Tag: Reviews (page 3 of 36)

Book Review: A Dance With Dragons

Serials can be difficult things. You want to keep the fans you’ve acquired happy, regardless of whether you have five or five thousand or more, and you also want to keep your work from going stale as each old iteration gives rise to a new one. Many movies and games have fallen into the trap of doing ‘more of the same’ or removing the elements of the first title from the second in an effort to broaden the series’ appeal. I hope that the makers of movies and games are paying attention, because George RR Martin is a creative mind who gets serial iteration right, as evidenced in his latest entry in the Song of Ice and Fire series, A Dance With Dragons.

Courtesy the publisher & author

The novel takes readers back to the fictional land of Westeros, where summers last years and winter can last decades. Winter not only promises cold winds, dead crops and snowfalls several feet deep, but horrible creatures beyond count and the dead rising from their graves. Such things seem beyond the concerns of some of the people in Westeros, however, as noble Houses feud to seize control of the Iron Throne. Banners snap in the breeze and swords shine in sunlight as forces clash across the land. The War of Five Kings is all but over, yet conflict continues to rule in Westeros. Meanwhile, across the Narrow Sea, rumors of dragons and the liberation of slaves in the shadow of the ruined freehold of Valyria draws many to the Essos city of Meereen, as well as suitors for the hand of a queen quickly growing in legend as she struggles to maintain control over the change she’s wrought. And in the North of Westeros, on the titanic Wall that sheilds the land from the places where winter never ends, an untested leader remembers the words of the House where he was raised: Winter Is Coming…

There was some concern amongst fans before the release of A Dance With Dragons. It had been six years since the release of the previous book, A Feast For Crows. There’s also the fact that in A Feast For Crows, many of the point of view characters fans had come to love were conspicuously absent. Considering the cliffhanger way in which Martin had ended the third volume, A Storm Of Swords, it’s no wonder that many fans wondered what exactly Martin was up to. As it turns out, A Feast For Crows was merely the first half of a rather bold experiment in long-form storytelling.

Courtesy HBO
One of the titular dragons.

Originally, Martin had intended to relate much of the story in A Feast For Crows and the first half of A Dance With Dragons as flashbacks during “meatier” bits of his saga. However, when he realized how daunting a task that would be to relate so much story without things becoming dull, he opted to tell the stories that needed to be told more or less in real time from the perspective of the involved characters. There was apparently a lot of story to tell, as this transitionary portion of the story as told by more established characters dominates the first half of A Dance With Dragons.

However, this move means that the events that have come before, first published six years ago, now have more depth and resonance. Narrative threads that may have felt as ‘left hanging’ are tied into greater portions of the overall story. In other words, Martin didn’t just publish a new book. He produced a novel that some how makes his previous novel a better one and, rather than letting it remain attached like a vestigial growth, folds it neatly into his ongoing, sprawling epic. This is, in my humble opinion, nothing short of literary genius.

Courtesy HBO
Guess who still knows nothing.

Typically, this is about where I’d go over what I liked and didn’t like about this book itself. However, I’d rather not betray any spoilers. I will, instead, say simply this. Martin continues to demonstrate that he is a superlative storyteller, creating characters that feel very human and deep in the midst of a fantasy world at once familiar and rather strange. His story turns are bold and his plans will keep you guessing.

I have to say that fans new to the series or who got their introduction through the HBO series Game of Thrones should pick up at least a couple of the previous books. However, if you’re already part of those that follow the saga of Westeros and anticipate the coming of winter, there is no reason not to purchase A Dance with Dragons. It’s not only a worthy addition to this sprawling series of books, it’s one of the best.

Movie Review: Captain America: The First Avenger

I miss pulp adventure stories. I miss uncontrived, straight-forward yarns with two-fisted, dashing heroes working against megalomaniacs to rescue leggy dames. Yes, these stories were simple and could be campy or hammy or just plain boring at times, but their simplicity was a strength, their tales unfettered by an artifice of philosophy or an undercurrent of cynicism. Films like Raiders of the Lost Ark and The Rocketeer understood that broad, epic tales don’t need a lot of inscrutable layers or nuances of postmodern construction to be interesting, exciting and fun. In their tradition comes Captain America: the First Avenger.

