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Kirk Bage (1775 KP) rated Star Wars: Episode IX - The Rise of Skywalker (2019) in Movies
Mar 3, 2020
It took me over a month to get around to seeing this last night at the cinema. Not because I didn’t want to see the end of the new trilogy and say goodbye to it in style, but because I feared it just wouldn’t be very good. Put simply, it isn’t very good. Some parts, in fact, are downright awful. But it isn’t terrible either. I can’t say I hated it – I had fun; I enjoyed it for what it was, and some small moments in isolation were very well done indeed. However…
The first thing that struck me was the pace and editing style, which seemed at last to fully embrace a Disney theme park ethos of let’s get to it and keep it moving. No notion of setting mood and re-establishing character, but rather a sense of we have a lot to fit in here so let’s get it out of the way as quickly as possible. It didn’t feel to me like it was allowed to sit at any point and just be brooding, or meaningful in any way. Which may work for the short attention spans of your average 9 year old, but for older fans who have literally waited 42 years to see an ending, it felt rushed, trivial and far too flippant.
The spectacle was very much there still. The landscape of alien worlds, creatures, droids and other necessary weirdness is all there in spades! It just feels like you would need to go back and press the pause button to see it all. And before we know what is happening (or why), Palpatine is back in business and everyone is looking for some lame GPS green triangle thingy. Forget almost everything in the story that has led to this point, this is an adventure that exists in a vacuum of space, and you either shrug and go with it, or get very annoyed. I chose the shrug.
Before we really settle into what is going on, we start to see the power of The Force flowing through Rey in ways it has never done before… she can heal, she virtually flies, and she can even teleport objects to a different physical place at will. She has become more like Neo from The Matrix than anything Skywalker. More like a Marvel superhero than anything grounded in an ancient mysticism that acts subtly at moments of great need. What that does is immediately lower the stakes, because if anything is possible, and therefore probable, there is no threat of failure. And if this movie lacks anything essential it is threat.
That said, the reanimation of Emperor Palpatine was nicely creepy, at least in a visual and vocal sense. And the journey of the excellent Adam Driver as Ben Solo / Kylo Ren remained the most interesting and satisfying thing about the whole reboot. I found myself just wanting to focus on him more and more, and felt frustrated when, typically, his key progression moments were over too soon or given away too cheaply from a dramatic context.
I have mixed feelings also about the level of mirroring and call-backs to moments from previous films. Some really worked, but many fell flat. It began to feel like a greatest hits checklist, which, of course, was a criticism of JJ Abrams’ directing style in The Force Awakens, too. He has been so much more concerned with giving fans sugary little treats, as opposed to cooking up a satisfying meal that nourishes in it’s own right – indicative of a 21st century audience that often demands its pudding before it has finished its greens.
Look, I enjoy a nostalgia trip as much as the next uber-geek, but I do also like my fantasy sci-fi to be based on an idea of weight and gravitas. Eschew that aspect and the climax is going to fall a little flat… which, I think it did. Our empathy for Rey, and in fact all of the new gang, is simply not as strong as it should have been. Daisy Ridley does a decent job, and I don’t blame her at all – I have no problem with any of the supporting cast either, but what a shame too many of them almost fade away into mere scene dressing by the end.
Very telling then, that my favourite bit by far was a 15 minute giggling fit brought on by that one, already infamous detail, when tiny weirdo Babu Frik completely misses the mood of the room and screeches his “Hey Heeeeeey!” Only to pop up again later with an equally hilarious repeat. Probably the funniest moment in any Star Wars film, bar none. Worth the ticket price alone, and I am still having regular flashbacks that leave me in fits of laughter!
So, that’s it is it? Over and done with? Well, they certainly wrapped it up in a bow, coming full circle in fairly satisfying style. With just a cheeky hint that the roots of a continuation at some point are buried within shallow reach. No doubt, amateur writers everywhere have already had a pop at what happens next. The Force is balanced, the prophecy fulfilled, but it wouldn’t take much to tip the galaxy back into turmoil, as soon as Disney fancies another few billion in ticket sales.
Personally, I don’t want to be cynical about a franchise that has been a part of me since I was 3 years old, and been such a good friend. However, I am perfectly fine with having it remain as a source for backstories and origin tales. The main saga is over, so let’s leave it alone. Episodes IV – VI will always remain the best; they won’t go anywhere. So any shortcomings can be easily solved… just watch The Empire Strikes Back again, not worrying about anything else, but revelling in just how perfect it is, and how lucky we are that it is there for us.
