,” Greg Cannom, Kate Biscoe and Patricia Dehaney (WINNER)

I’d have been surprised if anyone else won.

Documentary Feature

“Free Solo,” Jimmy Chin, Elizabeth Chai Vasarhelyi (WINNER) “Hale County This Morning, This Evening,” RaMell Ross “Minding the Gap,” Bing Liu “Of Fathers and Sons,” Talal Derki “RBG,” Betsy West, Julie Cohen

:) That’s the one I picked.

Supporting Actress

Amy Adams, “Vice” Marina de Tavira, “Roma” Regina King, “If Beale Street Could Talk” (WINNER) Emma Stone, “The Favourite” Rachel Weisz, “The Favourite”

I preferred Rachel Weisz and Emma Stone’s performances. Amy Adams even.

So, that’s it for awards season 2019. I did pitiful in my predictions this year because I was way off on the technical awards, not to mention some big ones too like Best Picture.

I’ll wrap it up by recommending that you watch First Man (with a good sound set up as it is superb technical, has a great score, and supporting actress Claire Foy), Destroyer (for its story and Nicole Kidman), The Hate U Give (that delivers a much stronger message than Green Book ever will), and Beautiful Boy (where supporting actor Timothee Chalamet actually has a sizable role).

#Oscars 2019 #oscars

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goindanswingin · 6 years ago

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Les Amis Webshows - Reviews!

So! There’s been a whole two new Amis webshows premiering this January! However, I’ve noticed not that many people are actually talking about them! New content, and we’re not yelling??

So, I’ve decided to give short reviews on their debut pilot episodes, as well as the first episodes of some other Les Amis webshows (I probably missed so many, feel free to add more if you know of them!) in order to maybe spread the word about some cool creators online as well as give y’all a lil more content to consume that isn’t just grim BBC Les Mis discourse atm

(I’ve reviewed them in the order they premiered)

1. Stories From Les Amies

This is a vlog story of the les amis with all the genders purposefully changed! Now this one has an awful lot of content to make up its plot, having premiered in 2013 and wrapped up with an HOUR LENGTH FILM at the end of 2014, so there’s a hell of a lot to digest here! The Enjolras behind this is actually also the author of TextingEnjolras/EnjolrasRising so the plot does bear some resemblance to that also! (Another piece of content I’d highly recommend if you’ve not read yet).

But, to keep it fair, I’m going to stick with just the pilot episode! It’s set up like a big group skype call with our amis introducing themselves, where we are first introduced to their personalities, mostly led by Enjolras although Combeferre acts a beautifully sarcastic arbiter. The video quality isn’t excellent, but surprisingly, the audio quality is pretty great (for every character except Marius), with almost no background noise or fuzz.

Enjolras: All of us make up a society that we call the Friends of the ABC

Enjolras: *awkwardly nods and grins*

Enjolras: Which is actually a pun, because... ABC pronounced together sounds like the word abaissés, which means “lowly” or “abased...

Enjolras: So... it’s... it’s a pun.

I know I’m only reviewing pilot episodes to keep it fair, but I will say yes, the quality of the series absolutely does improve over time, and I would highly recommend giving it a go if you’ve never seen it before! You can find the whole series here.

2. Official Les Amis Vlog

Premiering at almost exactly the same time as number 2 on this list, the Les Amis Vlog is similar in terms of quality but different in style. This is as it says - a vlog channel, with divided playlists for each character in the Amis. Every character uploaded vlogs between 2013 and 2015 introducing themselves, answering questions, and making content on certain themes.

This one took me by surprise - I was very much underwhelmed by the camera quality and lack of plot, but once I started watching, I realised why the Les Amis vlog doesn’t have plot - it’s because instead of making up political issues and action, they actually discuss real politics - in the pilot episode, Enjolras actually talks about a real news article from Reuters and then goes on into an impassioned rant on public surveillance - it’s kind of amazing.

Enjolras: I mean, you wanna hide your face for whatever reason? Well, congratulations! You’re now a potential t*rror*st for having stood in the way of the observational machine!

Obviously this one is much more about the characters than it is any sort of plot like we’ll see in some of our later series, but... these characters are by far some of the most convincing Les Amis I’ve seen! Particularly Enjolars - wow. So if that sounds like your kinda thing, check it out here!

3. Vines de l'ABC

A multimedia webseries that ran from 2016-2018, but mostly confined to Vines, this one in essence is similar to the Les Amis Vlog in that it is more character driven than plot driven - the different characters were all cast and then separately uploaded Vines (and occasionally YouTube videos) as well as answering questions to the main blog.

The first “episode” is, as common for these webseries, a video of our Enjolras introducing Les Amis and his character, then being interrupted by a phone call. The quality is webcam quality, the sound pretty fuzzy, but I do think Dorian here makes a great Enjolras... more on that shortly! Overall, the quality of this first episode isn’t super relevant to the rest of the series though, because as is obvious by the name, it’s mostly comprised of amusing little vines.

*Tik Tok by Ke$ha plays*

Enjolras: Hello? Did you change my ring tone again? ...Again? Well, I mean, I'm trying to do the video... No, I mean, I'm actually in the middle of doing the video right now, you're on camera... No, no I don't know how to edit it out... I mean, does he have a concussion, or..? *sighs* ...How did I know he had a concussion.

Obviously vine is dead, but everything is available here - if this sounds like your kind of thing, definitely go check it out! There is TONS of content for your consumption here.

4. Barricade Boys

Next up is a comedy/parody show from NyxRising, an already established group of YouTube cosplayers who’ve made lots of similar shows previously. This means, for a start, that the production quality here is some of the best you’ll see - great audio and video quality, basic but good set design, great costumes.

Now, let’s make it clear: if you’re looking for a brick accurate show, this is not the one for you. It’s a pretty ludicrous parody, with an unbelievably arsehole Enjolras with no notion of personal space, a Grantaire with weird sideburns and a crush so obvious it’s hilarious, a Marius so dumb he thinks he’s joining a “lonely hearts club” and a Courfeyrac so OOC that I don’t even know where to begin.

But god damn, did this make me laugh out loud a good few times.

Enjolras: You do you, Grantaire. Nobody else will.

This one has a couple episodes out already, and I’d highly recommend if you want some laughs! You can find it here.

5. The Downtrodden

Aaaand... onto our January debuts! I’m super excited to give a review of the pilot episode of Shadow of the Tor’s “The Downtrodden”!

One thing that stuck out to me immediately is that this might be the most diverse cast yet - we have multiple POC, and also a trans Enjolras - in both cases, there’s no self-congratulatory back-patting, but it’s made very clear and very casual, and it’s wonderful. Another point worth mentioning is that our Enjolras is the same Enjolras seen in Vines de l’ABC - and as I mentioned, I think Dorian is great at the role.

The Downtrodden seems to be going for an enjoyable line between plotty and humorous, and so far I’m super excited to see where they take it. The audio and video quality is outstanding, though the cafe background noises could do with being toned down just a tiny bit (as there are occasionally character lines in the background that are a little drowned out), but overall it’s by far the most professional looking alongside Barricade Boys (which had to contend with far less characters!). One comment I will make, though nitpicky, is that unlike Barricade Boys, which moves extremely swiftly through its jokes, The Downtrodden is edited just a pace too slow in one or two scenes, meaning the comic timing falls a little off and the jokes don’t quite get the reaction they really deserve.

Grantaire: You get free coffee refills here if you’re part of a student group. I gotta make that loan last.

Cosette: Do you consider yourself a politically motivated person?

R: I barely even consider myself a person.

C: Oh. Are you alright?

R: Is anyone?

Surprisingly, one of my favourite characters in the pilot episode was Marius! I often find he’s overplayed to death, but in this he appears a little dim but genuinely charming, and he got some of the best laughs out of me. I’d be interested to know how well all the jokes landed with someone who isn’t a Brit, however, since I’m super sold on all these characters being British uni students (student poverty aesthetic and Oxfam shopping bags, goddamn!), and also love Courfeyrac for the same reason - he seems like your typical friendly but laddish uni type, which works perfectly for his character. Also, I own that mug he has.

One of the strongest points, and a very common issue I have with Les Amis webshows (and the 2012 movie NOT GONNA LIE), is losing track of who is supposed to be who - I had no such problem with The Downtrodden - everyone is introduced naturally, gets at LEAST a line or two, and is beautifully acted - go check out the pilot here!

6. The Les Amis Webshow

The last one on our list - the Les Amis Webshow premiered on the last day of January!

First impressions of this webshow are: the most enticing hook yet straight from the beginning, and some of the worst sound quality.

After the introduction - structured as Marius speaking to us from the future - the pilot episode actually centers around a random film student coming up to Marius and asking if they can film him. Is this Cosette? Will we ever find out? Who knows, but for some reason Marius just takes it in his stride and lets this person follow him around, in what I can’t decide is a very weird move, or a very Marius move.

Jehan: Are you wearing your lanyard?

Marius: Yeah. Why? That’s what it’s for.

Jehan: (laughing) You simple little freshman!

Marius: *long pause*

Also Marius: We’re gonna get along great!

The editing is actually fun and a few shots seem to be going for something quite adventurous - I just wish the audio quality were better.

I like Enjolras so far - he seems very confident in himself and a little bit of a rich boy, and I’m really interested to see what they do with Marius, since this is the only webshow so far where Marius has been front and center instead of Enjolras - in that snippet at the start, he seems very anxious and weary - it’s very Empty Chairs at Empty Tables! Overall, this has the most “plot-y” vibe to its initial episode so far, and reminds me a lot of Stories from Les Amies, honestly. I’m very excited to see what they do with it, and am also euphoric at a REGULAR UPLOAD SCHEDULE unlike the other two which are currently running - Barricade Boys and The Downtrodden. Keep up with it every Thursday here!

Thank you so much to @starberry-cupcake for helping me compile this list!

highlight reel: @/SFLA who the fuck makes a feature length movie oh my god, the sheer levels of gay in BB, Marius’ super poshboy accent in TD (sorry if thats just how u speak Ethan), and best of all the German flag taking centre stage in tLAW - the european cynic in me is desperate to know why its there and hopes that you didn’t just mix up French and German flags lmao

#les mis #les miz #les miserables #les amis #exr #bonus points for the first person to make a compilation #of all the pronounciations #of enjolras #of combeferre #and of courfeyrac #every fucking show gets at least one wrong

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extraneousdominomask · 7 years ago

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I don't understand the hate for Sly 4. Can you explain why you think the game sucked?

Alright. I’ll give you a summary of the major issues I have with Sly 4, and try to keep it brief. Here’s an itemized list of 30 years of disagreements (Sweet Jesus):

-First off, the first half of the game is fucking incredible. (If that sounds like a weird place to start, that’s only because it is.) The opening recaptures the spirit of the games wonderfully - and given I was a returning fan, fresh off an eight-year hiatus, that was amazing - Japan is beautiful and builds well, and Cotton Mouth Bluff is probably my favourite level in the entire damn franchise.Even leaving aside how I can’t pretend bad installments of my favourite things didn’t happen - that’s just not how my brain works - part of the reason Sly 4 irks me is because it had so much goddamn potential. It’s an updated Sly Cooper game where he and the Gang go on time-adventures. We were so close to something incredible. This should, by rights, be my favourite game in the series, and also of all time.I’m angry because I care.

-Carmelita’s redesign. She was already a very sexualized character, but she used to have sensible jeans and a sense of vaguely realistic athleticism. Sanzaru insisted on pushing the sexualization further, and since we started at a pretty advanced point, it got taken to frankly disgusting levels. Her waist terrifies me. You can see her ribs. The badass Interpol inspector is now worryingly underweight. It legitimately creeps me out.

-I don’t like the caveman level. This is the least analytical gripe, I admit that. I just… don’t like the caveman aesthetic. Never liked the Flintstones or anything similar. That’s just subjective.What’s not subjective is how the Gang ending up in just the right place and time to stumble across another of Le Paradox’s lieutenants is a strong contender for the least likely coincidence in all of fiction. But whatevs. Them improvising an escape while falling down a cliff was cool.