Courtesy Paramount Pictures

The year is 1942. War is rampaging across Europe and, unbeknownst to the Allied powers, a particularly bent Nazi genius has decided he’s been chosen by the gods to conquer the planet. Meanwhile, in Brooklyn, a skinny, asthmatic and somewhat nervous kid named Steve Rogers is trying – and failing – to join the Army. At his fifth attempt, a kindly if somewhat eccentric doctor asks why a kid with his conditions is so eager to kill Nazis. “I don’t want to kill anyone,” Steve replies. “I just don’t like bullies.” That doctor gives him the opportunity to become a super-soldier, and the results of the experiments cause Steve to be reborn as Captain America.

So Steve is a nice guy. He’s a scrawny, smart and brave young man who wants to do his part to take down the biggest bully the world has ever seen but his body isn’t living up to the demands of his spirit. Who he is – the 98-pound weakling – is very different from who he wants to be. And every time he tries to face this disconnect, cross his Shadow as it were, he’s slapped down by either the bureaucracy or the closest bully. And then, he gets his chance. He crosses his Shadow. The question is, does this transformation change him?

Courtesy Paramount Pictures
Not sure what I like more: wearing fatigues over the costume, or the aw-shucks grin.

It doesn’t, and that’s what makes Captain America at once a failure and a success as a character. In terms of character growth and progression, once the procedure is complete, he’s done. He has to get used to his new proportions, strength and agility of course, but he requires no other growth to be the man he’s always wanted to be and his personality doesn’t change at all. He’s still sweet, still shy around girls, still willing to do his part and still intolerant of blind ignorance and hate. Removing his physical flaws in an artificial way, in lieu of a more gradual and familiar arc, has lead to anything interesting about the character also being removed.

At least, that’s how it should work. He should stand there as a big beefy wish fulfillment fantasy for fat Americans in the audience itching to punch out terrorists, or failing that, the nearest brown person. Yet, Captain America is actually not all that American, when you think about it. Many Americans now are belligerent, loud, violently opinionated and fervently religious folk who are primarily concerned with shouting down anybody who disagrees with the opinions fed to them by talking heads in soapbox programs that masquerade as news, and the world’s perception of the country, for better or worse, has put this greasy face on the country. Captain America, on the other hand, stays soft-spoken, confident without being arrogant, more concerned about the well-being of others than himself and uses the power he’s been given with wisdom and precision. In other words, he is what Americans could have been, and perhaps could still be if they’re willing to look past their own selfishness and strive for something better.

Courtesy Paramount Pictures
Marvel’s own Band of Brothers.

That is how the character of Captain America succeeds, and Chris Evans does a fantastic job of conveying that to the audience from beginning to end. The best part is he’s not setting out to be a paragon of decency, no more so than he’s setting out to be the guy that punches out Hitler. We get a sense of gentleness about Steve due to Chris’ performance and it’s this feeling that sets him apart from the other Marvel heroes we’ve met. He’s no less heroic, he’s just heroic in a different way. The other characters turn in great performances, from Tommy Lee Jones’ taciturn Army commander to Hugo Weaving’s calculating and cruel turn as the Red Skull. And while Hayley Atwell does a phenomenal job ensuring her character rises above simply being ‘the girl’ in the picture, at least once most audience members (and characters!) will find themselves thinking only “Hommina, hommina, hommina.”

Director Joe Johnston is very much in his element with this sort of film, and the quality of it shows. Granted, these qualities may be considered by some as belonging to throwbacks, to less intellectual fare and stories that don’t have the ‘mature’ sensibilities of the works by, say, Christopher Nolan. However, Captain America: The First Avenger doesn’t seem any less intelligent than any of the other summer flicks out there, and in fact goes about telling its story in a clean and straightforward manner without dressing things up too much with effects or spectacles. It’s not a terribly cerebral picture, sure, but it cares about a good story with good characters, and that’s more than I can say for Green Lantern or Transformers 3.

Courtesy Paramount Pictures
“Superheroes are the disease… and I… am the cure!”

Stuff I Liked: No modern music, and a fantastic score by Alan Silvestri. All cool gizmos and disposable goons you’d expect from a pulp adventure.
Stuff I Didn’t Like: Why are the German characters speaking in English all the time? I also felt Schmidt could have used a bit more in terms of motivation or development other than being the token crazy evil mastermind.
Stuff I Loved: Marvel’s subtlety in its tie-ins – a vast improvement over Iron Man 2. The earnest performances of the cast. The tightness of the screenplay. The clean shots of the action, the sweeping sense of scale and the emotion packed into a few key scenes, particularly the ending.