The first thing that struck me was the pace and editing style, which seemed at last to fully embrace a Disney theme park ethos of let’s get to it and keep it moving. No notion of setting mood and re-establishing character, but rather a sense of we have a lot to fit in here so let’s get it out of the way as quickly as possible. It didn’t feel to me like it was allowed to sit at any point and just be brooding, or meaningful in any way. Which may work for the short attention spans of your average 9 year old, but for older fans who have literally waited 42 years to see an ending, it felt rushed, trivial and far too flippant.
The spectacle was very much there still. The landscape of alien worlds, creatures, droids and other necessary weirdness is all there in spades! It just feels like you would need to go back and press the pause button to see it all. And before we know what is happening (or why), Palpatine is back in business and everyone is looking for some lame GPS green triangle thingy. Forget almost everything in the story that has led to this point, this is an adventure that exists in a vacuum of space, and you either shrug and go with it, or get very annoyed. I chose the shrug.
Before we really settle into what is going on, we start to see the power of The Force flowing through Rey in ways it has never done before… she can heal, she virtually flies, and she can even teleport objects to a different physical place at will. She has become more like Neo from The Matrix than anything Skywalker. More like a Marvel superhero than anything grounded in an ancient mysticism that acts subtly at moments of great need. What that does is immediately lower the stakes, because if anything is possible, and therefore probable, there is no threat of failure. And if this movie lacks anything essential it is threat.
That said, the reanimation of Emperor Palpatine was nicely creepy, at least in a visual and vocal sense. And the journey of the excellent Adam Driver as Ben Solo / Kylo Ren remained the most interesting and satisfying thing about the whole reboot. I found myself just wanting to focus on him more and more, and felt frustrated when, typically, his key progression moments were over too soon or given away too cheaply from a dramatic context.
I have mixed feelings also about the level of mirroring and call-backs to moments from previous films. Some really worked, but many fell flat. It began to feel like a greatest hits checklist, which, of course, was a criticism of JJ Abrams’ directing style in The Force Awakens, too. He has been so much more concerned with giving fans sugary little treats, as opposed to cooking up a satisfying meal that nourishes in it’s own right – indicative of a 21st century audience that often demands its pudding before it has finished its greens.
Look, I enjoy a nostalgia trip as much as the next uber-geek, but I do also like my fantasy sci-fi to be based on an idea of weight and gravitas. Eschew that aspect and the climax is going to fall a little flat… which, I think it did. Our empathy for Rey, and in fact all of the new gang, is simply not as strong as it should have been. Daisy Ridley does a decent job, and I don’t blame her at all – I have no problem with any of the supporting cast either, but what a shame too many of them almost fade away into mere scene dressing by the end.
Very telling then, that my favourite bit by far was a 15 minute giggling fit brought on by that one, already infamous detail, when tiny weirdo Babu Frik completely misses the mood of the room and screeches his “Hey Heeeeeey!” Only to pop up again later with an equally hilarious repeat. Probably the funniest moment in any Star Wars film, bar none. Worth the ticket price alone, and I am still having regular flashbacks that leave me in fits of laughter!
So, that’s it is it? Over and done with? Well, they certainly wrapped it up in a bow, coming full circle in fairly satisfying style. With just a cheeky hint that the roots of a continuation at some point are buried within shallow reach. No doubt, amateur writers everywhere have already had a pop at what happens next. The Force is balanced, the prophecy fulfilled, but it wouldn’t take much to tip the galaxy back into turmoil, as soon as Disney fancies another few billion in ticket sales.
Personally, I don’t want to be cynical about a franchise that has been a part of me since I was 3 years old, and been such a good friend. However, I am perfectly fine with having it remain as a source for backstories and origin tales. The main saga is over, so let’s leave it alone. Episodes IV – VI will always remain the best; they won’t go anywhere. So any shortcomings can be easily solved… just watch The Empire Strikes Back again, not worrying about anything else, but revelling in just how perfect it is, and how lucky we are that it is there for us.
Emma @ The Movies (1786 KP) rated Valerian and the City of a Thousand Planets (2017) in Movies
Sep 25, 2019
The story of Valerian is a good one. We open on Mül, a idyllic place of peace and a simple life. But this peace is shattered when fire rains from the sky devastating the entire planet. The last moment of Mül sees the Princess, doomed to die in the explosion, release her energy into the universe, through time and space.