-Likewise, as Cooper ancestors go, Bob is very underwhelming. He’s a big ugly block who reuses the Guru’s joke. Instead of Henriette or Slaigh or anybody else in the Vault or Henriette, we got this guy. Great.

-The Grizz. Unfunny character with an awful boss fight. Complete bungling of what a graffiti is or does or sounds like. Unnervingly racist.

-The Penelope twist. Good god in heaven, what even was that? I mean, I was interested. I gave the game the benefit of the doubt, all ears for what the explanation was. Unfortunately, that explanation never came. We’re still not sure what the hell was going through Penelope’s head. She’s just evil now. A lovable character, funny and endearing and not overly sexualized (which in this series is rare), just… twisted. For no real reason.There’s zero textual information justifying her decisions. Especially because the focus is entirely on Bentley, giving her no room to explain herself. And sure! Bentley’s great, I love him, but I also love Penelope and I also love(d) their in-practice painfully brief relationship. I want Geeks in Love doing Crimes Together, not a half-assed betrayal twist.

-Ms Decibel. Irritating to watch. Retread of both Octavio and the Contessa. Has no reason for having mind control powers. The fact it’s just “ha ha there is a trumpet in her nose” genuinely irritates me. This isn’t hard sci-fi, but it ain’t Looney Tunes either. Try harder.The Joke Is That She Is Fat And Ugly. Ha Ha Ha.

-The Carmelita belly dance. Sweet CHRIST. If I keep coming back to this, it’s because it’s gotten me progressively angrier ever since the first time I played it and felt an uncomfortable churn in my gut.This shit is genuinely disturbing. She is coerced. Why did Sanzaru think this was a good idea? Everybody in the writer’s room signed off on this; anyone who may have wanted to stop it didn’t manage to. Then it got animated and designed and Grey DeLisle was called into the booth to voice how beloved strong-willed icon of my childhood Inspector Carmelita Fox was deeply uncomfortable with this sexual act three men she was close to were forcing her to perform. I don’t find this shit amusing. Kids play these fucking games, man.

-Carmelita’s (lack of) use in general. She gets some good moments when she’s first dragged along, again making Tennessee’s level the best. Then she storms off during Bob’s. Then, after wandering back and calming down? Next to nothing. She’s barely there.Bentley shutting down over Penelope’s betrayal was a perfect opportunity for her to take charge and show off her tactical prowess as an officer. What did we get? “Uh… let’s go with Galleth’s plan, then walk forward through Penelope’s front gate. idk guys” Outside of objectifying her, Sanzaru had no idea what to do with her, and it shows.

-The underwhelming climax. The finale of Sly 2 felt earned. The original three all had great final acts, but I bring up the second because it resembles the fourth. In both, there’s a last-minute upset where everything the Gang has accomplished so far is suddenly snatched away.But Sly 2 built that feeling. From the moment Jean Bison sees through the Gang’s disguises, things get worse and worse. The time they spend in stony silence, hiding in that battery, really creates a sense of encroaching dread. Things are going wrong, but they’re going wrong slowly. And that’s worse.Sly 4 - perhaps due to a dwindling budget - rockets through where that suspense should be. “Le Paradox showed up and stole Carmelita and then his plan worked and he was king of everything and we were sad but we went to fight him anyway.” wow. my emotions. i’m so invested.One of the lines I can particularly remember is “I don’t ever remember feeling so defeated.” Oh, you don’t, Sly? Not when you lost every Clockwerk Part at once? Not when Clockwerk was reassembled and Neyla merged with him? Not when you watched your parents be murdered in front of you?It’s 100% Tell, 0% Show. That’s not how you do a finale.

-Le Paradox. God. Just… god. Obnoxious in a way that isn’t entertaining. An awful, nasty character who does not receive an adequate level of comeuppance for his overblown, overwrought crimes. Rapey. He hates Sly for something Conner did; Sly has no agency here, he’s just a victim, pulled into the story because he’s directly threatened over something he had no part in. That’s bad writing. Bad writing which retreads other, more interesting antagonists.Doesn’t hold a candle to Clockwerk, Arpeggio, Neyla or Dr M. Unlike them, Le Paradox survives his game, which a) feels like too light a punishment if everybody else got a dramatic death and b) creates the worrying prospect they intend to bring him back. Ugh. Would work fine as an insignificant filler villain; instead, has means, power level, and (intended) gravitas outstripping Clockwerk. Total disconnect between his persona and his stupid, childishly powerful plan.Bigger =/= better.Skunks don’t come from France.

And, of course, the grand finale. The last thing to happen to Sly Prime. To this day, four and a half years later, the current state of the original series, and what may well be the overall ending at this point no matter what Sanzaru originally intended long-term. Everybody sing along at home~!

-A terrible cliffhanger ending with no sequel greenlit!

There. That about covers it. For me, anyway. Everybody has their own take.For the record, every box in that brain meme is a genuine opinion of mine. Sly 4 is most certainly a Sly game. It has amazing art and great moments. It brought in a ton of new fans, and kept the franchise going. That can’t be undervalued.But it’s the most flawed installment by a wide, wide margin. Sly 1 was rough, but a lot of that feels like beginner’s jitters. 4′s flaws feel more like huge, enthusiastic strides in the wrong goddamn direction, made by well-meaning people who are super excited to bring the franchise to places I do not want it to go. Like Sexual Objectification Town.

I don’t hate it blindly, but I can’t pretend I love it. I’m not gonna repress my negativity. This is my blog where I talk about Sly Cooper. And when I talk about Sly 4, I won’t skip over its flaws. In the vague hope that maybe, if I explain how and why these things don’t work, there’ll be less of these mistakes in the world. For my own writing, if nothing else. Straightening out my emotions into coherent, rational analysis. Looking toward the future.

…that and because it’s cathartic.

#iamkel14 #sly 4 #long post #Skunks don't come from France #I will not equivocate on my opinion #I have always worn it on my sleeve #rant

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antiques-for-geeks · 6 years ago

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Game Review : Beach Head

US Gold/Access / 1985 / Originally £5.95 / Commodore 16 & Plus/4

Access were in at the start of the home computing revolution. They’re one of those companies that you probably know the games better than the company that made them; Raid over Moscow was one of theirs, as well as Leaderboard and later, Links. Before any of those arrived though, there was Beach Head.

The game was based on some classic World War II style Pacific Ocean theatre action. Everything about the game suggested it; the cover art bathed in the imagery with it’s fighter planes strafing the beach as the landing craft deposited their human cargo ready for the onslaught. The map that greets you at the start of your campaign could be of any Pacific atoll. You can almost hear Douglas MacArthur shouting “I shall return”.

youtube

General Douglas MacArthur, yesterday.

The game was a hit, and was picked up for distribution in Europe by US Gold, conquering this side of the Atlantic. Players who didn’t have a Commodore 64 or Atari home computer soon wanted in on it so US Gold commissioned conversions from other developers, with Ocean notably handling the well received Spectrum version. That sold well too.

So when the Commodore 16 and Plus/4 came along in 1984, US Gold decided to treat owners of those systems to their own version of the game. Beach Head was given to Anirog to convert, who were gaining a bit of a reputation as platform specialists. The game arrived in 1985, two years after Access had released the original.

Firstly, the developers had their work cut out. Anirog had to contend with a target machine with far less resource than the other systems Beach Head had been converted to. Compromise was inevitable.

Just missed ‘im. This happens a lot.

On other systems, Beach Head is made of four stages - you start with a fleet of eight ships and from a map screen you can choose to take them through an underground cavern, threading your boats between mines and torpedoes to make the later levels easier to complete.

This is then followed by the first shooting gallery section; your fleet has been intercepted by enemy ships and you must launch a defence against incoming bombers who will eventually sink your ships if you don’t shoot them down first. Once the enemy is out of fighters (or just bored, it’s never clear which) this then turns into a second shooting gallery round where your attention passes to trying to sink the enemy’s fleet of shops.

Do that and it’s back to the map screen and charging your ships towards the beach and unleashing your tanks over an obstacle course so they get a chance at the fifth level - destroying the big gun at Kuhn Lin in another shooting gallery level. Inexplicably on this level, the enemy gun takes a long time to aim at you and bizarrely, you have to shoot targets at the base of the weapon. This is what causes the gun to blow up - maybe this is what happens when “we’re tired of experts” extends into the military.

Anyway, can you start to see where this is going?

On the Commodore 16, Gone is the map screen and the underground cavern where you thread your way through mines and dodge torpedoes to bring your boats through. Most significantly, the final level is truncated, removing the tank advance, which was a favourite for many players. Anirog focussed on the three which shared the most in common. What remains is still the core of the game however - protect your fleet first from incoming planes, sink the enemy fleet before they sink you, take on the big gun.

Being so significantly cut down was of course necessary for the small memory of the Commodore 16. It could have been done as a multi-load, but then the flow of the game would have been compromised. Plus/4 users, with their 64k of memory get the same thin gruel as everyone else, the size of that market unable to support two separate versions. It could barely support one, but that is for another time.

With the reduced footprint, it is still not enough.The graphics measure up to the C64 original, the sound is serviceable, but there has been a significant compromise in terms of playability.

Your gun turret - your main interface with the game is incredibly difficult to control. You can aim it just fine, adjust the height just fine and a fire just fine. But not all at the same time.

On other versions, combining actions was taken for granted. Sink a ship in the sea-battle level and you’re already moving across the screen changing your weapon’s angle as you go. It’s part of the game. Every fraction of a second counts. However here, try combining things and the turret just stops. Then there is the disappearing turret; when this happens, you really don’t have much idea of what is going on. It’s like conducting a war via seance. Except you’ve not got the plant in the room banging the table leg with their foot when the fake medium wails “is there anybody there”.

This bizarre situation just about works with static targets once you get used to it, but when defending the fleet from incoming fighters and taking on the big gun? It just doesn’t work. You end up just resigning yourself to keeping the gun in one position and elevation and keep firing, hoping that the planes fly into your shots like a blundering toddler into a set of closed patio doors. The element of skill is removed from the game completely and it becomes a weary battle of attrition with you hoping that you don’t lose too many ships to make it to the later levels.

The fighters gone, a ship starts shelling me. God knows what is going on. Press fire and hope for the best.

Why there is a such a glaring hole in the game is inexcusable and smacks of the kind of half-arsed platform exploitation that US Gold were infamous for. Compare this to literally any other game on the Commodore 16 and it really feels like an unfinished budget title rather than something crafted and worthy of your £5.95.

But! Bill Herd who designed the Commodore 16 and Plus/4 said they were never intended to be games machines. They were meant to be more basic machines that extended at the top end into the business market. They were meant for text editing. Give Anirog a break! Oh yeah? Played Trailblazer?

Buying it today

From what we can make out, it does not seem to appear that often so does have a certain uniqueness to it. The C64, Atari and Spectrum copies are ubiquitous but other platforms a lot less so. It was re-released on the Americana label, though this seems to be rarer than the full-price version. Expect to pay anything up to £10.

Commentariat

Tim : Sad to say, but Beach Head has not aged well. While not a bad game, it is very much of its time regardless of the system you play it on. The game is a nice walk down nostalgia lane and in some ways is one game you yearn to return to, but when you do it’s not as good as you remember. This stands in stark contrast to Raid over Moscow...

Liking this version is doubly hard. The cut-down nature of the game I can understand, being fundamentally unable to play I can’t. Don’t waste your time or money unless you are a completist or masochist or both.

Score Lord : How did you get my number? Don’t call again.

Meat : Back during Christmas 1983, my next-door neighbour’s big present was a Commodore 64. He and his brother were given the machine and also had two games, Gorf which came on cartridge and was great for a quick blast and Beach Head which came on cassette which to begin with, they couldn’t play. Their Dad having only seen a Spectrum and thought he’d save a few quid using by a household tape recorder instead of the necessary Datasette. The idiot.

When we finally got to play it, we loved it. So much so that the following Christmas I got the Spectrum version for my poverty-spec gaming experience. Imagine my surprise when I found out a version of Beach Head existed on the equally poverty-spec Commodore 16.

After eagerly loading it, I was hoping for a smart conversion that played to the strengths of the machine. The reality could not have been further from the truth. Disappointed was not the word. Just for comparison I checked out the Spectrum version again and yeah, the problem wasn’t rose-tinted glasses.