Bottom Line: Definitely worth seeing and for more than just the lead-up to The Avengers. Speaking of which, stay through the credits. I probably don’t have to tell you to do that anymore but I just did. It’s worth it.

IT CAME FROM NETFLIX! Bugs

Logo courtesy Netflix.  No logos were harmed in the creation of this banner.

[audio:http://www.blueinkalchemy.com/uploads/bugs.mp3]

We all need reminders from time to time. Soldiers visit war memorials to remember why we fight. You can turn on the television or look up a few political websites to remember why you vote the way you do. And when you’re involved with entertainment, especially if you review movies for one reason or another, you need to remember that they’re not all great cinematic storytelling experiences. Some of them are absolute stinking piles that not only smell on their own but give off a stench of a deeper, more intrinsic problem with the industry. To that end, I give you Bugs.

Courtesy Universal Pictures

The City (which goes unnamed out of a sense of shame) has built an ultra-modern subway sytem using ancient, as-yet-unexplored tunnels. Thanks to unscrupulous business practices, the construction crews unwittingly awakened the tunnels’ former occupants: giant prehistoric insectoid predators. One of them skewers and partially devours a police officer who was in pursuit of a dangerous transient. An FBI agent is called in when the cops think it’s the work of a serial killer, but evidence on the body prompts the agent to bring this to the attention of a smoking hot entymologist. Together with the supervisor of the tunnels’ construction and a SWAT team of expendables, they head into the darkness to exterminate the bugs.

Being an original TV movie for the Sci-Fi channel, back when it was spelled like the abbreviation for the science fiction it features, Bugs can’t be expected to attract the kind of talent or produce the sort of narrative or visual appeal in larger works. Some corners had to be cut to fit a meager budget but the biggest problems with the movie have very little to do with money. While the CGI is laughable, the acting tends to be more wooden than a carpenter’s assortment of cabinetry and the premise and plot points lifted bodily from other movies, Bugs suffers from three major issues. It’s inconsistent, derivative and, at times, utterly boring.

Hudson from Aliens!
Sorry, Hudson, it’s a bug hunt. …WHUPS! Wrong movie.

The tone of Bugs, at first, seems to lean towards that of B-movie horror, going for a semi-creepy splatterfest as opposed to anything largely cerebral. After all, thinking is for squares, daddy-O, and sometimes a flick is just there so you can turn off your brain, right? But that’s a discussion for another time. In the case of Bugs, if it maintained a bit of camp and tongue-in-cheek awareness it might have risen above the mire of other similar tripe. However more than once, Bugs tries to shift into areas that try to go for pure suspense, tension or emotion, and falls short every time.

The tongue-in-cheek feeling would also help it feel more like an amateur homage to Aliens rather than a blatant rip-off. The chitinous enemies with acidic blood and horrible means of dispatch; a rag-tag cross-section of ethnicities and genders toting guns and acting badass right up until they meet the enemy; the slimy corporate douchebag only interested in the bottom line – heck, there’s even a moment where our hero, Antonio Sabato Jr, climbs into some construction equipment to do battle with the queen. There are shout-outs to the likes of Predator as well, because why stop at ripping off one classic action flick when you can rip off several?

Angie Everhart! Courtesy ABC
I can’t find pictures from this movie anywhere, so here’s a photo of Angie Everhart instead. You’re welcome.

These two problems coupled with bad direction and a laughable script tend to defang the action and pushes the characters into a mental area of “what the hell ever, just get it over with.” What movies like Bugs and Saw’s sequels and just about any other splatterfest flick fail to grasp is that it doesn’t matter how many ways you can eviscerate a human body if we don’t give a damn about the persons inhabiting said bodies. When the badly-written and worse-acted stock characters are thrown into a meat grinder, what I presume to believe is an action thriller is reduced to a rather dull and tedious lesson in how not to make a movie. You don’t want to write, direct, act or produce in any way like what we see in Bugs.

The only thing that can be said positively is that some of the actors aren’t terrible. The foreman who heads into the tunnels he helped build is easily the best of the bunch, playing his character with reserve and aplomb in a manner clearly deserving of a better movie. Angie Everhart was never a fantastic actress, but she at least delivers her lines and manages some emotion a lot better than some of the other folks involved, and she’s always nice to look at. Our leading man only leads with chiseled handsomeness and acting skills a notch or two below Ms. Everhart’s. Everybody else is so stock they should be traded on Wall Street.