Valerian, sunning himself on his ship, is hit with a sudden vision of the cataclysm on Mül. Unsure about it's meaning he goes back to the task at hand, retrieving a relic from some disreputable people on the black market. The "converter" is the last of it's kind in the universe, it will eat anything and rapidly replicate it, and as such is a very valuable commodity.
The mission is to return the converter to Alpha station. But when they arrive they discover that the station has been infected with something right at its heart. It's spreading, and all those that enter do not come back. When events lead to Valerian being drawn into the infected area, Laureline isn't willing to give up hope, and she battles her way in. Once she's reunited with Valerian they work travel to the centre of the station and discover the shocking truth about how the infection began...
The film is based on Valerian and Laureline, a French sci-fi comic series written by Pierre Christin and illustrated by Jean-Claude Mézières. I have got the first one to read, but as is my tradition, I have yet to do so. The first one is available free on Kindle at the moment if anybody is that way inclined. I expect that it will get a much better reaction in Europe than it seem to have done in the States, which is a bit of a shame. Possibly the way to go would have been with bigger stars, but *shrugs shoulders* it's too late now.
As I said, the story itself is a good one, and while people are nit picking and saying there are plot holes... there aren't if you don't look for them. I have this horrible ability to just watch a film for what it is, if you just go and see something to have some fun you don't notice any of that. It's a horribly nice way to be able to live my life, I enjoy a lot more things that way.
What I'm about to say is going to contradict my overall feeling for the film... I didn't really enjoy Dane DeHaan or Cara Delevingne. I had originally thought that I hadn't seen DeHaan in anything before, but was soon getting recollections of The Amazing Spider-Man 2. Scrolling through Delevingne's few years of films I've only seen Suicide Squad, and her acting as a "real person" is quite a small piece in that. While I can't think of anyone who would have perfectly suited either role, I feel like many other actors could have done an equal, or better, performance.
You get a wonderful introduction to what the station is, and has become. And we're treated to the potted history of alien species, several of which would sit quite nicely in the Whoniverse. I'm quite looking forward to reading the graphic novel. I can see stories unfolding in the different sections of the station, and that works. It almost feels like it would have made an amazing TV series, because it is essentially Star Trek with glitzier aliens and ecosystems.
As far as the secondary characters go we're treated to several memorable moments. Including Ethan Hawke as Jolly the Pimp, which is as flamboyant as you'd expect. Clive Owen as Commander Filitt, stern and ruthless, the sort who would stab you in the back (or the front) for his own gain. Sam Spruell as General Okto-Bar, who acted his part incredibly well... I'm honestly surprised I've not seen any of the other things he's been in, but I will be checking them out. Rihanna as Bubble, I'm a little surprised about how much I heard about her being in this considering how short her role is. But the same is true of a few things I've seen recently. We first meet her at Jolly's den of iniquity, where the music video training definitely came in handy.
As a whole the film moves along smoothly, with only a few little bits that seemed like they didn't belong, or could have been cut out. Unlike other films though, these little additions didn't harm the overall product.
Here is where my love for the film takes a steep nose-drive. Imagine crying with joy to resting bitch-face in the space of a few seconds. The 3D was hideous. I can't even think of a nice thing to say about it.
When the scenes were general crowd shots or indoors, everything was fine... although these shots didn't really benefit from the effect. The exterior shots however, in my not so expert opinion, were a terrible idea. I found some of them actually painful to watch, particularly long range shots of Alpha with ships coming in to dock. It was near on impossible to deal with the perspective as there was so much happening. For the last half of the film I took my 3D glasses off every time these shots appeared on screen as my head was rapidly starting to hurt, and I wasn't the only one having trouble.
If it wasn't for the painful exterior shots I honestly would have forgotten I was watching the film in 3D. Unlike other 3D films, you weren't aware that things were coming out of the screen at you. Not once.
I really don't want to be so negative about this film, it was an enjoyable watch (without the optical illusion created by the 3D). I would recommend it to anyone who has a passing interest in sci-fi and adaptations of comics. And I feel like, if nothing else, it might get the graphic novels themselves more circulation outside of Europe.
But please... watch it in 2D.
Valerian, sunning himself on his ship, is hit with a sudden vision of the cataclysm on Mül. Unsure about it's meaning he goes back to the task at hand, retrieving a relic from some disreputable people on the black market. The "converter" is the last of it's kind in the universe, it will eat anything and rapidly replicate it, and as such is a very valuable commodity.
The mission is to return the converter to Alpha station. But when they arrive they discover that the station has been infected with something right at its heart. It's spreading, and all those that enter do not come back. When events lead to Valerian being drawn into the infected area, Laureline isn't willing to give up hope, and she battles her way in. Once she's reunited with Valerian they work travel to the centre of the station and discover the shocking truth about how the infection began...