Between them, Anirog and US Gold had managed to take a decent game and make it both uncontrollable and dull. Send for the Inspector, a crime has been committed.

Score card

Presentation 5/10

You get the full-price experience for the time, which is quite nice. At least this is an area where they could be arsed.

Originality 2/10

Coming in 1985, the novelty factor of the original was two years passed. With the compression of the game, it’s lost even more in these stakes. It’s now basically just a shooting gallery game, with the fun sucked out of it.

Graphics 4/10

Not going to win any awards, but tidy enough. Hold on, are those blobs supposed to be ships?

Hookability 1/10

You can’t really play it effectively.

Sound 3/10

There isn’t much, but what there is has been done satisfactorily.

Lastability 1/10

No hook into the game, no point in playing.

Value for Money 1/10

Not worth £5.95 of anyone’s cash in 1985 and certainly not worth that today.

Overall 2/10

A conversion so wretched that at the time you’d have been better off putting the money towards a second-hand C64 and picking the title up on budget. Today, it’s for the collector only.

#Commodore 16 #C16 #Plus4 #Commodore #beach head #afg #antiquesforgeeks #retrogaming #retrocomputing #retro review

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angeloayku942-blog · 6 years ago

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The Best Advice You Could Ever Get About Tribute Band

There are a couple of things. Then search for another one if it fails to play tunes which you would like. So if you'd like your mobile to work with a number of bands, you must have band mobiles.

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The Tribute Singers Awards: The Best, Worst, And Weirdest Things We've Seen

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How To Explain Elton John Tribute To Your Boss

As the corporation will design variety of things that range from signage you've got to supply relevant info and your organization logo. Needless to say, not every business can be this avant-garde within their promotions. There are.

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The Most Pervasive Problems In Wedding Singers

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Once they get to the awkward stage their hair cuts. Your hair could wind up in your food and will slowly get in the way! Growing hair that is long isn't for everybody.

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A Beginner's Guide To Entertainment

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The concert will happen until the Pasadena Civic Auditorium on the plaza.

It is not straightforward to categorize the things that they do as a tribute'. Among the distinctive and original tribute indicates that's survived the test of time.

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Tribute Acts: What No One Is Talking About

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husid · 6 years ago

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Uncle Huey’s 2019 Oscars Post!

A confession: I love the Oscars.

A confession, extrapolated: I am an unabashed Oscars fanboy, who legitimately looks forward to the Academy Awards all year long. I love the opening montage where the host skewers self-righteous Hollywood stars, I love the cringeworthy banter of presenters pretending to have a non-scripted conversation (as if they were actual actors!), I love the montages reminding us why we should keep liking movies, I love seeing which recently deceased actors (it’s always the actors) cause people to break the “no-clapping-until-the-end” rule during the In Memoriam clip (Hollywood’s version of “you can only bring Valentine’s Day Cards to class if you give one to everybody”), I love the wildly reactionary vitriol thrown towards the Academy every time they make a decision about anything, I love the Academy reacting one-year too late to everything, I love the politics, I love the self-seriousness, I love the acceptance speeches in which you can tell the actor deeply resents his or her family, I love seeing the loser shots and trying to decide whether they’re legitimately happy for the winner (spoiler: they’re not), and I love seeing the same tired, rehashed Twitter jokes about how long the Oscars telecast is.

Reading back through that paragraph, I realize how disingenuous my love for the Oscars sounds, but I do love the Oscars, if for no other reason than I really fucking love movies. And while I’m no critic, I do fancy myself a semi-educated film buff, and with that, as well as an uncredited extras role in The Flintstones In Viva Rock Vegas! that I ask that you indulge me in the first annual Hu’s the Boss Oscar Preview!

In the interest of full disclosure, this is where I tell you that I’ve only seen 11 of the movies nominated (Avengers: Infinity War, The Ballad of Buster Scruggs, Black Panther, BlacKkKlansman, Bohemian Rhapsody, The Favourite, Isle of Dogs, Roma, Solo: A Star Wars Story, Spider-Man Into the Spider-Verse, A Star Is Born), but whether it’s the utter predictability of some films (Green Book), or familiarity with a director’s work (Vice), I feel reasonably confident in my admittedly underinformed predictions.

You might have heard that the Oscars will not have a host this year, for the first time since 1989, and we all remember how that went! (I was 2 years old, I definitely don’t remember how that went, but the internet does, and yikes, it wasn’t good. Side note: I’d sooner tell my own grandmother that her matzo ball soup was overseasoned than do anything horrible enough to warrant Julie Andrews calling me an embarrassment in an open letter). How did we find ourselves in this predicament? Blame the Academy. Well, also the internet. Maybe Kevin Hart too. President Obama as well. Let me explain.

While in office, Obama had the opportunity to sign an executive order mandating that Amy Poehler and Tina Fey host every major awards show, but failed to do so. Given President Trump’s current feelings towards S&L, it feels like that window has closed. The Oscars are generally hosted by a mainstream comedian, and this year was shaping up to be no different, with Kevin Hart signed on to host. But then the unthinkable happened. The internet internetted, and found that Hart had performed some homophobic material back in 2009 and 2010. The backlash got real loud, real quick, and the court of public opinion sentenced the Academy to 10 years without Kevin Hart as host, with the possibility of parole once we realize that every comic who started writing before 2010 has included something homophobic in one of their sets. So you can blame Kevin Hart, whose jokes were clearly offensive; you can blame the Academy for either not vetting their host, underestimating the research capabilities of internet denizens, underestimating the outrage of the general public (hard to imagine, given the public reception of most of the Academy’s decisions of late), or, depending on your viewpoint, bowing too easily to internet outrage; or you can blame the outraged, for not understanding the evolution of standup comedy, or for making a stand when one may not be warranted.

I’ll leave it to you to draw your own conclusions on who’s to blame for Hart not hosting, but I can tell you who’s to blame for there the absence of a host, period: Critics. Not since Billy Crystal hosted the Oscars for a 73rd consecutive time has any host be universally lauded. The host isn’t funny, the host is too mean, the host is too sophomoric, the host disappears for extended periods of time, etc. It’s been a thankless job for years now, and that was before a dissection of your extended comedy catalog became a prerequisite. Personally, I’d love to see the hosting job go to an up-and-coming comic and let them roast Hollywood for a bit. It would be a way to take the self-reverential mask off of Hollywood for a couple hours, and provide a massive opportunity for an up-and-comer. But ratings dictate that stars and stars alone must host, so I’m not holding my breath.

Ok. That sound you just heard is me jumping off my soap box. Back to movies.

“The field is wide open this year” is a great way to build up buzz for an awards show, but when it comes to Best Picture, it’s also a euphemism sugarcoating the fact that there were truly no great movies this year. Personally, I think nearly every contender has at least one seriously fatal flaw, and that, coupled with the rare lack of a huge late PR push for one movie above the others (a la The King’s Speech, The Artist, Argo, Birdman, etc.) mean that “wide-open field” isn’t just lip service, it’s true. Just not for the best reasons. Still, it makes for an exciting awards show, if you’re into that sort of thing, and probably means that the Academy won’t be on the hook for buying into one film’s hype and looking terrible for it down the line (Shakespeare In Love over Saving Private Ryan, The King’s Speech over The Social Network, Birdman over Boyhood, etc.). But these things aren’t always predictable, and maybe in ten years we’ll be talking about what an underappreciated movie Vice was in 2018.

Now on to the awards, where I’ll give my two cents on each nominee for Best Picture, then a brief thought on each subsequent category declaring my best guess for the actual winner and my personal favorite. In the interest of full disclosure, I’ve watched the Golden Globes and the SAG Awards, and usually pay a lot of attention to movie/Oscars buzz, but I’ve generally tried to avoid Oscar prediction articles for the sake of this post. Again, I don’t claim to be a film critic, but I do have lots of opinions on movies, so take everything with a grain of salt. To further highlight any conscious or subconscious biases I have, I’ve put the films I have seen in bold in each set of nominees.

THE OSCAR GOES TO

Best Picture

Nominees:

Black Panther – A wildly entertaining and legitimately good movie, but it’s not even the best Marvel movie ever. This feels more like an acknowledgment from the Academy that it respects superhero movies, than a legitimate contender for best picture.

BlacKkKlansman – Given the wild true story the movie is based on, it probably didn’t even need Spike Lee’s direction to shine, and yet I left somewhat underwhelmed. Everything was solid, but very little really stood out, aside from costume design and a few warranted but ham-handed references to our current political climate. Spike is one of the most provocative filmmakers of the last quarter-century, but with a story that I expected he’d be able to knock out of the park, I didn’t fell like I gained an interesting perspective or was shocked by anything; a rarity for one of his films. Maybe that’s more reflective of the times we live in, or maybe I just set unfair expectations for Spike, given the subject matter. Either way, despite enormous potential, this had all the trappings of a good-but-not-great movie.

Bohemian Rhapsody – Rami Malek’s performance and the final Live Aid scene alone catapult Bohemian Rhapsody into this year’s contenders. Unfortunately, that was all that was Oscar-worthy about this movie. The rest was a by-the-numbers music biopic that tried to pack way too much into 133 minutes. It’s no wonder this movie took so long to get made and so many writers/producers/directors/actors were involved and uninvolved at one point or another (Sacha Baron Cohen was originally slated to play Freddie Mercury), because there’s a lot to untangle between the rise and “fall” of the band, Mercury’s sexual awakening, and his HIV diagnosis, all while the real-life remaining members of the band did their best to ensure that we got a PG-13 version of Queen history devoid of any real dirty laundry. The final result was a watered down, factually dubious mishmash that doesn’t go deep enough in any direction to have a true lasting impact. Those music scenes though, still make it one of the best music biopics ever filmed.

The Favourite – Of all the Best Picture nominees, the Favourite and Roma were easily the least digestable for mass market audiences. Period pieces aren’t for everyone, especially ones that have little in the way of plot, and take place exclusively on the grounds of an 18th century British palace. But the Favourite managed to be thoroughly entertaining thanks to top-notch set design, Oscar-worthy performances by Olivia Coleman, Rachel Weisz and Emma Stone, sexual intrigue and two hours of steady, if a bit slow, mischievousness.

Green Book – I have not seen it. Obviously the reviews are positive, but no one has yet convinced me that this movie isn’t entirely formulaic. I haven’t seen this movie, but I’ve seen this movie, and I’m pretty sure it’s fine.

Roma – A beautiful movie about an underrepresented social class in an underrepresented era in an underrepresented country. It’s shot well and acted well, and the camerawork makes up for a meandering plotline. It probably is the class of this category, but I can’t help but think that it might be 15% worse if it wasn’t shot in black and white. That was clearly a conscious choice by writer and director Alfonso Cuaron, who, between Gravity and Children of Men, among others, has more than proven he knows how to make a film beautiful, regardless of subject matter. But the Artist won Best Picture for its two-part gimmick of being black and white and silent, and I’m not entirely sure that Roma’s colorless palette shouldn’t be considered gimmicky as well.

A Star Is Born – The most classic Best Picture fodder on this list, by leaps and bounds, and not just because previous versions of this movie have been nominated for Best Picture, among a host of other awards. But Hollywood loves a movie about the entertainment business, not to mention a story about underdogs and redemption. This was a really well done movie across the board, and while I thought the Grammys scene was a little over the top, I now realize that was an integral scene to the previous three versions of the movie, so its inclusion is a lot easier to justify here. Aside from the acting, which was exceptional across the board (Andrew Dice Clay!), I think the most impressive part about this movie was that it was a big-budget film about superstardom, yet managed to feel very intimate, and resisted using tired crutches of story narration/plot forwarding by way of TV/radio news reports or newspaper headlines – something Bohemian Rhapsody was unable to pull off.

Vice – I have not seen it, which is odd, because of every movie nominated, it’s probably the most up my proverbial alley. The initial mixed reviews were a part of my missing it, though I imagine my love for Adam Mckay’s masterful balance between humor and the depression of irresponsibly-wielded power in the Big Short and Succession (to say nothing of his comedy genius displayed in Anchorman, Talladega Nights, Step Brothers et al.) would make me a more likely candidate than most to appreciate Vice. Alas, that’s all I’m able to really opine on.