RH Thomson!
This might actually be our hero. He certainly out-acts every other member of the cast.

The writers of Bugs, Patrick J. Doody & Chris Valenziano (a.k.a. thetwojerks.com), went on from this little turd to write Silent Hill: Homecoming. This is sad on several levels. First of all, it means that with a little effort the first American Silent Hill could have been a better experience that didn’t completely miss the point of what makes Silent Hill great. In the same vein, it means that the producers of that game saw Pat & Chris’s resume and presumably their work, and judged it worthy of a Silent Hill game. The worst part about Bugs isn’t how boring it can get or the way it rips off Aliens the same way many sci-fi shooters do. The worst part is that it’s evidence that so-called producers don’t care about things like good storytelling or artistry or even decent production value. All they want to do is fleece easily-amused idiots with some shallow spectacle that deepens the pile of gold in their pockets. And if they can do it while tacking on extra cash for a 3-D experience and selling big plastic cups of barely-flavored corn syrup, so much the better, right?

Bugs as a movie is bad enough. What it implies about the entertainment industry is absolutely repugnant. If you can, stay far away from both. At least when you rent or call up a movie via Netflix, you have some control over the experience, and your entertainment is in your own hands. Go to a cinema and it’s in the hands of the executives, and they’ll drop you on your face once you hand over your money. And they’re not going anywhere. It’s a thought far more frightening than any blob of CGI scuttling towards Angie Everhart could ever be.

Josh Loomis can’t always make it to the local megaplex, and thus must turn to alternative forms of cinematic entertainment. There might not be overpriced soda pop & over-buttered popcorn, and it’s unclear if this week’s film came in the mail or was delivered via the dark & mysterious tubes of the Internet. Only one thing is certain… IT CAME FROM NETFLIX.

Meet the Amaranthine

Courtesy Machine Age Productions

Are we more than what we seem? We all walk around in similar skins, physical forms that are at once miracles of evolution and unremarkable slabs of gradually decaying meat. For ages man has posited that their existences reach beyond the ticking clock under which we all live. Man has sought gods, crafted timeless works, birthed and fathered the sciences, all in the name of creating something that lasts. Every individual knows on a basic level that our time in the world is fleeting, and at one point or another we wonder if there’s more than what we have before us.

Imagine, for a moment, that the answer is “yes”.

Amaranthine is an exploration of this answer.

The Game

Amaranthine is a tabletop role-playing game to be played with friends in a comfortable, conversational setting. It boasts no overt gimmickry, no miniatures or fancy dice. You just need a handful of six-siders. It’s the premise, mood and execution of Amaranthine that set it apart.

The premise is that the Amaranthine of the title are, in essence, immortal. Each is reincarnated over and over again throughout the ages, dying only to be born again with their knowledge intact, if tucked away in a mental steamer trunk for a few years. Contact with familiar places, lessons of the past and other Amaranthine draw out their true natures. By the time they reach young adulthood, an Amaranthine can already be operating with hundreds if not thousands of years of experience upon which to draw, yet they look no different from you or me.

Amaranthine’s mood is one of limitless potential, of destiny and the shadows. It’s an atmosphere any afficionado of the World of Darkness (old or new) will find quite familiar. Yet the Amaranthine are not monsters, and the point of the game is not to rail against one’s nature, but to embrace it. Being one of the Amaranthine means being excellent, living a life of epic proportions that mere mortals can only dream of.

The true crux of the game comes in its execution as a group-based experience. The lives of the Amaranthine, present and past, are mercurial and somewhat unpredictible. Those you consider friends now may have been rivals in a previous life, and those now your enemies may have been allies or even lovers in years gone by. These relationships and the decisions players make regarding them build a sense of scale into the game as well as helping it feel deeply personal.

The Book

A word on the quality of the printed version of Amaranthine before I get into the meat of the text. This book is, without question, gorgeous. It ranks with the best offerings of White Wolf or Wizards of the Coast. It boasts bold colors, fascinating choices in type and a comprehensive indexing system that makes information easy to find. But all that is sound and fury; the significance of the book is in what the text says, not how it looks.