The film is based on Valerian and Laureline, a French sci-fi comic series written by Pierre Christin and illustrated by Jean-Claude Mézières. I have got the first one to read, but as is my tradition, I have yet to do so. The first one is available free on Kindle at the moment if anybody is that way inclined. I expect that it will get a much better reaction in Europe than it seem to have done in the States, which is a bit of a shame. Possibly the way to go would have been with bigger stars, but *shrugs shoulders* it's too late now.
As I said, the story itself is a good one, and while people are nit picking and saying there are plot holes... there aren't if you don't look for them. I have this horrible ability to just watch a film for what it is, if you just go and see something to have some fun you don't notice any of that. It's a horribly nice way to be able to live my life, I enjoy a lot more things that way.
What I'm about to say is going to contradict my overall feeling for the film... I didn't really enjoy Dane DeHaan or Cara Delevingne. I had originally thought that I hadn't seen DeHaan in anything before, but was soon getting recollections of The Amazing Spider-Man 2. Scrolling through Delevingne's few years of films I've only seen Suicide Squad, and her acting as a "real person" is quite a small piece in that. While I can't think of anyone who would have perfectly suited either role, I feel like many other actors could have done an equal, or better, performance.
You get a wonderful introduction to what the station is, and has become. And we're treated to the potted history of alien species, several of which would sit quite nicely in the Whoniverse. I'm quite looking forward to reading the graphic novel. I can see stories unfolding in the different sections of the station, and that works. It almost feels like it would have made an amazing TV series, because it is essentially Star Trek with glitzier aliens and ecosystems.
As far as the secondary characters go we're treated to several memorable moments. Including Ethan Hawke as Jolly the Pimp, which is as flamboyant as you'd expect. Clive Owen as Commander Filitt, stern and ruthless, the sort who would stab you in the back (or the front) for his own gain. Sam Spruell as General Okto-Bar, who acted his part incredibly well... I'm honestly surprised I've not seen any of the other things he's been in, but I will be checking them out. Rihanna as Bubble, I'm a little surprised about how much I heard about her being in this considering how short her role is. But the same is true of a few things I've seen recently. We first meet her at Jolly's den of iniquity, where the music video training definitely came in handy.
As a whole the film moves along smoothly, with only a few little bits that seemed like they didn't belong, or could have been cut out. Unlike other films though, these little additions didn't harm the overall product.
Here is where my love for the film takes a steep nose-drive. Imagine crying with joy to resting bitch-face in the space of a few seconds. The 3D was hideous. I can't even think of a nice thing to say about it.
When the scenes were general crowd shots or indoors, everything was fine... although these shots didn't really benefit from the effect. The exterior shots however, in my not so expert opinion, were a terrible idea. I found some of them actually painful to watch, particularly long range shots of Alpha with ships coming in to dock. It was near on impossible to deal with the perspective as there was so much happening. For the last half of the film I took my 3D glasses off every time these shots appeared on screen as my head was rapidly starting to hurt, and I wasn't the only one having trouble.
If it wasn't for the painful exterior shots I honestly would have forgotten I was watching the film in 3D. Unlike other 3D films, you weren't aware that things were coming out of the screen at you. Not once.
I really don't want to be so negative about this film, it was an enjoyable watch (without the optical illusion created by the 3D). I would recommend it to anyone who has a passing interest in sci-fi and adaptations of comics. And I feel like, if nothing else, it might get the graphic novels themselves more circulation outside of Europe.
But please... watch it in 2D.
Bob Mann (459 KP) rated The Girl in the Spider's Web (2018) in Movies
Sep 28, 2021
Would the last straight woman in Stockholm turn off the lights?
You’ve gotta love a Scandi-thriller. Well, that was until last year’s hopeless Michael Fassbender vehicle “The Snowman” which devalued the currency better than Brexit has done to the pound! The mother of them all though was the original “Girl with the Dragon Tattoo” trilogy (in Swedish) in 2009. Although subject to a wholly unnecessary English remake two year’s later by David Fincher (with Mara Rooney and Daniel Craig) it was Noomi Rapace who struck the perfect note as the original anarchic and damaged Lisbeth Salander: a punk wielding a baseball bat like an alien-thing possessed (pun well and truly intended!).