Will Be: If there wasn’t a strong anti-Netflix bias in the Academy, as has been reported, I would go with Roma, but I fear that the safest choice here is Green Book, and in the absence of anything truly groundbreaking, that’s going to be the pick.

Should Be: I’m on the fence between Roma and A Star is Born. To me, Roma’s lack of plot and failure to explore its main character in depth separate it from A Star is Born, which really has no obvious flaws.

Actor in a Leading Role

Christian Bale – Vice

Bradley Cooper – A Star Is Born

Willem Dafoe – At Eternity’s Gate

Rami Malek – Bohemian Rhapsody

Viggo Mortensen – Green Book

Will Be: Having only seen two of these movies, it’s hard for me to make a real educated guess, but it’s also hard to imagine that Rami Malek won’t be rewarded for flawlessly playing one of the most eccentric entertainers in music history. All I know for sure is that Willem Dafoe will not be winning.

Should Be: Malek. Malek’s apparent real-life persona is shy and understated –essentially the exact opposite of Freddie Mercury’s – making his transformative performance that much more jaw-dropping.

Actress in a Leading Role

Yalitza Aparicio – Roma

Glenn Close – The Wife

Olivia Colman – The Favourite

Lady Gaga – A Star Is Born

Melissa McCarthy – Can You Ever Forgive Me?

Will Be: Glenn Close. When an actress from a movie you’ve never heard of keeps racking up awards, it’s a pretty safe bet the Academy will follow suit.

Should Be: I’m going to stick with Close, given how much consensus this pick seems to have. Of the movies I saw, I think Colman and Gaga are both very worthy. I can’t quite figure out Aparicio’s nomination. Given that she had never acted before, she was incredible, but the lack of dialogue and depth that the script afforded her puts her performance in stark comparison to the other women on this list. Close is the biggest lock in any of the acting categories.

Actress in a Supporting Role

Amy Adams – Vice

Marina de Tavira – Roma

Regina King – If Beale Street Could Talk

Emma Stone – The Favourite

Rachel Weisz – The Favourite

Will Be: Amy Adams. This is a really tight race that could legitimately go to anyone. With five very deserving nominees, the biggest differentiator is the fact that Adams has been nominated for an Oscar five times before, with no hardware to show for it. In situations like this, the Academy has shown it’s not above the unofficial lifetime achievement award.

Should Be: I’m a huge fan of every actress in this category, though my two favorites – Adams and King – are nominated for movies I haven’t seen. Given that, my pick would be Emma Stone, who portrayed innocence, quirkiness, resourcefulness, wittiness, ruthlessness and helplessness in one winkingly dry performance. Weisz was just as game from an acting perspective, but the script gave Stone a lot more to work with, making her performance more memorable.

Actor in a Supporting Role

Mahershala Ali – Green Book

Adam Driver – BlacKkKlansman

Sam Elliott – A Star Is Born

Richard E. Grant – Can You Ever Forgive Me?

Sam Rockwell – Vice

Will Be: Mahershala Ali. The Academy loves him, and with good reason. In a tight race, the fact that Rockwell deservedly won this award last year for Three Billboards probably disqualifies him. Elliott was exceptional in A Star Is Born, but had a considerably smaller role than the other actors on this list. I thought Driver was good, but not Oscars-good, and obviously I haven’t seen Grant’s performance, but the buzz is very positive, despite being in a movie that not a ton of people saw. There’s definitely a cynical side of me that thinks Ali is the most justifiable selection among all the minority Oscar acting nominees, and its hard to imagine there aren’t at least some voters who are still trying to erase the scars of #oscarssowhite (to say nothing of minority representation over the course of film history) by essentially casting a vote for inclusion. But ultimately he may just be the best choice in a tight category.

Should Be: Ali. I’ll be rooting hard for Elliott, both because he tends to be my favorite part of any movie or show he’s in, and because it’s nice to see the older guys finally win one. Since Ali and Rockwell already have a statue, there may be some sentimentality votes going his way, and his career in mainstream American cinema spans much longer than fellow elder statesman Grant. Again, I haven’t seen Green Book, but I know Ali is as game as any of the actors in this category, and had the biggest role of anyone in the category. That’s good enough for me.

Directing

Spike Lee – BlacKkKlansman

Pawel Pawlikowski – The Cold War

Yorgos Lanthimos – The Favourite

Alfonso Cuaron - Roma

Adam McKay – Vice

Will Be: Alfonso Cuaron. There’s talk of this going to Spike as a “my bad” award from the Academy for never having even nominated him for best director (not giving him even a nomination for Do the Right Thing borders on criminal). But he did receive an honorary Oscar from the Academy in 2015, and that, coupled with BlacKkKlansman being just a good movie make me feel like this isn’t Spike’s year. Vice is a very hype-typical movie that isn’t getting much hype, and Cold War is the only movie on this list not nominated for Best Picture. That leaves Roma and the Favourite, and the Academy has proven it loves Cuaron’s work, not to mention Roma is the most unique, visually stunning film on this list, which are usually two of the major criteria for this award.

Should Be: Cuaron, for all of the reasons listed above, but I wouldn’t be upset with Lanthimos taking it.

Adapted Screenplay

The Ballad of Buster Scruggs

BlacKkKlansman

Can You Ever Forgive Me?

If Beale Street Could Talk

A Star Is Born

Will Be: I really have no clue on this one, but I’m confident that The Ballad of Buster Scruggs and If Beale Street Could Talk are the first two out. The remaining three are all unlikely to win in the other major categories so voters might simply choose their favorite of those three to ensure they win something. If that’s the case, my guess is the most popular among them is A Star Is Born.

Should Be: I won’t rehash my thoughts on BlacKkKlansman again, and I haven’t seen Beale Street or CYEFM, but when considering adapted screenplays, I like to vote based on degree of difficulty jumping from the source material to the screen. That’s why A Star Is Born falls short for me, given that it was adapted from three previous versions of ultimately the same movie. To me, that makes the writer’s job easier, not harder. I definitely have a Coen Brothers bias, so my vote goes to The Ballad of Buster Scruggs, which managed to take a collection of short stories written over the course of 25 years and transform them into a series of visually stunning, dialogue-rich (aside from Tom Waits’ story) vignettes that somehow formed a (great) movie.

Original Screenplay

The Favourite

First Reformed

Green Book

Roma

Vice

Will Be: First Reformed is getting buzz for this award, and it might be a way for voters to give some gold to a movie than many felt was snubbed in other categories. My take is that if voters loved the screenplay so much, it would have been nominated for those other categories. So the most likely pick here is Roma, a movie about an upper-middle-class family in Mexico City with a relative dearth of dialogue or plot lines that somehow ends up being as captivating as any other movie this year.

Should Be: I thought The Big Short’s screenplay was incredible, so if Vice is comparable in both style and quality, I’m sure I’d love it. But critics are saying otherwise, so I’m going to go with The Favourite, whose screenplay managed to make a thoroughly beguiling and darkly humorous film out of what could easily have been just another dry period piece.

Foreign Language Film

Capernaum – Lebanon

Cold War – Poland

Never Look Away – Germany

Roma – Mexico

Shoplifters – Japan

Will Be: We can pretend Cold War has a chance, but the award has all but been handed to Roma already. If it’s the only movie on this list that managed to be worthy of a Best Picture nominee, logic would dictate that it’s the only movie worthy of winning Best Foreign Language Film

Should Be: Having only seen Roma, I don’t have any great insights to add here, but I’m still confident in saying it deserves this one.

Best Animated Feature

Incredibles 2

Isle of Dogs

Mirai

Ralph Breaks the Internet

Spider-Man: Into the Spider-Verse

Will Be: Despite winning two of the last three years, Pixar doesn’t have the stranglehold over this category that it once did. In most years, Incredibles 2, Isle of Dogs or Ralph Breaks the Internet would have a great shot to win, but this is simply Spider-Man’s year.

Should Be: I liked Isle of Dogs, but Spider-Man was probably my favorite movie of the year, and quite possibly the best. Sorry Pixar.

Cinematography

Cold War

The Favourite

Never Look Away

Roma

A Star Is Born

Will Be: Roma. Sweeping cityscapes, countryscapes and beachscapes (are those things?) + historical time period + black and white = Oscar.

Should Be: Roma. Sweeping cityscapes, countryscapes and beachscapes (are those things?) + historical time period + black and white = Oscar.

QUICK HITTERS

Production Design

Black Panther

The Favourite

First Man

Mary Poppins Returns

Roma

Will Be: Roma

Should Be: The Favourite

Costume Design

The Ballad of Buster Scruggs

Black Panther

The Favourite

Mary Poppins Returns

Mary Queen of Scots

Will Be: The Favourite

Should Be: The Favourite

Death, taxes, and a Victorian(ish)-era drama winning Best Costume Design are the only certainties in life.

Visual Effects

Avengers: Infinity War

Christopher Robin

First Man

Ready Player One

Solo: A Star Wars Story

Will Be: Avengers: Infinity War

Should Be: Ready Player One

This pick is based entirely on the trailer and my 1980s and 90s nostalgia.

Original Song

All the Stars – Black Panther

I’ll Fight – RBG

The Place Where Lost Things Go – Mary Poppins Returns

Shallow – A Star Is Born

When a Cowboy Trades His Spurs for Wings – The Ballad of Buster Scruggs

Will Be: Shallow

Should Be: Shallow

Along with Roma winning for best Foreign Film, this is easily the biggest lock of the night. It’s also a really good song.

I don’t really have anything of substance to add for the rest of the categories, and if you’re somehow still reading, you’re probably not anxiously awaiting my take on all the documentary shorts I haven’t watched.

Happy Oscars Night, everyone! Looking forward to seeing you again next year, when we’ll get to predict the winners of the Academy’s new categories:

Worst Performance By A Best Actor/Actress Loser At Time of Award Announcement

Most Terrifying-Looking Live-Action Genie

Best Performance By People Trying to Bring Matt Damon Home

The Wes Anderson Lifetime Achievement Award for Contributions to Whimsy

Worst Acting Performance by a Musician Who Now Thinks He/She Can Act Because of Lady Gaga

Worst Singing Performance by an Actor Who Now Thinks He/She Can Sing Because of Bradley Cooper

Best Use of “That Guy” (Andrew Dice Clay!)

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pessimisticpleasure · 8 years ago

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Drag Race: ‘She Done Already Done Brought It On’ Review

I was going to review every episode of Drag Race Season 9 and then decided that last week was pointless because no-one got eliminated. On the one hand, I appreciate having a week more to get to know the queens before anyone goes home, on the other the decision that would have been made last week was pretty much just carried over. I wasn’t gagged by Gaga either like gurl you were meant to be judging not boasting about how many designers have made dresses for you, smh.

Can we all just take a moment before I go any further to ask what in the ever loving hell was that appearance by Lisa Kudrow? I thought she was going to be a judge or at the very least a mentor, not just casually come by for thirty seconds, drop some catch phrases and go. Like what was the point? Am I missing something there?

For me this challenge wasn’t particularly inspiring; I’m English and cheerleading isn’t really a thing here so it was a bit lost on me whether they were good or not. It did seem like the kind of challenge which could be edited to make anyone seem top or bottom, I really thought Alexis was going to be bottom instead of Charlie because I thought she did a good job and had one of my favourite runways.

The runway theme of White Party was good and inspired some amazing looks from the queens mostly because it was so simple - apart from Kimora who was serving some kind of season three-esque eight looks in one outfit and none of them on theme. I’m big on themes so I can’t cope when someone doesn’t stick to one -especially one so easy! I couldn’t pick a favourite runway between Charlie and Valentina who are both quickly becoming my favourites of the season. I hope Charlie does better than the 7th or 8th place I’m sadly expecting her to come in but she’s not being set up as much more than a middle of the pack queen. I really hopes she makes Snatch Game because her impressions on YouTube are to die for, especially Lana Del Ray.

I also wasn’t that impressed with Cynthia/ Cucu returning who speaks almost entirely in hashtags I’m not going to use and whose Cucu shtick continues to annoy me rather than entertain. I know she left early last season but she won Miss Congeniality and I feel like that kind of completed her story. She didn’t seem like the unfinished business kind of queen that it makes sense to have return (like Shangela). This was a good group without her and I kind of hope she goes out early so she doesn’t take the spot of a more deserving queen.

