In accordance to me having not posted anything in two months, I intend on returning with a more steady flow of aspiration as to not burn out. Perhaps ever week or two. I'll figure it out as I go along. Anyway...
I have a bunch of mini-reviews to gain fervor for my return, as I have done a great many things that I would like to review in the future, but figured snippits of some less noteworthy things still deserved merit.
The Time Traveler's Wife was a chick flick my girlfriend brought me to see as payment for bringing her to see District 9--which I am not reviewing because everyone and their dog has seen it and knows it's pretty much balls tight--and that I was vaguely interested in and I'm a naive Doctor Who fan who drools at the thought of time traveling. The acting was pretty good, but the writing was all off and while the directing had some decent shots, most of it was lackluster. If you want to see basically that same story but done way better, see the "Silence in the Library"/"Forest of the Dead" story from season four of Doctor Who. The only thing they missed was having Ron Livingston in it. On a personal level, I have a new girlfriend.
Dexter seasons 1-3 had been on my list of things to finish, and having seen all three seasons I believe each one was better than the last. The writing, directing, and acting are always spot on in the show and Michael C. Hall couldn't be a better fit to Dexter Morgan. The story grows with each season, and the character of Dexter follows real development. It's obvious at times that the series is based on novels with quirks in the writing or the presentation of something, but not too much and not too often. I can't wait to start watching season four.
Weeds seasons 1-5 was equally good as Dexter, but for slightly different reasons. The writing was, like Dexter, very well done. I prefer Brian Dannelly as a director, and the cast is stronger overall. Mary Louis-Parker and Hunter Parish were both amazing in Angels In America, and their performances in Weeds do not disappoint. Kevin Nealon is a favorite for his pure comedic value in the show. The progression as the show is the driving force of the plot, as opposed to Dexter's character-drive one. On my top three shows to follow.
No Hero by Warren Ellis is a comic book my ex-girlfriend got me into before we had started dating. Written by the same guy who wrote Crooked Little Vein, the comic is about a world where a league of super-heroes actually exists. They're not like Marvel or DC heroes, but rather in the 70s, there was a drugged formed that pretty much makes you trip out so bad it gives you super powers. Everyone gets different powers, but they are all strengthened to the point of immortality. The issue is, someone's found a way to kill them and they're throwing a fit. The art in it is really interesting, and the writing is very cool. The ending seemed like a giant disappointment to me, so I'm not sure how I can recommend the eight-issue comic, seeming as how it all builds to...blah. Just blah.
Other quick words:
Mass Effect DLC - Pinnacle Station (Xbox 360) is kind of dumb.
Left 4 Dead 2 Demo (Xbox 360) looks cooler than expected, but you're still paying full price on the exact same game.
BlazBlue: Calamity Trigger (Xbox 360/PlayStation 3) is a competent 2D fighter from the makers of Guilty Gear with a tricky control set-up. Worth it if you like 2D fighters.
Rock Band: The Beatles (Xbox 360/PlayStation 3/Wii) is a Rock Band game with lots of The Beatles, and yet somehow not enough. If you know you'll like it, it's worth it.
Dead Rising (Xbox 360) is a zombie sandbox I replayed and got the true ending for the first time. The story is laughable, but the game is still fun as hell.
Later on, according to a new schedule I will eventually make, there will be longer words on these, in no particular order:
Brütal Legend (Xbox 360/PlayStation 3)
Borderlands (Xbox 360/PlayStation 3)
The Darkness (Xbox 360/PlayStation 3)
Earthbound (Super Nintendo Entertainment System)
The Conduit (Wii)
The Big Lebowski (1998)
Boondock Saints II: All Saints Day (2009)
..among other things.
It's good to be back.
-Evan "Dez" O'Connor
Saturday, October 31, 2009
Wednesday, August 5, 2009
Word to your Mothership
So again Fallout 3 has supposedly come out with its last piece of downloadable content and again I have come to finish it in a day and subsequently review it. Let's not waste any time.
Mothership Zeta is the fifth DLC released for the Xbox 360 and will eventually be released on the PlayStation 3. Among the shortest contents released, the story of it is that you're released by hobby-horse-building aliens and must escape. Complete with finding and rescuing cryogenically frozen samurai, cowboys, astronauts, and Alaskan soldiers; exploding alien generators, and an outerspace dogfight. It was obviously pretty sick. My biggest complaint is that the Mothership Zeta is, at times, goddamn impossible to navigate the hallways. Some items are impossible to pick up except at a certain time when you're not even looking for it unless you checked the Fallout wiki before hand. Other than that, the add-on is short and sweet.