Now though we have “A New Dragon Tattoo Story” (as the film’s subtitle clumsily declares) based on the book by David Lagercrantz, who took over the literary franchise after the untimely death of Stieg Larsson. Picking up the reins as Salander is that most British of actresses Claire Foy…. which seems an odd choice, but one which – after you get past the rather odd accent – she just about pulls off.
The Plot
Lizbeth Salendar (Claire Foy) has an interesting hobby. She is a vigilante, like a lesbian Batman, stalking the streets of Stockholm putting wrongs right where abusive boyfriends/husbands are concerned.
She is also a hacking machine for rent. And Frans Balder (Stephen Merchant) has a problem. He has invented a software program that allows its user to control every nuclear warhead in the world from a single laptop (cue every other Bond/24/Austin Powers script ever written). But he has had second thoughts and wants it back from its resting place on the server of the NSA’s chief hacker, Ed Needham (Lakeith Stanfield). Balder recruits Salander to recover it, but when things go pear-shaped Salander finds herself on the wrong side of both the law and the encircling terrorist “spiders”.
The Review
Scandi-dramas work best when they exploit the snow; maintain a sexual tension; and go dark, gritty and violent. On the plus side, “The Girl in the Spider’s Web” ticks most of those boxes adequately. Foy’s Salandar is smart, sassy and sexy, outwitting the best of the best, and only once finding her intellectual match. (If you’re a lesbian, Stockholm is most definitely the place to be: there only seemed to be one hetero-female there, and she was an adulteress).
But Salander also has a Bond-like invincibility that unfortunately tests your incredulity at multiple points. Contributing to the excitement is the stunt team, who keep themselves busy with some great car and bike chases.
So, the movie has its moments and is great to look at. But the film ends up a sandwich or two short of a smorgasbord, thanks largely to some totally bonkers plot points and more than a few ridiculous coincidences. There are without doubt an array of well-constructed set pieces here, but they fail to fully connect with any great conviction. An example of a scene that infuriates is a dramatic bathroom fight in a red-lit gloom with identical protagonists that is cut together so furiously you would need a Blu-ray slo-mo to work out what the hell is going on… and then I fear you might fail.
So it’s an A- for the Production Design (Eve Stewart, “The Danish Girl“) and the Cinematography (Pedro Luque, “Don’t Breathe“), but a C- for the director Fede Alvarez (also “Don’t Breathe“).
Avoid the Trailer
I will save my biggest source of wrath though for that major bug-bear of mine: trailers that spoil the plot.
I’ve asked before, but for a film like this, WHO EXACTLY PUTS TOGETHER THE TRAILER? I’d like to think it’s some mindless committee of marketing execs somewhere. Because I HONESTLY CAN’T BELIEVE it would be the director! (If I’m wrong though, I would point my finger at Mr Alvarez and chant “shame, shame, shame”!)
For the trailer that I saw playing in UK cinemas does it’s level best to not only drop in the key spoilers of the plot (including the climactic scene), but also spoils just about every action money-shot in the movie. It’s all so pointless. If you’ve by any chance managed to get to this point without seeing the trailer, then SAVE YOURSELVES and AVOID IT!
(The one attached below by the way is slightly – slightly! – better, including some over-dubbing of a line that I don’t think was in the film. Perhaps they realised their huge mistake and reissued it?)
The Turns
As I mentioned earlier, Claire Foy again extends her range by playing Salander really well. She is the reason to go and see the film.
The Daniel Craig part of Blomkvist is played here by Sverrir Gudnason, who was in “The Circle” (which I saw) and was Borg in “Borg McEnroe” (which I didn’t). Blomkvist really is a lazy ****, since he works for the publication “Millenium” but writes absolutely nothing for years. It must be only because the boss (Vicky Krieps) fancies him that he keeps his job. Gudnason is good enough, but has very little to do in the movie: its the Salander/Foy show. Slightly, but only slightly, more involved is Lakeith Standfield as the US intelligence man.
Given little to do in the plot. Sverrir Gudnason as the incredibly unproductive ‘journalist’ Mikael Blomkvist. (Source: Sony Pictures Entertainment)
Stephen Merchant is an odd casting choice for Balder. Not withstanding that he was brilliant when almost unrecognisable in “Logan“, here he looks far too much like his “Ricky Gervais sidekick” persona to be taken seriously: and it’s not even remotely a comedy (there is only one humorous moment in the film, a nice “clicker” gag in a car park).