Valentina was a great winner for the week, her outfit was good and the fact she actually drew my attention through the challenge while everyone else went a bit over my head was definitely a good sign. I love when the girl who gets picked last shows everyone else up - not to mention she’s only been doing drag for ten months! Her style is so refined, she puts some queens to shame for their lack of polish. I hope she doesn’t fall victim to the curse of the Latina queens and get sent home for a poor snatch game. I haven’t decided who I’m rooting for to win quite yet, I think I need another week, but she’s a very strong contender.

It felt like they tried to edit the lip-sync to look exciting this week even though it wasn’t - I’m pretty sure if that had happened on a week that wasn’t the first elimination they both would have been gone. I was rooting for Kimora at the beginning of the season because I liked her look a lot but she’s fallen rapidly in my estimation and I actually think she was slightly worse at the lip-sync and definitely had the worst runway so she probably should have gone. It’s sad that Jaymes was set up as the first gone, she seemed like a really good person and she obviosuly genuinely cared about her craft and seeing her improve and grow in confidence week by week would have been interesting whereas Kimora seems to care about her ass and not much else and is likely going to go within the next couple of weeks anyway because the judges don’t seem to be on her wavelength at all. I know she does care about drag but she has the attitude I hate of ‘too good to listen to the judges’ which is going to get her kicked off. I hope Jaymes does really well in her post-drag race career, even my icy heart got all emotional with her being unsure of herself on Untucked. Maybe she’ll get to come back next season when she’s worked on live audience performing and her confidence? I’d really like to see her succeed.

#drag race #RuPaul's Drag Race #season 9 #rupaul's drag race season 9 #valentina #jaymes mansfield #charlie hides #kimora blac #rupaul #michelle visage #she done already done brought it on

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jehanimation · 8 years ago

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The Jehanimation Awards: separating the best of 2016′s animated movies from the rest

Between all the political turmoil, the near-relentless stream of high-profile deaths and the release of Batman v Superman: Dawn of Justice, it has been widely accepted that 2016 was A Bad Year. As a member of the human race, last year probably was a bit of a disappointment in most respects; look at it as an animation enthusiast, though, and the picture starts to look quite a bit rosier.

In fact, I’m going to go a step farther than that and call 2016 one of the best years for feature animation in recent memory - which is saying a lot given how much the bar has been raised since the 1990s. Since the advent of CGI tore up the rulebook and made it easier for newer studios to compete with Disney on an equal footing, it’s felt like we’ve been constantly on the cusp of a new, more diverse landscape for mainstream animation, allowing a wider range of studios and directors to present wildly different visions in a competitive marketplace, rather than a single company monotonously ruling the roost. Obviously, the conservative and formula-driven nature of the business has meant that potential hasn’t always been realised, but in 2016 we got a glimpse of how that theoretical vision would play out in reality - and it was a pretty exciting thing to behold. I can’t think of many previous years in which so many companies - from the US and elsewhere - were able to produce such a broad spread of high-quality movies for different audiences, resulting in a glut of animated movies occupying the top spots in not only the worldwide box office rankings, but also in lists of the best-reviewed films of the year.

Faced with such an embarrassment of riches, it feels difficult and somewhat reductive to pit them against each other and pick out a small handful as being the best - but that’s just what we do around this time of year anyway, so who am I to argue? Still, my intention here is not to add to the somewhat adversarial sentiments that awards season can sometimes generate; this is simply my personal evaluation of all the new animated movies I got to see in 2016, with my favourites highlighted. Your own mileage will, of course, vary, because such variety is the spice of life; with that said, I’m pretty sure this list is 100% objectively correct, so I’ve no idea why you’d disagree.

Immense thanks go to the wonderful Jamie Carr for the header image and icon for this blog! Go follow her on Twitter at @neurodolphin!

THE NOTABLE OMISSIONS

Before I get into evaluating the best of 2016’s crop, I should probably acknowledge that, contrary to assumption, I am not omniscient, and was therefore unable to see every animated movie that came out last year. There are upsides to this, as it means I missed out on having to watch bargain-bin garbage like Norm of the North or Robinson Crusoe (aka The Wild Life), and was able to judiciously pass on higher-profile but poorly-reviewed efforts like Blue Sky’s Ice Age: Collision Course and Rainmaker Entertainment’s Ratchet & Clank; unfortunately, it also meant not getting to see most of the less widely-screened animated movies from overseas, which is a great shame. I haven’t, for example, been able to see The Red Turtle or My Life as a Zucchini - two of the five nominations for this year’s Best Animated Feature Oscar - nor did I catch the well-reviewed French-Canadian production Ballerina (known in the US as Leap!). I also freely confess to being underexposed to anime, meaning I didn’t see anything from Japan this year - with one important exception, which I’ll come to later. I’ll certainly hope to correct some of these oversights at a later date.

THE ALSO-RANS

The following movies are the films that - for one reason or another - didn’t quite connect with me this year. Some are better than others, but to some degree or another I wouldn’t say they succeeded at what they set out to do.

The Angry Birds Movie

This was probably the weakest animated film I saw last year, which - given its essentially functional mediocrity - reflects pretty well on 2016’s lineup as a whole, even though it doesn’t retroactively make The Angry Birds Movie any more impressive.

I’ve already written a complete review of this film, so I don’t want to waste too much additional time on this one, but looking back I do find it striking just how middling this film was, especially when viewed in the context of everything else that came out after it. It remains deeply frustrating that The Angry Birds Movie actually did a lot of the groundwork necessary to produce a better-than-expected adaptation of a plotless physics-based puzzle game - devising a striking look, hiring great actors and laying the foundation for a potentially interesting thematic discussion on the role of anger in a healthy society - before totally squandering that potential on a script that favours lightweight, rambling and puerile comedy over any opportunity to advance the characters or emotional stakes. It’s a film that lazily follows a bog-standard Shrek-lite formula of cheap pop culture gags, toilet humour and sitcom punchlines, seemingly without realising that said playbook is now several years out of date - which, I suppose, is somewhat fitting for a belated spinoff to a mobile app whose popularity peaked about five years ago.

As I say, there are aspects of The Angry Birds Movie that are slightly better than they needed to be - and I’m willing to accept that it’s not easy to reverse-engineer a script that culminates in birds launching themselves into a pig’s castle via catapult - but I feel less charitable towards it in hindsight having since seen DreamWorks’ Trolls, another brand-derived movie that applied infinitely more honest craft and creativity to its subject matter, and achieved exponentially superior results as a consequence. The fact that Angry Birds was able to utilise its stronger brand recognition and well-timed release window to ultimately outgross Trolls on a worldwide basis just emphasises the point that this isn’t a film in need of my charity, or one worth holding up for any reason other than as an example of the kind of lazy work the rest of the industry has long moved beyond.

The Secret Life of Pets

2016 was a banner year for Illumination Entertainment, as the studio not only made the jump to releasing two films within 12 months for the first time ever, but was also able to turn both into bona fide global smash hits without any reliance on their flagship Despicable Me/Minions franchise. The Secret Life of Pets was the more conventional of the two outings, with its higher box office takings showcasing the strength of the Illumination brand as it exists today; however, the film itself also offers an equally sharp insight into the how much room the studio has to grow.

As I alluded to in my recent post about Illumination, there’s a lot to admire in The Secret Life of Pets, and its great success is no mystery to me. It leans heavily on many of the studio’s established strengths, including a flair for kinetic caricature and imaginative physical comedy, and its bright visual style and design work meant it played a significant role in a broader reawakening of the general public’s love affair with talking animal movies. However, it’s also an unintentional showcase of Illumination at its weakest, particularly in its willingness to foreground shallow slapstick over meaningful story development, and its allergic reluctance to challenge the audience emotionally. That the film’s plot is essentially a beat-for-beat pet-oriented remake of the original Toy Story invites comparisons that do not flatter Illumination’s movie, as The Secret Life of Pets is an infinitely shallower film that passes up several golden opportunities to give its characters proper dimension, resulting in an experience that’s basically sweet-natured and inoffensive, but never comes close to making a lasting impression.

With $875 million grossed worldwide, The Secret Life of Pets was undoubtedly one of the year’s biggest success stories, and represents the start of a franchise with considerable potential mileage; however, the series will require a significant injection of depth, pathos and substance if the resulting series is ever going to be able to aspire to anything more than a vehicle for the episodic and rote delivery of middlebrow gags with a bare minimum of investment.

Kubo and the Two Strings

A passion project by Laika Entertainment’s president and CEO (and sadly forgotten rap legend) Travis Knight, Kubo and the Two Strings didn’t do huge business at the box office, but it’s quickly emerged as one of the critical darlings of the year, and a major awards contender. While I love pretty much everything this hugely admirable piece of work represents, I can’t quite bring myself to extend the same feeling to the film itself as a piece of storytelling.

In fact, I’d probably rate Kubo and the Two Strings as one of the bigger disappointments I experienced last year, which is a real bummer, as I have a deep and unbroken fondness for Laika’s work, dating back to their days in their previous incarnation as Will Vinton Studios. Kubo is in most respects their most ambitious film yet, blending their traditional focus on emotional intimacy and dark atmospherics with an epic fantasy sweep. When it works, it’s absolutely magnificent - their stop motion animation and design work has now evolved to the point where it almost looks indistinguishable from CGI at times, and their grasp of subtle melancholy is as peerless - but there’s a shakiness to the story’s fundamentals that I’m unused to seeing from a studio as famed for their attention to detail as Laika are. The tone lurches wildly from tearjerking grimness to flippant buddy comedy and back again; the actual quest narrative is irritatingly coincidence-driven and never more than vaguely explained, giving the audience little scope to share the journey of discovery; and most damagingly, the script doesn’t seem to know what it wants the lead characters of Monkey and Beetle, setting them up as jovially bickering sidekicks before saddling them with dramatically pivotal backstories that feel overly on-the-nose and don’t mesh with their personalities at all. The result is a film to which I gradually lost my emotional connection as it progressed, which is pretty fatal for a story that ends as intimately as this one does.

Add to that some questionable decisions regarding casting - I won’t harp on this too much, but I will say that it’s weird for a film this conscious about authenticity and tone to pass up the benefits that an Asian cast would provide in that regard, and that none of the actual cast give such indelible performances that they couldn’t have been swapped out - and you get a film ranks as my least favourite Laika movie to date. Admittedly, it’s a difficult category in which to compete, but it’s still a shame not to be able to join in the general chorus of appreciation surrounding a film that generally reflects so much of what I love about animation. I still thoroughly appreciate Laika’s work in almost single-handedly propping up the medium of stop-motion through sheer passion and bloody-mindedness, but for me the narrative elements of Kubo and the Two Strings got away from them - and when you’re making a film specifically designed to celebrate the power of storytelling, that creates a hole in the middle of the movie that no amount of technical splendour can fill.

Finding Dory

The top-grossing animated movie of the year, Pixar’s Finding Dory was always going to be a commercial slam-dunk, given the special place its predecessor Finding Nemo holds in the hearts of many; the big question was whether it was going to be able to measure up to the first movie’s legacy in terms of filmmaking. The answer? Ehhh.

That’s certainly not due to a lack of effort, of course; as I’ve touched upon in my previous post concerning this movie, Finding Dory is not a phoned-in sequel, and you can tell that returning director Andrew Stanton has put thought and consideration into how to expand the self-contained story of Finding Nemo outwards in a way that feels organic. The resulting development of the character of Dory - a mentally impaired protagonist seeking to make peace not only with her own past, but also with herself and the way her condition affects her - is rich with emotional pathos and feels like a natural continuation of Finding Nemo’s key themes, as well as forming a meaningful statement on disability in its own right.