Being the shortest DLC with only about three hours of gameplay, it could be argued it's not worth the 800 Microsoft Points (ten dollars) but those people arguing that obviously don't know what they're talking about. What it may be worth to do is waiting until October when Fallout 3: Game of the Year Edition comes out with all the DLCs with it. I have spent a total of $110 on everything, where if I waited till October it would have been $60. Despite what everyone may think, it was totally worth it. For those who haven't picked it up, the GOTY is going to be a must-buy. Time to tell those mommies and daddies what you want for Christmas.
-Evan "Dez" O'Connor
Mothership Zeta is the fifth DLC released for the Xbox 360 and will eventually be released on the PlayStation 3. Among the shortest contents released, the story of it is that you're released by hobby-horse-building aliens and must escape. Complete with finding and rescuing cryogenically frozen samurai, cowboys, astronauts, and Alaskan soldiers; exploding alien generators, and an outerspace dogfight. It was obviously pretty sick. My biggest complaint is that the Mothership Zeta is, at times, goddamn impossible to navigate the hallways. Some items are impossible to pick up except at a certain time when you're not even looking for it unless you checked the Fallout wiki before hand. Other than that, the add-on is short and sweet.
Being the shortest DLC with only about three hours of gameplay, it could be argued it's not worth the 800 Microsoft Points (ten dollars) but those people arguing that obviously don't know what they're talking about. What it may be worth to do is waiting until October when Fallout 3: Game of the Year Edition comes out with all the DLCs with it. I have spent a total of $110 on everything, where if I waited till October it would have been $60. Despite what everyone may think, it was totally worth it. For those who haven't picked it up, the GOTY is going to be a must-buy. Time to tell those mommies and daddies what you want for Christmas.
-Evan "Dez" O'Connor
Monday, August 3, 2009
The Pledge to Never Drink Again
I know everyone's expecting my first/second day review on Fallout 3's latest expansion, Mothership Zeta, but I haven't been home and I don't have my Xbox. So wait two more days. What people are getting to get is a review on a movie that everyone has either seen or made their opinion of by now. I really wanted to see it if only for the reasons as it has an interesting premise, it was attention grabbing, and I liked one of the actors in it.
The Hangover (2009) came out this past June and became an instant hit and was being hailed as the summer comedy of 2009. It holds such distinctions of being the highest-grossing R-rated comedy ever, breaking the record held by Beverly Hills Cop for nearly twenty-five years. It had Mike Tyson in it. You have heard of this movie if you have not seen this movie if you have not seen this movie multiple times. It was a huge success. I am talking to myself in this review. But no matter--here is what I thought about it, starting with a basic assessment, per my three reasons for wanting to see it: it looked interesting, attention-grabbing, and it had a good actor in it.
Was The Hangover interesting? No. Not, it was not. The "We got drunk and forgot about everything we did; lets try to piece it all together" premise has been declared legally dead and, you sirs, have just committed a gross act of necrophilia. What you did was make it look interesting. Very good job of making the trailers look as such. It got you tons of money. But the movie itself was not all that interesting. But...
Was The Hangover attention-grabbing? Hell yes. Absoument. The unbelievable chaos that is created in the lives of the four friends in the movie is way more than a car wreck--wanting to look away while being unable. My girlfriend mused that it was like Fear and Loathing in Las Vegas with the scary stuff removed and being replaced with funny stuff; then it became 21. My feelings is that they read the Worst Case Scenario Survival Handbook: Las Vegas Edition and made a movie about it. Either way, it grabs you by your metaphorical testicles and forces you to endure it in its entirety.
For who I wanted to see in the movie, I was referring to Zach Galifinakis. I've been a fan of him since I was in high school and saw his Comedy Central thirty-minute special, and even when Eliza Dushku was talking to dead people (see Tru Calling). I was excited to see him get some decent work--especially such work that grosses ten times its budget. But was he in the right role? No, I don't think he was. The character of Alan was funny, and his style is even kind of matched with Galifinakis, but Galifinakis' style as to always be smart with an odd quirk or dozen, but all around an intelligent human being who occassionally does or says a dimwitted or awkward thing. His role of Alan matched the second part but lacked all the intelligence, saving for the part where he counts cards in black jack. It was the polar opposite of Zach, where he is smart most of the time and quirky less. He did what he could with the role, I guess.