Final Thoughts
I had high hopes for this film from the trailer, but I was left disappointed. It’s not classic Scandi-noir like the original “Tattoo”; and it’s not going for the black comedy angle of “Headhunters” (which I saw again last week and loved… again!). It falls into a rather “meh” category. It’s not a bad evening’s watch, but perhaps worth leaving for a DVD/cable showing.
Now though we have “A New Dragon Tattoo Story” (as the film’s subtitle clumsily declares) based on the book by David Lagercrantz, who took over the literary franchise after the untimely death of Stieg Larsson. Picking up the reins as Salander is that most British of actresses Claire Foy…. which seems an odd choice, but one which – after you get past the rather odd accent – she just about pulls off.
The Plot
Lizbeth Salendar (Claire Foy) has an interesting hobby. She is a vigilante, like a lesbian Batman, stalking the streets of Stockholm putting wrongs right where abusive boyfriends/husbands are concerned.
She is also a hacking machine for rent. And Frans Balder (Stephen Merchant) has a problem. He has invented a software program that allows its user to control every nuclear warhead in the world from a single laptop (cue every other Bond/24/Austin Powers script ever written). But he has had second thoughts and wants it back from its resting place on the server of the NSA’s chief hacker, Ed Needham (Lakeith Stanfield). Balder recruits Salander to recover it, but when things go pear-shaped Salander finds herself on the wrong side of both the law and the encircling terrorist “spiders”.
The Review
Scandi-dramas work best when they exploit the snow; maintain a sexual tension; and go dark, gritty and violent. On the plus side, “The Girl in the Spider’s Web” ticks most of those boxes adequately. Foy’s Salandar is smart, sassy and sexy, outwitting the best of the best, and only once finding her intellectual match. (If you’re a lesbian, Stockholm is most definitely the place to be: there only seemed to be one hetero-female there, and she was an adulteress).
But Salander also has a Bond-like invincibility that unfortunately tests your incredulity at multiple points. Contributing to the excitement is the stunt team, who keep themselves busy with some great car and bike chases.
So, the movie has its moments and is great to look at. But the film ends up a sandwich or two short of a smorgasbord, thanks largely to some totally bonkers plot points and more than a few ridiculous coincidences. There are without doubt an array of well-constructed set pieces here, but they fail to fully connect with any great conviction. An example of a scene that infuriates is a dramatic bathroom fight in a red-lit gloom with identical protagonists that is cut together so furiously you would need a Blu-ray slo-mo to work out what the hell is going on… and then I fear you might fail.
So it’s an A- for the Production Design (Eve Stewart, “The Danish Girl“) and the Cinematography (Pedro Luque, “Don’t Breathe“), but a C- for the director Fede Alvarez (also “Don’t Breathe“).
Avoid the Trailer
I will save my biggest source of wrath though for that major bug-bear of mine: trailers that spoil the plot.
I’ve asked before, but for a film like this, WHO EXACTLY PUTS TOGETHER THE TRAILER? I’d like to think it’s some mindless committee of marketing execs somewhere. Because I HONESTLY CAN’T BELIEVE it would be the director! (If I’m wrong though, I would point my finger at Mr Alvarez and chant “shame, shame, shame”!)
For the trailer that I saw playing in UK cinemas does it’s level best to not only drop in the key spoilers of the plot (including the climactic scene), but also spoils just about every action money-shot in the movie. It’s all so pointless. If you’ve by any chance managed to get to this point without seeing the trailer, then SAVE YOURSELVES and AVOID IT!
(The one attached below by the way is slightly – slightly! – better, including some over-dubbing of a line that I don’t think was in the film. Perhaps they realised their huge mistake and reissued it?)
The Turns
As I mentioned earlier, Claire Foy again extends her range by playing Salander really well. She is the reason to go and see the film.
The Daniel Craig part of Blomkvist is played here by Sverrir Gudnason, who was in “The Circle” (which I saw) and was Borg in “Borg McEnroe” (which I didn’t). Blomkvist really is a lazy ****, since he works for the publication “Millenium” but writes absolutely nothing for years. It must be only because the boss (Vicky Krieps) fancies him that he keeps his job. Gudnason is good enough, but has very little to do in the movie: its the Salander/Foy show. Slightly, but only slightly, more involved is Lakeith Standfield as the US intelligence man.
Given little to do in the plot. Sverrir Gudnason as the incredibly unproductive ‘journalist’ Mikael Blomkvist. (Source: Sony Pictures Entertainment)
Stephen Merchant is an odd casting choice for Balder. Not withstanding that he was brilliant when almost unrecognisable in “Logan“, here he looks far too much like his “Ricky Gervais sidekick” persona to be taken seriously: and it’s not even remotely a comedy (there is only one humorous moment in the film, a nice “clicker” gag in a car park).