Beyond the oasis of that central storyline, however, Finding Dory enters choppier waters. Dory’s journey may be significant in emotional terms, but dramatically it feels small, with the epic, sweeping journey of the first movie swapped for a claustrophobic single-location setting for the majority of the sequel. That reduced sense of scale isn’t helped by the flimsiness of the supporting cast, populated by half-formed ideas like Hank the octopus (who feels like he has a character-defining backstory lying on a cutting room floor somewhere) or one-note gag characters like Destiny, Bailey, Rudder and Fluke (who never come close to being properly developed). Worst of all, Finding Nemo’s protagonist Marlin is purely along for the ride this time, with very little to do other than complain in a way that becomes grating and unentertaining fairly rapidly. The result is a two-hander where one hand is significantly more developed than the other, which - as Nemo himself would tell you - makes it much harder for Finding Dory to swim in the smooth, straight lines you’d expect from a Pixar film.

That said, I’m not sure exactly what I expect from a Pixar film these days. Finding Dory is far from a bad movie, but it’s a pedestrian effort from a studio that seemed to effortlessly maintain a much higher orbit before the turn of the decade. Finding Dory owes a lot of its success to goodwill left over from those peak years, but the lack of love the movie has received on the awards circuit suggests that at least some of that is starting to run dry. There’s a Dory-style lesson to be learned there: old memories aren’t enough to sustain you forever - you have to be able to form new ones, too.

THE RECOMMENDATIONS

The following movies are the films I saw that didn’t quite make my best-of list, but nevertheless worked well enough to make a positive impression. These aren’t the year’s best animated movies - but they are good ones.

Storks

Storks seemed to come and go without anyone really noticing it happened. I myself missed it at the cinema, and catching up with it many months later, I can sort of understand why; it’s a thoroughly odd duck that doesn’t quite fit with any preconceived notion of what an animated feature would look, sound or play like. The aesthetic splits the difference between big-screen polish and Cartoon Network stylisation; the tone wants to be manic, but grounded; flippant, yet also heartfelt; rambling, but wholly plot-driven.

You know what? For all that, I rather enjoyed Storks, although I’m not sure I’d call it a completely functional film. The first animated movie from live-action comedy director Nicholas Stoller (Forgetting Sarah Marshall, Neighbors) is a relentlessly high-energy experience that is inevitably irritating and wearying at times, but feels full of a certain kid-in-a-candy-store enthusiasm for the boundless absurdist possibilities that animation can provide; it is also a movie that understands the importance of having a heart, and keeps it beating in the right place. Ultimately, Storks doesn’t have anything more profound to say than “babies are nice, and finding your family is great”, but it’s sincere about the way it says it, whether that’s through the oddly charming quasi-romantic chemistry between the avian middle manager Junior and scatterbrained teenage orphan Tulip, or through the engaging B-plot of a young boy reconnecting with his workaholic parents as they wait for delivery of a new baby brother. It’s also an understatedly progressive movie in a couple of ways - it’s nice to focus on a mixed-gender comedic pairing where the female member gets to be the zany one for a change, and you even get some pleasantly matter-of-fact representation of LGBT parent couples thrown in towards the end for good measure, albeit in blink-and-you’ll-miss-it fashion.

That said, this is also an incredibly ramshackle piece of work, full of non-sequitur narrative detours and extended joke sequences that don’t really land - antagonist Toady, an obnoxious business-bro pigeon, feels like an out-of-control SNL skit in place of an actual character, for example. That’s a weakness that cuts across many parts of the film, in fact; Stoller gives the script more of a mannered, improvisational feel than is strictly good for it, resulting in a whole lot of gag lines that feel purely like punchlines crafted by a writer, rather than effective expressions of character. Nevertheless, on balance, I’m happy that the revamped Warner Animation Group are using their post-The Lego Movie relaunch to establish a distinct identity for themselves, rather than going down the me-too route of their Quest for Camelot days; I think it’s even better that their chosen identity is one that tries to honour the company’s offbeat Looney Tunes legacy, as that’s a style we don’t see often enough in the modern feature animation landscape. Clearly, we’re going to be getting a lot of Lego spinoffs and sequels that uphold a Phil Lord/Chris Miller-flavoured variation of that approach, but that type of comedy is good for more than just endless Lego movies - and so are Warner Bros. In that respect, I’d like for Storks to be the beginning of a more diversified lineup from Warner Bros, not the end, which is why this imperfect little movie just about edged its way into my recommendations category; the quality isn’t always there, but the right spirit is there in spades.

Kung Fu Panda 3

In another year, Kung Fu Panda 3 would have been a much bigger deal than it ended up being. It was a very good animated movie in a year full of them, a talking animal film coming out just as the genre suddenly became ubiquitous, and a high-quality sequel to a franchise that had probably been away from the big screen a few years too long for audiences to still be invested. Heck, even in China - the market where this US-Chinese co-production was clearly ordained to sweep aside all comers - this belated threequel had its thunder stolen, reigning briefly as the region’s highest-grossing animated movie ever before the breakout success of Disney’s Zootopia took the title away after only one month.

All of that is a bit of a shame, because - as I’ve mentioned - Kung Fu Panda 3 is a very good movie, even if it is unquestionably the weakest instalment in the trilogy. It lacks the energetic freshness of the 2008 original and the impressive emotional scope of 2011’s Kung Fu Panda 2, the bracing darkness of which Kung Fu Panda 3 largely backs away from in favour of something a bit cosier and smaller-scale. In that respect, this is very much the Return of the Jedi of this series, with all that entails - right down to being set in a hidden village of cuddly bears - but none of that makes it anything like a bad film. For one thing, it’s absolutely beautiful to look at - one of the most aesthetically gorgeous pieces of animation I’ve seen for a while, with vivid colours, stylised action, stunning 2D sequences and masterful incorporation of the look of Chinese paintings into its visual style. That respectfulness goes beyond the visual elements, though; the first Kung Fu Panda may have been a watershed movie for DreamWorks in adopting a tone of loving pastiche rather than broad spoof, but the sequels have been so reverential to the genre and culture that inspired them that you almost wish they’d dropped the comedy focus altogether and pivoted the series in the direction of full-on anthropomorphic wuxia adventure, with a tone closer to the How to Train Your Dragon movies.

Still, what we’ve got from Kung Fu Panda is pretty great, thanks not only to their embrace of the excitement and philosophies of martial arts cinema, but also to their commitment to strong characterisation of their key players. Po the panda remains a delightful creation, with Jack Black consistently finding and underplaying the notes of earthy wisdom and spiritual growth in a character who could easily have come across as 100% fanboy goofball, and his relationship with the elderly goose Mr Ping - voiced with wonderful warmth and eccentricity by the brilliant James Hong - remains one of the most oddly affecting father-son relationships in animated cinema. The addition of Po’s birth father Li Shan (Bryan Cranston) to that dynamic in Kung Fu Panda 3 is handled maturely, in a way that celebrates unconventional family structures, and that emotional throughline works in tandem with the spiritual concepts of the story to provide a strong foundation. In truth, there’s not all that much going on beyond that, other than colourful action setpieces - once again the supporting cast, including Po’s brothers-in-arms the Furious Five, are left frustratingly underused and underdeveloped - leaving Kung Fu Panda 3 feeling like the slightest entry in the series; nevertheless, it’s still a satisfying, funny adventure that brings the series to a fitting thematic conclusion. In truth, Kung Fu Panda probably is a series whose time has passed; if that’s the case, I’m glad it got to impart a few more words of wisdom before moving on.

Sing

The second and less conventional of Illumination Entertainment’s 2016 efforts, the musical extravaganza Sing may have been the lower-grossing and slightly less well-reviewed of the two outings, but for my money it outdoes The Secret Life of Pets on every level creatively - to the point where I’m wondering if everyone else saw these two movies the wrong way around.

When I call Sing “unconventional”, I’m not really talking about its approach to genre and storytelling, because frankly it really couldn’t be any more conventional in those respects. This is a big, broad, goofy, follow-your-dreams jukebox musical that garnishes the X Factor/American Idol template with a sprig of Muppets-style save-the-theatre backstage drama - you know, in case the overstuffed ensemble cast didn’t already have enough underdogs to root for. Said ensemble, which includes a shy teen elephant with an angel’s voice, an overworked mother pig with dreams of stardom, a young gorilla seeking to escape a life of crime and a punk rock porcupine breaking away from her controlling jerk boyfriend, is packed to bursting with character arcs that you’ll be able to predict with perfect accuracy the moment they begin - or perhaps even before then, if you’ve seen any of the too-numerous trailers for Sing that essentially summarise the entire story beat for beat.

But when judging a movie like this, it’s important to remember that cliche is not inherently a sin - a familiar recipe can still taste fabulous when the ingredients are prepared with care and attention, and so it proves with Sing, a movie that’s made with infinitely more sincerity and ambition than it’s been given credit for. It feels good to be able to praise an Illumination movie for those qualities, and that’s where the “unconventional” aspect comes into play, as this is a film that has clearly benefited from the studio searching outside its usual creative talent pool and taking a punt on Garth Jennings, the likeable British filmmaker responsible for The Hitchhiker’s Guide to the Galaxy and Son of Rambow. A prolific director of music videos, Jennings is clearly someone with a passion for music that saturates Sing, turning what could have been an empty exercise in celebrity animal karaoke into a genuine celebration of the restorative power of music. That earnestness also bleeds into the characterisation, which - for as formulaic as it unarguably is - is written and performed with enough heart-on-sleeve honesty to paper over many more cracks than Sing actually has. Sure, there are times where it feels like the sheer multitude of characters means certain moments don’t get the focus they need, and there are certainly notes and song choices - particularly the use of Leonard Cohen’s “Hallelujah” during a moment of sombre redemption - that will be too on-the-nose for even the most wide-eyed audience member, but beyond that there’s really nothing wrong with this movie at all, to the extent that I’m a little confused every time I see a bad review of it. It’s certainly not perfect, but it’s assembled with such professionalism and such a conscious eagerness to make you happy - especially during its barnstorming, impossibly fleet-footed finale - that it seems churlish to refuse.

Despite what I perceived to be a relative lack of appreciation of its full merits, I’m happy to see that this film did well for itself, and I hope it encourages Illumination to make more movies with this kind of heart behind it. Sing’s emotional stakes may be somewhat prosaic, but they’re big and bold and dominant in a way that prior Illumination movies, with their focus on slapstick silliness, have seemed shy about embracing. In a previous post, I lamented the studio’s inability to produce a truly classic movie up until this point, and expressed a hope that Sing might be a step along the right path; in that respect, it delivered. Sing may not be the first great Illumination movie, but if they keep going in this direction, they may just get there.

THE BEST OF THE YEAR

In descending order, these are my top five animated movies of the year. They may be very different films operating and succeeding on different levels, but in my view these are the films that really encapsulated all the facets of what I love about animated cinema, and exemplify the form’s boundless versatility.

5. Sausage Party

In film criticism, originality is often taken to be a cardinal virtue; we mark films down for adhering to weathered formulas or archetypes, and give credit for the ones that do things we haven’t seen before. When Sausage Party was released last year to rock-solid reviews, many were shocked, but really, they ought not have been that surprised - after all, it’s not often that we get to see what a truly original movie looks like.

On paper, Sausage Party seems transgressive without being all that groundbreaking; after all, we’ve seen crude animated movies for adult audiences before, from Fritz the Cat through to the works of Trey Parker and Matt Stone, but there’s something about the way Sausage Party was positioned that made it unique - sure, it was made for a mere $19 million, but this was that rare R-rated animated film that was ordained to compete in the big leagues, rather than breaking out from some underground niche. US-produced adult animations usually accept their status as esoteric oddities, embracing unfashionable visual styles and anti-mainstream sensibilities; Sausage Party rejects that, using modern tools and an aesthetic that credibly approximates the familiar look of its Disney/Pixar contemporaries to mark itself as a film designed to be seen and embraced by the biggest possible audience. Regardless of what you might think of the film itself, the manner of Sausage Party’s release was trailblazing - the first proper attempt by a studio in years to break American adult animation out of its enthusiasts-only ghetto and show that cartoons for older audiences can be appeal on the same level as a live-action movie of the same genre. That Sausage Party went on to gross of nearly $100 million in the US should be seen a massive win for the medium, and will hopefully embolden the industry to further experiment with the kinds of animated stories and visions they’re willing to bankroll in future.