The writing of Jon Lucas, Scott Moore, Todd Phillips, and Jeremy Garelick coupled with Phillips' directing made for a really good show. My problem is that I don't think I was set up properly for it. The movie was horrifying. I wanted to laugh, not be frightened. The things you see happening or about to happen, or narrowly missed is goddamn awful. They're already planning a sequel and I'm terrified to see what happens next time. All the claims that it's the highest-grossing R-rated comedy ever is a misnomer--this movie is up there with Funny Games in terms of horror in the way of is if these things were actually happening to you, you would be scared out of your skull. If only for the creepy Asian dude.
-Evan "Dez" O'Connor
The Hangover (2009) came out this past June and became an instant hit and was being hailed as the summer comedy of 2009. It holds such distinctions of being the highest-grossing R-rated comedy ever, breaking the record held by Beverly Hills Cop for nearly twenty-five years. It had Mike Tyson in it. You have heard of this movie if you have not seen this movie if you have not seen this movie multiple times. It was a huge success. I am talking to myself in this review. But no matter--here is what I thought about it, starting with a basic assessment, per my three reasons for wanting to see it: it looked interesting, attention-grabbing, and it had a good actor in it.Was The Hangover interesting? No. Not, it was not. The "We got drunk and forgot about everything we did; lets try to piece it all together" premise has been declared legally dead and, you sirs, have just committed a gross act of necrophilia. What you did was make it look interesting. Very good job of making the trailers look as such. It got you tons of money. But the movie itself was not all that interesting. But...
Was The Hangover attention-grabbing? Hell yes. Absoument. The unbelievable chaos that is created in the lives of the four friends in the movie is way more than a car wreck--wanting to look away while being unable. My girlfriend mused that it was like Fear and Loathing in Las Vegas with the scary stuff removed and being replaced with funny stuff; then it became 21. My feelings is that they read the Worst Case Scenario Survival Handbook: Las Vegas Edition and made a movie about it. Either way, it grabs you by your metaphorical testicles and forces you to endure it in its entirety.
For who I wanted to see in the movie, I was referring to Zach Galifinakis. I've been a fan of him since I was in high school and saw his Comedy Central thirty-minute special, and even when Eliza Dushku was talking to dead people (see Tru Calling). I was excited to see him get some decent work--especially such work that grosses ten times its budget. But was he in the right role? No, I don't think he was. The character of Alan was funny, and his style is even kind of matched with Galifinakis, but Galifinakis' style as to always be smart with an odd quirk or dozen, but all around an intelligent human being who occassionally does or says a dimwitted or awkward thing. His role of Alan matched the second part but lacked all the intelligence, saving for the part where he counts cards in black jack. It was the polar opposite of Zach, where he is smart most of the time and quirky less. He did what he could with the role, I guess.
The writing of Jon Lucas, Scott Moore, Todd Phillips, and Jeremy Garelick coupled with Phillips' directing made for a really good show. My problem is that I don't think I was set up properly for it. The movie was horrifying. I wanted to laugh, not be frightened. The things you see happening or about to happen, or narrowly missed is goddamn awful. They're already planning a sequel and I'm terrified to see what happens next time. All the claims that it's the highest-grossing R-rated comedy ever is a misnomer--this movie is up there with Funny Games in terms of horror in the way of is if these things were actually happening to you, you would be scared out of your skull. If only for the creepy Asian dude.
-Evan "Dez" O'Connor
Friday, July 31, 2009
Burseraceae
As much as I like British television, the BBC doesn't appear to like me. Their exporting of television borders on the completely unreasonable. I watched Being Human and was all about to write a review on the pilot, but it turned out to not be the actual pilot, and the whole first season had already been aired in England. The Doctor Who Easter special just recently aired here in the states, even. But for once--one shining moment--we were allowed to see some British programing in the same month as the Brits.
Torchwood: Children of Earth (2009) is the third season of the Doctor Who anagramtastic spin-off, Torchwood. The show did something similar to Doctor Who while only having five episodes, but where The Doctor is technically still clinging to its season four title, jumble up the letters a bit and Torchwood is had a five-part mini-series for its entire third season and all the episodes were broadcasted on consecutive nights. The show is different from Doctor Who such that it is much darker with lots of death, brutality, cursing, sex, and homosexuality. After spinning off after Doct Who's second season, the show has tied into the show relatively closely, using occasional mentioning of The Doctor, and even has Martha Jones as a guest in several episodes in season two. The prior two seasons were good enough to be associated with its former show, and the third season--even at half the length of a normal season and only one continuous story--was looking pretty goddamn good.