Final Thoughts
I had high hopes for this film from the trailer, but I was left disappointed. It’s not classic Scandi-noir like the original “Tattoo”; and it’s not going for the black comedy angle of “Headhunters” (which I saw again last week and loved… again!). It falls into a rather “meh” category. It’s not a bad evening’s watch, but perhaps worth leaving for a DVD/cable showing.
Mandy and G.D. Burkhead (26 KP) rated Hottest Blood: The Ultimate in Erotic Horror in Books
May 20, 2018
Shelf Life – Hottest Blood: The Ultimate in Erotic Horror is Neither of Those Things
(I’m gonna go ahead and throw a disclaimer on up here: You are about to read something that deals with purportedly “erotic” subject matter. If you don’t like the sound of that word, you might wanna go elsewhere. If it’s actually-erotic things that offend you, though, you’ll be fine.)
I like short story compilations because you get a variety of content that’s just as easy to breeze through if you have the time as it is to get to a stopping point and put down if you don’t. I like horror fiction because it usually involves the super-natural, which interests me, and intense emotional responses, which are almost always a good thing in writing. And I like eroticism because I am a warm-blooded human being with a pulse. However, on the whole, I do not like Hottest Blood.
I wanted to, I did. Look at that cover. It’s equal amounts scary and sexy, both in completely safe, PG-13-at-most kind of ways. Unfortunately, Softcore Succubus here is both the scariest and the sexiest thing about this book
Bluntly analogized, you know that feeling you get when you come across something on the internet that disturbs and/or disgusts you, and then you learn that there’s a dedicated group of people that gets off on it? Most of the stories in this book are that feeling captured in words.
Case in point, the story “Damaged Goods” by Elizabeth Massie, which as far as I can tell is about a couple of physically abused, emotionally damaged, developmentally stunted kids somewhere around their early teens who live with a religious fringe cult being led out to a field to have sex with each other while a nameless U.S. President watches and masturbates before both kids are drowned in a river by their preacher/pimp caretaker.
Or there’s “Mr. Right” by Chris Lacher, which tells the story of a college student named Russ who has a secret fetish for the deformed women in the freak show at a nearby carnival – a fascination which leads to him getting held down and forcibly raped by a group of unwashed subhuman mutants, which the detailed descriptions make sure you understand are completely revolting to all five senses. The story ends with him being dumped out behind the fairgrounds while a small, legless girl happily informs him that this is how all carnival workers reproduce, and he can look forward to seeing his own mutant rape-spawn in the show next year.
Or there’s “Abuse” by Matthew Costello, which simply shows us how the arrest of a Peewee Herman surrogate goes down in an adult movie theater before ending with another man jerking off with the cold, dry, severed hand in his pocket as he contemplates getting a new one to replace it.
The tone of these three are pretty much par for the course for the rest of the book: thoroughly disturbing, and sex is involved, but the disturbing feeling stems from revulsion rather than fear, and the sex bits are so far on the other end of the spectrum from erotic that it feels like the authors are trying to punish their readers for even expecting to be aroused in any way.
Of course, I said myself earlier that intense emotional responses are “almost always a good thing in writing.” By that merit alone, this book technically succeeds; in fact, if it had billed itself as shock fiction instead of erotic horror, I’d begrudgingly give it a medal in its class. The “aw, what the hell?!” moments are not as artistically executed as, say, a Chuck Palahniuk read, and they tend not to have as much depth to them, but strictly in terms of making you wish that you could unread words, they get the job done.
But that isn’t the job that Hottest Blood was hired to do, and that’s not what it put on its resume. It said it was going to “heat the blood and chill the mind,” and promised that “terror never felt this sexy!” It would have been more appropriate to say that “sex never felt this terrible.”
All of that said, if you abandon any hope of seeing anything resembling erotica or horror (scary horror, anyway), there are a few stories in here that are decent reads – mostly because they try to say something with their subject matter rather than use it to see how thoroughly they can ruin the idea of sex for the reader. To give a few quick nods of approval:
Nancy Holder’s “I Hear the Mermaids Singing,” which opens the anthology, is a dark and modern re-imagining of “The Little Mermaid” that brutally points up the drawbacks to throwing away your whole life and family in order to pursue someone that you know nothing about outside of a few fleeting glimpses and lustful inner fantasies.