Of course, this victory would feel tainted if Sausage Party had turned out to be exploitative trash, but watching the final film, even hardcore Sausage-sceptics would have to admit it’s a movie that embraces substantive ideas and commits to them, hard. Your mileage is likely to depend on how well you click with the sensibilities of Seth Rogen and Evan Goldberg (Superbad, This is the End, The Interview), who’ve made a career on exploring challenging concepts in unabashedly juvenile terms, because this movie represents the apotheosis of their operating model to date; taking the Pixar template of “what if X had feelings?” to its most lurid conclusion, Sausage Party is a deceptively literate spiritual odyssey that confronts sentient food items with the brutal reality of what they were created for, sending them spiralling into existential crisis and surreal voyages of self-actualisation. As a deconstruction and critique of religious thought, it’s intelligent in a number of ways, opting against abrasive confrontationalism in favour of a humanist, pluralist conclusion that encourages people to reject the limits that society places on them and be their authentic selves in a non-judgemental fashion; what’s just as impressive is the way it’s able to explore this essentially benign, moderate message in such relentlessly coarse, taboo-shattering terms, without feeling like it’s working at crossed purposes with itself. This is a film with legitimately interesting things to say about the evils of dogma, the need for respectful discourse, the importance of actualising your sexual identity and the destructiveness of identity-based conflict - and does so almost entirely through the medium of cartoon violence and dick jokes. All of this builds to a jaw-dropping third act of insanely violent, sexualised excess that’s honestly unlike anything I’ve ever seen in a mainstream movie - and yet somehow still feels reverent enough to the spirit of Toy Story that its credentials as a legitimate entry in the same animated adventure genre remain unbroken.

I’m ardent in my admiration for what Sausage Party represents, and I say that with full acceptance of its problems. Its gleeful indulgence of ethnic stereotyping, for example, doesn’t really pay off with a satirical point clever enough to justify it all, while the sheer crudeness of the film - the villain is literally an anthropomorphic douche - is likely to stop a lot of people from connecting. I also need to give acknowledgement to the widespread stories of mistreatment and exploitation of the animation team by production company Nitrogen Studios and co-director Greg Tiernan, which puts that thrifty $19 million budget in a different light; that can’t really be excused, but it also doesn’t invalidate the fact that the resulting film is a valuable, singular piece of pop art that’s worth much more than the sum of its parts. It’s up to you to decide whether knowing how the sausage was made is enough to put you off; all I’m saying is that it’s worth trying, because Sausage Party is both tastier and more nutritious than you might expect.

4. Trolls

One of the main reasons why 2016 ended up such a good year for animation is that, due to some strange quirk of scheduling, many of the major studios ended up releasing two films during the year. I’ve covered Illumination’s pair already, and I’ll be coming to Disney’s duo momentarily; for now, I want to give some much-needed kudos to the oft-criticised DreamWorks, who not only turned out a fine Kung Fu Panda sequel, but also somehow elevated a reboot of the Trolls toy franchise from cultural detritus into a genuinely joyous moviegoing experiences.

I expounded at length quite recently about the many virtues of Mike Mitchell and Walt Dohrn’s cuddly little movie, so I won’t add too much here, other than to say that my admiration for a film that still stands out as a surprise of the most pleasant variety hasn’t dimmed. There’s always a special kind of joy that comes with being blindsided by a great film that comes out of nowhere, and Trolls is the very definition of that: the concept sounded terrible, the early marketing was appalling, and yet the final film is confident, earnest, visually beguiling and bursting with an infectiously guileless goodwill that’s much harder to evoke in a sincere way than Trolls makes it look. Indeed, in a world where Sony Pictures Animation continues to struggle to strike the right tone with its various adaptations of the esteemed Smurfs franchise, DreamWorks deserves applause for nailing the right mix of sweetness and spice on the first attempt at what’s essentially the same concept. That’s not to say Trolls is wholly derivative, though; if the “happy forest friends” setup isn’t exactly groundbreaking, there’s ambition to its lightly-sketched philosophical exploration of the spiritual origins of happiness, while its sharp humour and aesthetic exuberance ensure it never forgets to make you feel the emotion it’s examining. If there’s one lingering disappointment, it’s that more people didn’t notice exactly how impressive this fluffy and genuinely uplifting jukebox musical turned out to be; with its theatrical run topping out at a solid but unspectacular $339.5 million worldwide, Trolls remains one of 2016’s better-kept secrets, a movie that seemed to pass most people by. That’s an unfortunate outcome for a film that I’m willing to list among the best animations of the year, but it does at least preserve its status as a surprise package waiting to be opened, shared and discovered by more people.

I hope, too, that DreamWorks take solace and pride in the quality of the work they put out in 2016. Both Kung Fu Panda 3 and Trolls both ended up as modest rather than overwhelming commercial successes, but there was a solidity and assuredness to both movies that the studio hasn’t always found easy to come by; these are qualities that will serve the company well as it prepares for life under the new ownership of Universal. Of course, DreamWorks will always be DreamWorks, and maybe inconsistency is baked into their DNA: the fact they’re following up such a strong 2016 with a 2017 slate consisting of The Boss Baby and Captain Underpants: The First Epic Movie seems like a testament to that. But hey, this time last year I was busy writing off Trolls, so what the hell do I know?

3. Moana

It’s weird for me to think about this, but most people born after about 1990 or so probably don’t actually remember a time when Disney were the undisputed kings of feature animation. Ever since Pixar released Toy Story in 1995, they’ve ceased to be the only game in town, and there were times during the mid-2000s when they looked to be drifting into irrelevance; since then, however, they’ve come roaring back, and I feel as though 2016 will be seen in years to come as a point where Walt Disney Animation Studios really reasserted their dominance, even more so than their historic success with Frozen in 2013. I’ve praised Illumination and DreamWorks for the impressive feat of releasing two good movies in the same year, but that pales in comparison to Disney, whose achievement in releasing two potential all-time classics within eight months is little short of a miracle.

Due to its choice of genre, Moana was probably seen as the safe option out of the two movies, but anyone who’s seen it will know that writing it off as just another Disney princess musical is doing the film a massively reductive disservice. Veteran directors Ron Clements and John Musker’s (The Little Mermaid, Aladdin, The Princess and the Frog) first CGI movie feels like a substantial and welcome reinvention not just of their filmmaking approach, but of the “princess movie” template in general. This is a formula that Disney have been committed to tinkering with since the 1990s Disney Renaissance era, but never to such a root-and-branch degree as Moana, which takes only the most essential components of the template - to paraphrase the script itself, the fact that its protagonist “is the daughter of a chief, wears a dress and has an animal sidekick” - and builds a rousingly individualistic seafaring action-adventure with a refreshing perspective. It’s not just the fact that Moana feels different from her predecessors, with her Polynesian origins and stockier build, it’s that she functions differently; unlike any other Disney princess, she’s a swashbuckling hero first and foremost, embarking on a world-saving quest through active choice, rather than stumbling into one as a byproduct of some mission of family duty. On that foundation, Musker and Clements build a film that consistently zags where other Disney movies zig. This is an action-adventure that’s basically without a true villain; where the male lead, the blustering demigod Maui, remains strictly a supporting player, with no hint of unnecessary romantic intrigue; where the main animal sidekick is a scraggly idiot rooster that actively hinders the quest, while the cute, marketable pig stays home.

Of course, different isn’t necessarily better, but it certainly feels like a value-added bonus when your film is already as good as Moana is. Technically, it’s one of Disney’s most accomplished efforts, with astounding water effects and a beautiful oceanic palette, and it benefits from the same sparky dialogue and buddy-comedy chemistry between its leads that’s become a Disney trademark. Musker and Clements seem to have made progress on overcoming the somewhat episodic feel of their previous movies, with more of a sense of coherent driving momentum pushing forward the story, and they’ve certainly come on leaps and bounds in terms of cultural authenticity since the days of, say, Aladdin, with the Pacific Island setting treated with great respect in aesthetic, spiritual and casting terms. Then, of course, there’s Lin-Manuel Miranda, Opetaia Foa’i and Mark Mancina’s compositionally intricate and effortlessly catchy soundtrack, which is probably the finest from Disney since The Lion King - and hell, even The Lion King didn’t have a glam rock David Bowie style parody sung by a giant kleptomaniac crab, so maybe Moana has even that one beaten. It’s not all perfect, though; much as I loved the film, it does have a few pacing problems; the story spends an unusually long time getting Moana to leave her home island of Motunui, only to occasionally feel becalmed once the journey actually gets underway. The open ocean is an evocative setting, but it can also get pretty repetitive, and there are points in Moana where you start to miss the broader ensemble cast and diverse backdrops that we might have gotten if not for all the lonely, endless blue.

None of that was enough to prevent Moana from becoming one of the best and biggest animated movies of the year - though you get the sense that some pundits were expecting a bit more commercially from Disney’s first big princess musical since Frozen. It’s true that Moana’s solid $575 million-and-counting worldwide total doesn’t bear comparison to Frozen’s record-setting $1.27 billion - but then, when you think about it, Moana didn’t really turn out to be all that comparable to Frozen anyway. It’s possible that Moana reinvented so much about what makes a princess movie that it no longer registered as being one in the eyes of the audience - or perhaps it was never really a princess movie in the first place, and scored its own success on its own terms. Princess or not, she is Moana, and that’s good enough for me.

2. Your Name (Kimi no Na wa)

As I mentioned before, I have an unfortunate blind spot when it comes to anime, with my exposure to Japan’s prolific feature output basically limited to Studio Ghibli films and a small handful of others. That’s something I’d like to work on, so I jumped at the chance to see Makoto Shinkai’s blockbusting romance Your Name at the cinema last year as a way of putting that right; what I got was an outstanding and emotionally overwhelming reminder of everything I’ve been missing out on.

Your Name is a difficult movie to categorise - my best attempt would be “supernatural gender/body-swap tragicomedy-drama disaster romance epic”, but even that would be underselling the deft changeability and tonal fluidity of this marvellously-constructed movie, which came within a hair’s breadth of ranking as my favourite of the year. Part of that versatility comes from its mastery of the medium - I know it’s not intended to function as a primer on anime, but it couldn’t have done a better job if it tried, such is its command of everything that defines the format at its best. Here’s a 2D animated film that feels truly modern, that pushes hand-drawn animation to new levels of technical beauty and adventurous stylisation without feeling even slightly retro; here’s an animated film that can speak directly to a teenage and young adult audience, with a pop soundtrack and frank allusion to concepts of sexuality and gender identity, and evoke that lived experience of yearning adolescence in a way that feels sophisticated and universal; here’s an animated film that knows how to bring metaphysical mystery, power and spirituality to its narrative with a light touch, leaving just enough traces of magic to lend an edge of unknowable enormity to the intimate character story we’re being told. These are areas in which the best anime movies uniquely excel, and Shinkai seems to understand implicitly how to leverage these strengths without any of the weaknesses.

But Your Name isn’t designed to be appreciated on a beard-stroking conceptual level; for all its artistic accomplishment, it’s a weepy teenage romance at heart, and you couldn’t ask for one better. Its protagonists - small town girl Mitsuha and Tokyo boy Taki, who mysteriously find themselves intermittently swapping bodies - are enormously likeable leads with whom it’s easy to empathise, whether it’s Mitsuha’s longing to experience life beyond her idyllic but fishbowl-like rural community, or Taki’s increasingly passionate desire to connect directly with the girl who’s literally changing his life from the inside. The latter quest comes to form the driving emotional engine of the film, and writer-director Shinkai does a fine job of creating a palpable closeness between the two characters, whilst at the same time putting them in a situation where every conceivable obstacle - time, space, fate - stand in the way of them ever meeting. If that sounds melodramatic, that’s because it is, but Your Name knows exactly how to sell a brand of epic romance that makes the audience feel like they’re seeing something much more profound than the feelings of two people; that’s partly a function of the gorgeous hyperreality of the visuals, but also a testament to the way Shinkai unfolds the story, expanding what starts out as a light, sweet body-swap fantasy into something larger and more mythic. To say more about how Your Name pivots and pirouettes through different plot ideas and genres would give too much away about a film that benefits greatly from being unpacked at its own pace, so I won’t go further, other than to say it builds to something that’s sweeping, exhilarating and wistful in all the right ways.