The story of Children of Earth is that all the children in the world stop moving and speaking in unison, heralding the arrival of visitors from outer space. The remaining members of Torchwood, Captain Jack Harkness (John Barrowman), Gwen Cooper (Eve Myles), and Ianto Jones (Gareth David-Lloyd) begin to investigate the occurrence when The Hub--their base of operations--blows up at the hands of the British government. Oh, yeah, and the bomb was inside Jack Harkness. The story continues through the next four episodes with driving action and story, and I really don't want to spoil anything, but it is absolutely worth watching.
The writing of Russell T. Davies is even better than a lot of his work with Doctor Who, and Eyros Lyn's directing is just as good as his best Who work. The acting was everything you'd come to expect from Torchwood, especially on the part of the children. One of my biggest peeves is that children actors can ruin segments of a show, such as some scenes of another favorite of mine: Weeds. But the kids in Children of Earth did really well; they were believable in the way that they were being possessed one minute and joking about it and not seeing the seriousness of all of it the next. The acting of Barrowman, Myles, and David-Lloyd rocked. Some of the parts were very emotional and the characters experienced great loss and sacrifice--and everyone pulled it off sublimely. Bringing Torchwood from Cardiff to London was a change from the series, but the mini-series was a great way in which to do that.
Davies has said that season four is ready to go so long as BBC signs off on it, and they would be feels not to. The show has a lot of life left in it, as does its predecessor, Doctor Who. Series in this canon have proven they can withstand massive cast changes, and Torchwood is ready.
-Evan "Dez" O'Connor
Torchwood: Children of Earth (2009) is the third season of the Doctor Who anagramtastic spin-off, Torchwood. The show did something similar to Doctor Who while only having five episodes, but where The Doctor is technically still clinging to its season four title, jumble up the letters a bit and Torchwood is had a five-part mini-series for its entire third season and all the episodes were broadcasted on consecutive nights. The show is different from Doctor Who such that it is much darker with lots of death, brutality, cursing, sex, and homosexuality. After spinning off after Doct Who's second season, the show has tied into the show relatively closely, using occasional mentioning of The Doctor, and even has Martha Jones as a guest in several episodes in season two. The prior two seasons were good enough to be associated with its former show, and the third season--even at half the length of a normal season and only one continuous story--was looking pretty goddamn good.The story of Children of Earth is that all the children in the world stop moving and speaking in unison, heralding the arrival of visitors from outer space. The remaining members of Torchwood, Captain Jack Harkness (John Barrowman), Gwen Cooper (Eve Myles), and Ianto Jones (Gareth David-Lloyd) begin to investigate the occurrence when The Hub--their base of operations--blows up at the hands of the British government. Oh, yeah, and the bomb was inside Jack Harkness. The story continues through the next four episodes with driving action and story, and I really don't want to spoil anything, but it is absolutely worth watching.
The writing of Russell T. Davies is even better than a lot of his work with Doctor Who, and Eyros Lyn's directing is just as good as his best Who work. The acting was everything you'd come to expect from Torchwood, especially on the part of the children. One of my biggest peeves is that children actors can ruin segments of a show, such as some scenes of another favorite of mine: Weeds. But the kids in Children of Earth did really well; they were believable in the way that they were being possessed one minute and joking about it and not seeing the seriousness of all of it the next. The acting of Barrowman, Myles, and David-Lloyd rocked. Some of the parts were very emotional and the characters experienced great loss and sacrifice--and everyone pulled it off sublimely. Bringing Torchwood from Cardiff to London was a change from the series, but the mini-series was a great way in which to do that.
Davies has said that season four is ready to go so long as BBC signs off on it, and they would be feels not to. The show has a lot of life left in it, as does its predecessor, Doctor Who. Series in this canon have proven they can withstand massive cast changes, and Torchwood is ready.
-Evan "Dez" O'Connor
Thursday, July 30, 2009
Co-headline
It's kind of clear that I review most of the same stuff over and over. Video games, movies, television, with an occasional review of a book or a restaurant. I try to be eclectic in my reviews, not always jerking off in the name of self-indulgence and actually talk about "new" and "interesting" things that people other than myself care about. With that in mind, I decided to write a review on two music albums that I find myself interested enough in to listen to that have been released in the last month.
Killswitch Engage II by Killswitch Engage (2009) is the second self-titled album by New England metalcore act, Killswitch Engage. To start, I need to bring up my personal biases by stating that I love Killswitch Engage. I've seen them live several times, hung out with Howard Jones (the singer of the group) worked many shows for them back when I worked for Roadrunner Records, and even have a line from one of their songs tattooed on my leg. So yeah; it's safe to say I'm a fan. Looking back, their first studio album, Alive or Just Breathing, and The End of Heartache were some of my favorite albums in high school, and As Daylight Dies rocked--but perhaps not as hard as the other two did.