The tales within the Amaranthine rulebook underscore the concepts and themes listed above. The early chapters draw players into this appealing world and give them the tools necessary to become a part of it. It concerns itself more with questions than with statistics, however: Who were you before? Who do you want to be now? Who mattered to you, and who still does? The stats systems, using the four humors as essential resources for the character, are at once familiar and unique.

Deeper in the book those brave enough to become Directors find the depiction of our world through the immortal eyes of the Amaranthine. From the ways they organize themselves to the threats they face, the book ensures a Director is well-equipped to tell a tale as sprawling or intimate as they wish. Threats to the Amarthine are describedin detail, and are not limited to creatures such as vampires, dragons and the fair folk. The Void is an ever-present aspect of the Amaranthine, to which they all must return and from which all draw strength… for a price.

The Company

I knew when I first heard David of Machine Age pitch Amaranthine that he was on to something. He and his wife Filamena have never been ones to sit idle working on gaming materials for others. They’re unafraid of the risks inherent in pursuing their own ideas and have the intestinal fortitude to see their dreams through in the face of adversity, mediocrity and doubt. They’re a couple of those troublemakers I go on about sometimes.

Their first game, Maschine Zeit, perfectly captured the dread and mystery of a quiet and horrible apocalypse of our own making. Guestbook makes playing a quick game with friends at a convention, train station or meeting so easy it seems almost shameful. Amaranthine encourages excellence, exalts in an epic scale and allows players to explore and answer questions about their own natures just as much as it pits them against creatures of the night and wonders from childhood myth.

Amaranthine is a high-quality, deep-concept gaming experience that I Would recommend to anybody even remotely interested in a modern setting for a tabletop role-playing group, and if it doesn’t put Machine Age firmly and permanently on the map of leading pen-and-paper game producers, it bloody well should.

Buy Amaranthine:

DriveThru RPG
Pre-Order the Book

Game Review: Duels of the Planeswalkers 2012

Courtesy Wizards of the Coast

Outside of the card game, Magic the Gathering seems to be a case of ‘never as sweet as the first time’ for me. The first novel, Arena, seems to be one of the best they’ve released. I read the most recent one, Quest for Karn, and… let’s just say it’s hard for me to believe an editor even gave it a cursory glance before it was pushed out the door.

Likewise, the original Magic: the Gathering PC game left me with some good memories. Looking back some things could have been done differently with it. The technology of the game was quickly outstripped by the PCs that came out, it was never a complete and total joy to look at and it only ever got two official expansions to compliment its original card set. Some user mods have come out since then. But Wizards has proceeded with its own game development, and the most recent ‘new’ title is Duels of the Planeswalkers 2012.

The story in the game, such as it is, is relayed in the opening cinematic of the game. Planeswalker Gideon Jura is facing off against legendary dragon Nicol Bolas, who’s lately becoming the favorite big bad of Magic’s developers. While he’s gotten himself into a pretty bad situation, Gideons’s apparently made some friends, other planeswalkers who team up with him. This is pretty much the in-game explanation for the new mode in the game, Archenemy.

Mechanically speaking, there’s nothing wrong with Duels of the Planeswalkers. It’s a good and accurate representation of the card game, from the execution of turns to the utter frustration of having a great combination countered or a key creature sent to your discard pile. And all without having to break your bank buying new cards! As you defeat other planeswalkers in the course of the standard campaign, you not only unlock new cards in the deck you’re using but their decks as well. You can switch decks, customize the loadout in each deck and see what cards you have yet to unlock in the Deck Customization screen. While the cards unlock themselves through gameplay, there’s the option to pay for it if you’re feeling lazy.

However, these cards remain within their decks. It might be a dealbreaker for some that you can’t swap these cards around or make custom decks. You are also somewhat constrained by the formats in the game. Unlike the current iteration of Magic Online, there are no tournaments or drafts for you to participate in. You have standard games, Free-for-alls and of course Archenemy.

Courtesy Wizards of the Coast
Just remember, even when it’s 3 on 1, the computer’s a cheating bastard.

Like the real-world iteration, Archenemy pits you and a pair of friends against an opponent with a larger life pool and the support of Schemes. Your friends can be living people through Steam or X-Box live, or AI partners like those found in the single-player campaign. It provides just enough variation on the standard gameplay to keep things interesting.

It lacks the story, open-world feel and RPG elements of the first Magic PC game, and even the capability for a personalized deck provided by Magic Online. Still, it’s a cost-effective way for a fan of the card game to get their fix without something unfortunate happening to the rent money.

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