If it sounds like I’m giving this movie the hard sell, that’s very much intentional - certainly, Your Name doesn’t need any more of a push in Asia, where it’s been a record-breaking success, but Western audiences seem to be much less aware of it, as evidenced by its surprise omission from this year’s Best Animated Feature Oscar nominees. This may be partly because because the film isn’t actually due to be released in US theatres until April 7th 2017, a stunningly long delay that nevertheless gives me an opportunity to urge any American readers to make sure they catch it on the biggest possible screen. After all, Your Name helped to show me everything I’m missing by not watching enough good anime; the least I can do to return the favour is to make sure nobody misses this one.

1. Zootopia

Nobody who’s followed this blog for any length of time will be shocked by this choice; in fact, nobody who saw the Oscars or pays any attention to the film industry in general will be too surprised, as Disney’s Zootopia has proven a commercial phenomenon, a darling among reviewers and an awards magnet. Inevitably, this means the film has started to attract a few contrarian potshots, but I’m not interested in engaging with that; after all if we can’t take a moment to earnestly celebrate one of the best and bravest films Disney have made in decades, then why do we even watch movies?

I’ve spent a lot of words talking about Zootopia over the last 12 months, and yet it still doesn’t feel like it’s left my system; with its incredible visual design, instantly lovable character chemistry, deft pacing and bubbling comedic energy, it encapsulates pretty much every one of Disney’s traditional strengths, while also excelling in areas where the studio have never traditionally dared to tread. As a piece of worldbuilding, its thoroughness exceeds many science-fiction films - the breathtaking wonder of the first train ride into the city of Zootopia is a Disney moment for the ages, rendered with such immersive intimacy that I’d love to see it retrofitted as a VR experience - while the film’s vaulting thematic ambitions and willingness to delve into challenging social commentary feel like a seismic sea change for a company with a reputation for corporatised artistic conservatism. That I rate Zootopia as the best animated film of an incredibly strong year doesn’t preclude acknowledgement of its imperfections - the police procedural elements are a little oversimplified, it can be episodic at times, the metaphors can sometimes be heavy-handed - but it’s the intelligent, open-hearted generosity of the thematic dialogue it opens up with its audience that makes those concerns feel small. This is a pointed, satirical and often overtly politicised piece of work, addressing deeply divisive issues of prejudice, system bias, internalised privilege and societal identity, and yet it manages to do so in a way that feels pluralistic, universally empowering and non-judgemental - a feat that most adult-oriented media struggles to achieve. It’s a film that educates without lecturing, that shows asks you to find your own answers rather than spoonfeeding you solutions, that shines a light on the problems that society faces but still lets you walk out feeling energised, rather than depressed. That’s difficult for any movie to achieve; for Disney, with almost no experience of making topical satire, to be able to pull this off while still ticking all the boxes of a superlative, adorable and hilarious family adventure is one of the greatest accomplishments in their entire 80-year history of feature animation.

Honestly, if I have any lingering feeling of disappointment about Zootopia, it’s the question of why the message it expressed so eloquently didn’t end up making a bigger impression on those who saw it. That a movie with such an explicitly educational theme of cultural unification and overcoming differences was able to gross more than $1 billion in a year as riven by political division and opprobrium as 2016 is a testament to cinema’s value as a means of escape; unfortunately, it also probably tells us a lot about the cognitive dissonance that prevents people from actually living up to the virtues expressed by the media they enjoy. I started the year wondering whether Zootopia would be as good a movie as we deserve from Disney in 2016; I ended it wondering whether 2016 deserved Zootopia. Nevertheless, I’ll try to hold on the virtues the film embodied, and take heart from the fact that children raised with this heartfelt, articulate and deeply empathetic movie stand a much better chance of learning the right lessons from it than the rest of us did. After all, if a naive rabbit and a jaded fox can learn to overcome prejudice, see things from other perspectives and make the world a better place, maybe there’s hope for the rest of us mammals as well.

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vrheadsets · 8 years ago

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VR vs. 10 Franchises SEGA Would Be Crazy Not To Bring To VR – Part 2

Hello everyone I’m back to talk virtual reality (VR) and the House of Hedgehog for another week. As you may recall last week on VR vs. I started a list of ten franchises (and one honourable mention) that would – in my opinion anyway – be great for the leap to VR. SEGA is of course no stranger to VR down the years, there was the SEGA VR for instance. A headset which was initially designed with the idea that it could provide support for not just the SEGA Mega Drive/Genesis and the SEGA Saturn but the arcades as well. A project that would have seen a 1994 release date after being revealed at 1993’s Consumer Electronics Show (CES) event. This in itself is not to be confused with the SEGA Master System’s 3D Glasses that allowed you to play a number of titles in quote-unquote “3D”. Yes such things existed.

But enough of the hardware of the past let’s get back into those games franchises, eh? What else, via way of a lick of virtual paint, could hypothetically make its way to modern VR? Well when it comes to SEGA sometimes you’ve got to make some tough choices (as any long time SEGA fan can probably tell you) and when it comes to this list there’s one or two games that could easily occupy the same space. Such a dilemma can be found with our next title, it was a tough decision in the end but let me explain my reasoning.

Virtua Cop: OVERKILL

Admittedly having a game with “cop” and “kill” in it isn’t going to win much in the way of good publicity, but this combination name should tell you everything you need to know about where I’m going with this. For you see when it comes to VR genres we have the ever popular (and increasingly railed against) wave shooter, and it just so happens that for SEGA two franchises – Virtua Cop and THE HOUSE OF THE DEAD*. I could give you very good reasons for both being on this list but I’ve gone with Virtua Cop. Why? Because put simply we’ve not had a Virtua Cop game for nearly fourteen years.

FOURTEEN FREAKING YEARS.

Yet people still think of the series fondly. HOTD on the other hand has had quite a few iterations, is a staple of SEGA’s All-Stars franchise and has proven itself to be an arcade mainstay. In other words, if you’re going to use VR to help elevate some old properties why not help the one that needs it more. Increase your viable library of characters. Increase the interest and hence their and your value. At the very least you’d raise some interest in getting some ports of the older titles going.

For VR the idea is simple. We have wave shooters, and the idea of having such a game where hiding behind some oh so handy barrel or outcrop of rocks isn’t 100% infallible makes it a far more frantic experience.

But what about the suffix? Well people familiar with HOTD will like as not recall the Wii game THE HOUSE OF THE DEAD: OVERKILL. UK studio Headstrong’s entry into the series took the franchise, supposedly back to the very beginning before all the nonsense at Curien Mansion and into the shoes of rookie cop and series protagonist Agent G. Except things weren’t quite as people were used to with the game. OVERKILL took the franchise to 18/R-Rated territory by spoofing the grindhouse genre. Partnering the straight-laced G with foul-mouthed Detective Isaac Washington a man incapable of finishing a sentence without a s***, f*** or m***********. (Except, ironically, at times when it would technically be accurate. Long story.) In fact there were so many swears it actually held the world record for number of swears in a single game for some time. Eventually only taken out by Grand Theft Auto 4 I believe.

The video below features some… examples of this. You have been warned.

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OVERKILL might not have set the world alight with sales but it, along with another SEGA title, Platinum Games’ MADWORLD, certainly held up the ‘adult’ end of the Wii gaming spectrum. It was later ported to PS3 and given extra levels, ported to mobile and eventually PC where it was converted yet AGAIN this time adding old SEGA favourite THE TYPING OF THE DEAD into the mix. Four games from one game. Not bad going, huh?

The point is OVERKILL was very tongue in cheek about the franchise’s own foibles, and that’s in a series that was already very self-aware. It was so fresh and different why not do a similar trick with Virtua Cop? Turn it into a self-aware parody of all those 80’s cop shows. Or even the 90’s, you meta humour all over the place then about old VR tech. Make it these two ridiculously out of touch cops dealing with endless suited gunmen in shades, ninjas and all the other lightgun game staples who for some reason think this is perfectly normal. Make it Miami Vice on acid with smart mouth and a stick up its ass. Make Virtua Cop but HOTD: OVERKILL.

In VR.

Then let me know so I can buy it.

Thanks muchly.

NiGHTS

NiGHTS is a pretty deep franchise, if you did but know it and one I have all the time in the world for. Not only do they have the most friendly fanbase I’ve ever met (no really, they’re all lovely) the game is fun, scary and promotes an array of ideas that would be very interesting to explore in VR. For a start there’s the obvious connotations of dreams and nightmares, and Sonic Team had no problem going dark. This shouldn’t be a massive surprise since in one of their games they once showed the moment a little girl gets shot for goodness sake**.

But NiGHTS isn’t just about dreams it is about the psyche itself. The original idea is based on the works of noted psychoanalysts Carl Jung and Sigmund Freud. The ideya you collect are aspects of the Id – your personality traits. hope, growth, intelligence, purity (white) and lastly courage (red). Even their colours weren’t chosen randomly. The game deals with the topics of freedom, confidence, growing up, parental issues, loneliness, friendship, the idea of two people sharing the same experience and trust. NiGHTS is after all actually a Nightmaren – the bad guys. Trusting the person based on their actions and not on the preconception of where they were born is also something NiGHTS (particularly Journey of Dreams which has more of an outright story) touches on.

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It is also about freedom and flight. So I want you to now imagine a first person NiGHTS game, one where you actually get to feel the simulation of flying, where you travel through a colourful level doing tricks and collecting… balls. And things. Now take that landscape with its SEGA blue skies and popping colours and what if we added a touch of Nevermind to it? What if the game reacted to your character’s welfare and became more dark and twisted the closer you came to running out of time or whenever you take a hit? It’s not that far fetched. The various levels in NiGHTS, the world of Nightopia is shaped by the Visitor (your character). The levels are given subtitles such as “The IDEAL”, “The POSSIBILITY”, “The CONFUSION” and are all based on relationships and aspects of their lives.

The feeling of flight and a bit of psychology. Sounds interesting?

OutRun

We all know that driving games can be translated over to VR, some of which can be done very well indeed. But what about SEGA? It has a number of driving franchises that you could port. But All-Stars Racing was never going to be on this list. SEGA Rally was a distinct possibility but no, I turned down that too. Initial-D was a strong contender considering its arcade longevity and popularity specifically in Japan. But ultimately the choice to fill this spot can only be OutRun.

So why OutRun over SEGA Rally let’s say? Because SEGA Rally is a game and OutRun is both a game and wish fulfillment. OutRun has, for decades, been not just about the game but about going as fast as possible in a sweet looking ride to impress the girl. About owning a Ferrari and being the personification of cool. It sells you a fantasy, one that gives tremendous satisfaction. A ‘long-medium right’ done well is one thing, but it doesn’t match slamming the steering wheel to full lock as you drift around a car and through a narrow gap between two buses in your Testarossa (or a British racing green Ferrari F40 if you’re me). It just doesn’t.

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Taking a first person viewpoint and actually living the ride would be quite something. But there’s another reason VR would be an interesting mechanic for OutRun. Do you not remember you have a passenger in your car? A passenger who is very… needy in her desire for you to GO FAST! KEEP PASSING CARS! ETC! As she either falls in love with you or, you know, violently berates you because you clipped a barrier. If you’re actually in the car with her it gives the game an extra dimension as you’ve got to check how your would be lady (or gentleman – I think some choice on who your passenger and driver is should definitely be included at this point) friend is reacting to the ride. They also in doing such act as a distraction, and OutRun is always a balancing act – particularly in Heart Attack Mode – of balancing speed and safety.

For me it’d be a very interesting mechanic to explore.

That’s all for this week. Next week we round off the list some more games including one I suspect none of you will have guessed is on my list. Until then!

* Old SEGA employee note: For some reason THE HOUSE OF THE DEAD is always supposed to be shown in capital letters. It’s part of the branding guidelines. If you see any SEGA official messaging with the game not in upper case it has actually been done wrong. #TheMoreYouKnow

** In Shadow The Hedgehog the moment young Maria Robotnik is fatally shot by government soldiers sent to wipe out the ARK facility is actually shown in the light of Shadow’s eyes at the end of a flashback. That’s messed up, Sonic Team.

from VRFocus http://ift.tt/2kL6imI

#VRFocus #vr #virtual reality #canada

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