Killswitch Engage II continued the unfortunate downfall set up for the music set up by 2006's release. From listening to the album for the better part of a month, it is very unimpressive. The writing and guitar work present in all their other work is severely understated, and the songs get downright repetitive. There are a few songs on the album that kick it up to something on par to what they usually do, but the songs are incredibly short. Some of the tracks on the new album are barely two and a half minutes long, which don't work with the slower pace of the songs present in this album. There are about two songs that stick in my head as being good, both of them very near the end of the album, and this is after trying very hard to find something about this album I liked.
Tri-Polar by the Sick Puppies (2009) is the Australian rock band's second major studio release, and again I love all that I had heard before from them. Dressed Up As Life was one of my favorite albums of 2007. So imagine my disappointment when another album from another band that I consider myself a fan of releases another (relatively) crap album two weeks after my favorite metalcore act.
This album does have a few more songs saving it from being all-around crap, but the first half of the album is near unlistenable if you're looking for the clever writing of their prior album. The vocals for the first half ot the album is also disagreeable--just shouting. Not screaming a la Killswitch Engage or Bleeding Through, and not the singing from the first album. It was just plain non-melodic shouting and that's not fun to listen to. The second half of the album is saved, and is more like the Sick Puppies of old. It's saved, but barely.
Both of these albums are good in their own rights. The problem I have is that neither of them meet up to the potential the bands have working for them, and it's clear in the music. This is why I rarely buy CDs anymore.
In news of upcoming reviews, it depends on how far I get in certain games, what movies or television I have time to watch, or books I spend time reading. I've been told my retro reviews are fun, so expect a review on one of my favorite video game series at some point, as well as some classic games I haven't played until recently. Pseudo-obscure movies are going to be big as always, and reviews of British mini-series and television pilots.
-Evan "Dez" O'Connor
Killswitch Engage II by Killswitch Engage (2009) is the second self-titled album by New England metalcore act, Killswitch Engage. To start, I need to bring up my personal biases by stating that I love Killswitch Engage. I've seen them live several times, hung out with Howard Jones (the singer of the group) worked many shows for them back when I worked for Roadrunner Records, and even have a line from one of their songs tattooed on my leg. So yeah; it's safe to say I'm a fan. Looking back, their first studio album, Alive or Just Breathing, and The End of Heartache were some of my favorite albums in high school, and As Daylight Dies rocked--but perhaps not as hard as the other two did. Killswitch Engage II continued the unfortunate downfall set up for the music set up by 2006's release. From listening to the album for the better part of a month, it is very unimpressive. The writing and guitar work present in all their other work is severely understated, and the songs get downright repetitive. There are a few songs on the album that kick it up to something on par to what they usually do, but the songs are incredibly short. Some of the tracks on the new album are barely two and a half minutes long, which don't work with the slower pace of the songs present in this album. There are about two songs that stick in my head as being good, both of them very near the end of the album, and this is after trying very hard to find something about this album I liked.
Tri-Polar by the Sick Puppies (2009) is the Australian rock band's second major studio release, and again I love all that I had heard before from them. Dressed Up As Life was one of my favorite albums of 2007. So imagine my disappointment when another album from another band that I consider myself a fan of releases another (relatively) crap album two weeks after my favorite metalcore act. This album does have a few more songs saving it from being all-around crap, but the first half of the album is near unlistenable if you're looking for the clever writing of their prior album. The vocals for the first half ot the album is also disagreeable--just shouting. Not screaming a la Killswitch Engage or Bleeding Through, and not the singing from the first album. It was just plain non-melodic shouting and that's not fun to listen to. The second half of the album is saved, and is more like the Sick Puppies of old. It's saved, but barely.
Both of these albums are good in their own rights. The problem I have is that neither of them meet up to the potential the bands have working for them, and it's clear in the music. This is why I rarely buy CDs anymore.
In news of upcoming reviews, it depends on how far I get in certain games, what movies or television I have time to watch, or books I spend time reading. I've been told my retro reviews are fun, so expect a review on one of my favorite video game series at some point, as well as some classic games I haven't played until recently. Pseudo-obscure movies are going to be big as always, and reviews of British mini-series and television pilots.
-Evan "Dez" O'Connor
Tuesday, July 21, 2009
Preyers
Most everyone has that game that is "the reason" they bought a next-generation console. Some people got it launch for no reason, sure, but the rest of us needed a reason to cash-in on our PS2s for the Xbox 360. For me, it was two games: Elder Scrolls IV: Oblivion, and a crazy first-person shooter that my tattoo artist introduced me to in my first hands-on experience with a 360.
Prey (2006) was a game that was supposed to be released around the same time as Duke Nukem Forever, but OH SNAP Prey ended up coming out after all. Belonging to the vaporware headliners, 3D Realms, the game was in production since 1995, originally supposed to be for the Nintendo 64. The main character went through name changes, the soundtrack went from KMFDM to something less industrial, and the graphics became some of the best I've ever seen on the Xbox 360--especially dating back to 2006. The demo had the first two levels and a bunch of multiplayer levels. The main reason this wasn't released thirteen years ago as opposed to only three years ago was what the game engine needs: variable gravities, portals that Valve would have trouble sinking their teeth into, and reflections in mirrors and the aforementioned portals that reality can barely talk shit to.
The story of the game is thus: you are a prick Cherokee who wants your girlfriend to move away from the reservation. She, along with your traditional Native American grandfather, like being a Cherokee and want to stay. Before you can start arguing too much about whether or not Cherokee beliefs are crap or not, aliens abduct you, kill your grandfather, and you must embrace your Cherokee abilities in stepping outside of your body, coming back to life after death, and following your dead pet hawk's ghost around. The shooting is functional, in the way that enemies fall down when you shoot them. The rest of the gameplay--especially the groundbreaking ones--work really well with environmental puzzles usually involving you needing to flip the gravity in the room, go through a specific portal, or use your out-of-body experiences to walk through otherwise impenetrable forcefields and press a button to turn them off.
The plot of the game definitely keeps you coming back, and is nearly absent of the frustrating segments that make some shooters near unplayable. Your ability to not die is done by every time you do die, you have to shoot some flying things with a bow and arrow to build your life back up, and then you respawn exactly where you were. A good way to avoid frustration while keeping the mid-life spat short and engaging, but, like a hooker on a virgin, it does suck all the challenge out of the game out. The only challenge of the game exists before you get the ability to access the spirit world and come back to life after shooting the Disgraced Ancestor, at least on Cherokee difficulty because the only difference between the two settings is that the harder one doesn't have health pick-ups. The story claiming that we're a species of seed planted by alien races so they could feed seems a bit far-reaching for aliens. There are far easier ways to make food.
The multiplayer is under-played now, and never really set worlds on fire in the first place. The game is much like The Darkness with its slightly innovative ideas (gravity shifting in Prey, imp crazy in The Darkness) still were not beating Gears of War and Halo 3--there were no Prey clans. Forgoing this one tacked one aspect of what fills the title of "the game", it is one of the most under-appreciated gems in the world of first person shooters.
The game received better than average reviews at the time of its release and has gotten several review references in my personal favorite, Zero Punctuation, as a good game. I've bought some titles for only that: nothing, but random random game cases that pop up whenever Yahtzee spouts off the words "good game" (by the way, expect a review of Beyond Good and Evil for the PS2 coming soon). But this game has a super low price tag (as does Beyond Good and Evil--find out if it's worth it, in the future when I finish it and write a review) so it's only a couple of bucks to play a great game.
When I bought an Xbox 360 and my two choice games it cost me, after Target employee discounts and Best Buy Rewards, three hundred dollars. This included the Xbox 360 Pro back when it was $400, Prey when it was priced at $59.99, and Elder Scrolls IV: Oblivion Limited Edition was priced at $70. I got an awesome deal, even considering I've spent another hundred dollars on a new Elite and another four dollars on rebuying Prey after it became another casualty to the games that got traded in to something even more awesome, as I traded it towards Fallout 3. I was without the game for less than a year, and had to rebuy it--despite its flaws.
-Evan "Dez" O'Connor
Prey (2006) was a game that was supposed to be released around the same time as Duke Nukem Forever, but OH SNAP Prey ended up coming out after all. Belonging to the vaporware headliners, 3D Realms, the game was in production since 1995, originally supposed to be for the Nintendo 64. The main character went through name changes, the soundtrack went from KMFDM to something less industrial, and the graphics became some of the best I've ever seen on the Xbox 360--especially dating back to 2006. The demo had the first two levels and a bunch of multiplayer levels. The main reason this wasn't released thirteen years ago as opposed to only three years ago was what the game engine needs: variable gravities, portals that Valve would have trouble sinking their teeth into, and reflections in mirrors and the aforementioned portals that reality can barely talk shit to.The story of the game is thus: you are a prick Cherokee who wants your girlfriend to move away from the reservation. She, along with your traditional Native American grandfather, like being a Cherokee and want to stay. Before you can start arguing too much about whether or not Cherokee beliefs are crap or not, aliens abduct you, kill your grandfather, and you must embrace your Cherokee abilities in stepping outside of your body, coming back to life after death, and following your dead pet hawk's ghost around. The shooting is functional, in the way that enemies fall down when you shoot them. The rest of the gameplay--especially the groundbreaking ones--work really well with environmental puzzles usually involving you needing to flip the gravity in the room, go through a specific portal, or use your out-of-body experiences to walk through otherwise impenetrable forcefields and press a button to turn them off.
The plot of the game definitely keeps you coming back, and is nearly absent of the frustrating segments that make some shooters near unplayable. Your ability to not die is done by every time you do die, you have to shoot some flying things with a bow and arrow to build your life back up, and then you respawn exactly where you were. A good way to avoid frustration while keeping the mid-life spat short and engaging, but, like a hooker on a virgin, it does suck all the challenge out of the game out. The only challenge of the game exists before you get the ability to access the spirit world and come back to life after shooting the Disgraced Ancestor, at least on Cherokee difficulty because the only difference between the two settings is that the harder one doesn't have health pick-ups. The story claiming that we're a species of seed planted by alien races so they could feed seems a bit far-reaching for aliens. There are far easier ways to make food.
The multiplayer is under-played now, and never really set worlds on fire in the first place. The game is much like The Darkness with its slightly innovative ideas (gravity shifting in Prey, imp crazy in The Darkness) still were not beating Gears of War and Halo 3--there were no Prey clans. Forgoing this one tacked one aspect of what fills the title of "the game", it is one of the most under-appreciated gems in the world of first person shooters.
The game received better than average reviews at the time of its release and has gotten several review references in my personal favorite, Zero Punctuation, as a good game. I've bought some titles for only that: nothing, but random random game cases that pop up whenever Yahtzee spouts off the words "good game" (by the way, expect a review of Beyond Good and Evil for the PS2 coming soon). But this game has a super low price tag (as does Beyond Good and Evil--find out if it's worth it, in the future when I finish it and write a review) so it's only a couple of bucks to play a great game.
When I bought an Xbox 360 and my two choice games it cost me, after Target employee discounts and Best Buy Rewards, three hundred dollars. This included the Xbox 360 Pro back when it was $400, Prey when it was priced at $59.99, and Elder Scrolls IV: Oblivion Limited Edition was priced at $70. I got an awesome deal, even considering I've spent another hundred dollars on a new Elite and another four dollars on rebuying Prey after it became another casualty to the games that got traded in to something even more awesome, as I traded it towards Fallout 3. I was without the game for less than a year, and had to rebuy it--despite its flaws.
-Evan "Dez" O'Connor
Thursday, July 16, 2009
Backspaced
Growing up, I thought British television was kind of lame. I didn't understand all the jokes, the accents bugged me (as a pre-teen/teenage watcher of television), and the quality of film always looked about ten years behind anything America was making. Now, of course, I realized how I wrong I was--despite still cringing anytime Absolutely Fabulous is mentioned. From my previous reviews, you know that I at least watch an unhealthy amount of Doctor Who, and presumably Torchwood. Past that, the only mention of British film is Simon Pegg who I will watch nearly anything he's been in. Case and point:
Spaced (1999-2001) was the underappreciated sitcom belonging to Simon Pegg, Jessica Hynes, and Edgar Wright--two writer/actors, and a director. To preface, this is the most recent thing I've watched despite it being the thing that gave all of them their names in show business. BBC gave nothing to the show, wishing it would just go away. They had a crappy time-slot, crappy advertising, and even went on hiatus for over a year in between the two seasons of the show. The show didn't even come back until after it became a huge hit and BBC begged them to come back, singing their praises. Spaced deserved praises to begin with. It's a show about two near-strangers looking for a place to live and pretend to be a professional couple so they can get an apartment together to ward off the fight of homelessness. They move in with creepy landlady, sketchy artist, and some friends drop by from time to time. And, oh, there are pop culture references galore, making the show fun for anyone who has watched and enjoyed anything from the 90s.
My roommate says I should leave this review with "Spaced is awesome" and end it, but I like to think I am somewhat more legitimate than that so I have to write a full review. The writing of the show by Simon Pegg and Jessica Hynes is done superbly. The pop culture references, the comedy, and--highlight--the impromptu gunfight in season two, among other amazing sequences all make the show unstoppable to watch. Edgar Wright's directing is equally well-done, showing his roots for his films like Shaun of the Dead and Hot Fuzz. The series is often shot like a film, and (in an unusual choice for a television show) only uses one camera. Even the electronic soundtrack, which usually bugs the hell out of me, fit really well with the show and the near-constant drug references.
The acting by the Brits is what you would expect from Simon Pegg and his ilk. Pegg plays the perfect comic book/video game nerd (trust me, I know). Hynes plays the over-talkative, naive, a tad unstable crazy chick to a tee. Nick Frost as the gun enthusiast who stole a tank and tried to invade Paris before getting side-tracked in EuroDisney is a stroke of genius by the writers, director, and the actor himself. Mark Heap as the sketchy artist adds so much to the dynamic, especially when Pegg and Frost corrupt him little by little. The landlady played by Julia Deakin adds another creepy vibe, but in a different way. The part of the uppity fashion designer played by Katy Carmichael is actually really irritating, and I'm actually glad her part was relatively small. Otherwise, the cast does nothing but good in the name of comedy.
The season starts perfect and continues on in crescendos and pointless episodes that are still super entertaining. The series finale, on the other hand, seems to be one of the weakest episodes of the series. A third season has been rumored since 2001, even eight years later. I almost hope they don't, only because reviving a show after so long with the same actors--who would all love to regroup--would lose a lot, considering they explained the year-long hiatus...how do you explain one for eight plus? For the DVD portion of the show, my favorite part of it has to be the Homage-o-meter, which works like subtitles, but instead of seeing what they're saying, it tells you what pop-culture reference they're making in every scene. The hefty price tag of the British import DVD is well worth it.
As a side note, if anyone can score me a copy of the god awful pilot for the American version, let me know. I have a morbid curiosity that must be quenched.
-Evan "Dez" O'Connor
Spaced (1999-2001) was the underappreciated sitcom belonging to Simon Pegg, Jessica Hynes, and Edgar Wright--two writer/actors, and a director. To preface, this is the most recent thing I've watched despite it being the thing that gave all of them their names in show business. BBC gave nothing to the show, wishing it would just go away. They had a crappy time-slot, crappy advertising, and even went on hiatus for over a year in between the two seasons of the show. The show didn't even come back until after it became a huge hit and BBC begged them to come back, singing their praises. Spaced deserved praises to begin with. It's a show about two near-strangers looking for a place to live and pretend to be a professional couple so they can get an apartment together to ward off the fight of homelessness. They move in with creepy landlady, sketchy artist, and some friends drop by from time to time. And, oh, there are pop culture references galore, making the show fun for anyone who has watched and enjoyed anything from the 90s.My roommate says I should leave this review with "Spaced is awesome" and end it, but I like to think I am somewhat more legitimate than that so I have to write a full review. The writing of the show by Simon Pegg and Jessica Hynes is done superbly. The pop culture references, the comedy, and--highlight--the impromptu gunfight in season two, among other amazing sequences all make the show unstoppable to watch. Edgar Wright's directing is equally well-done, showing his roots for his films like Shaun of the Dead and Hot Fuzz. The series is often shot like a film, and (in an unusual choice for a television show) only uses one camera. Even the electronic soundtrack, which usually bugs the hell out of me, fit really well with the show and the near-constant drug references.
The acting by the Brits is what you would expect from Simon Pegg and his ilk. Pegg plays the perfect comic book/video game nerd (trust me, I know). Hynes plays the over-talkative, naive, a tad unstable crazy chick to a tee. Nick Frost as the gun enthusiast who stole a tank and tried to invade Paris before getting side-tracked in EuroDisney is a stroke of genius by the writers, director, and the actor himself. Mark Heap as the sketchy artist adds so much to the dynamic, especially when Pegg and Frost corrupt him little by little. The landlady played by Julia Deakin adds another creepy vibe, but in a different way. The part of the uppity fashion designer played by Katy Carmichael is actually really irritating, and I'm actually glad her part was relatively small. Otherwise, the cast does nothing but good in the name of comedy.
The season starts perfect and continues on in crescendos and pointless episodes that are still super entertaining. The series finale, on the other hand, seems to be one of the weakest episodes of the series. A third season has been rumored since 2001, even eight years later. I almost hope they don't, only because reviving a show after so long with the same actors--who would all love to regroup--would lose a lot, considering they explained the year-long hiatus...how do you explain one for eight plus? For the DVD portion of the show, my favorite part of it has to be the Homage-o-meter, which works like subtitles, but instead of seeing what they're saying, it tells you what pop-culture reference they're making in every scene. The hefty price tag of the British import DVD is well worth it.
As a side note, if anyone can score me a copy of the god awful pilot for the American version, let me know. I have a morbid curiosity that must be quenched.
-Evan "Dez" O'Connor
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