J.L. Comeau’s “Black Cars” is the narrative of a high-class chauffeur as he tells his passenger an increasingly mysterious story about a couple of his regular customers, culminating in a creepy twist payoff that, in retrospect, actually makes it count as a legitimate horror story, and a decently gripping one at that.
And “Safe at Home” by Steve and Melanie Tem, while decidedly and disturbingly unsexy, at least has good reason to be; it’s a short character study of a young woman who’d been molested as a child, and the lasting and complex psychological damage resulting thereof that prevents her from having any normal social life or relationships, even with someone whom she legitimately likes, someone who knows what’s happened and sincerely cares for her.
So for the handful of intriguing stories that don’t make you quit (or wish you had) mid-read out of revolted disappointment, I can’t completely condemn Hottest Blood. If you want to test your own threshold for repulsion but are understandably hesitant to use online image searches to this end, I heartily recommend it.
If you are legitimately turned on by the idea of a man eating a woman alive and then gestating her alien spawn inside his own bloated body until his head detaches and crawls away (“How Deep the Taste of Love,” John Shirley), I suppose I still heartily recommend it, though I do so from a safe distance.
If you want to read one of the few stories involved that aren’t horrible, I heartily recommend trying to find them on their own somewhere else first.
But if you want “the ultimate in erotic horror,” stay the hell away. Softcore Succubus is a trap.
I like short story compilations because you get a variety of content that’s just as easy to breeze through if you have the time as it is to get to a stopping point and put down if you don’t. I like horror fiction because it usually involves the super-natural, which interests me, and intense emotional responses, which are almost always a good thing in writing. And I like eroticism because I am a warm-blooded human being with a pulse. However, on the whole, I do not like Hottest Blood.
I wanted to, I did. Look at that cover. It’s equal amounts scary and sexy, both in completely safe, PG-13-at-most kind of ways. Unfortunately, Softcore Succubus here is both the scariest and the sexiest thing about this book
Bluntly analogized, you know that feeling you get when you come across something on the internet that disturbs and/or disgusts you, and then you learn that there’s a dedicated group of people that gets off on it? Most of the stories in this book are that feeling captured in words.
Case in point, the story “Damaged Goods” by Elizabeth Massie, which as far as I can tell is about a couple of physically abused, emotionally damaged, developmentally stunted kids somewhere around their early teens who live with a religious fringe cult being led out to a field to have sex with each other while a nameless U.S. President watches and masturbates before both kids are drowned in a river by their preacher/pimp caretaker.
Or there’s “Mr. Right” by Chris Lacher, which tells the story of a college student named Russ who has a secret fetish for the deformed women in the freak show at a nearby carnival – a fascination which leads to him getting held down and forcibly raped by a group of unwashed subhuman mutants, which the detailed descriptions make sure you understand are completely revolting to all five senses. The story ends with him being dumped out behind the fairgrounds while a small, legless girl happily informs him that this is how all carnival workers reproduce, and he can look forward to seeing his own mutant rape-spawn in the show next year.
Or there’s “Abuse” by Matthew Costello, which simply shows us how the arrest of a Peewee Herman surrogate goes down in an adult movie theater before ending with another man jerking off with the cold, dry, severed hand in his pocket as he contemplates getting a new one to replace it.
The tone of these three are pretty much par for the course for the rest of the book: thoroughly disturbing, and sex is involved, but the disturbing feeling stems from revulsion rather than fear, and the sex bits are so far on the other end of the spectrum from erotic that it feels like the authors are trying to punish their readers for even expecting to be aroused in any way.
Of course, I said myself earlier that intense emotional responses are “almost always a good thing in writing.” By that merit alone, this book technically succeeds; in fact, if it had billed itself as shock fiction instead of erotic horror, I’d begrudgingly give it a medal in its class. The “aw, what the hell?!” moments are not as artistically executed as, say, a Chuck Palahniuk read, and they tend not to have as much depth to them, but strictly in terms of making you wish that you could unread words, they get the job done.
But that isn’t the job that Hottest Blood was hired to do, and that’s not what it put on its resume. It said it was going to “heat the blood and chill the mind,” and promised that “terror never felt this sexy!” It would have been more appropriate to say that “sex never felt this terrible.”
All of that said, if you abandon any hope of seeing anything resembling erotica or horror (scary horror, anyway), there are a few stories in here that are decent reads – mostly because they try to say something with their subject matter rather than use it to see how thoroughly they can ruin the idea of sex for the reader. To give a few quick nods of approval:
Nancy Holder’s “I Hear the Mermaids Singing,” which opens the anthology, is a dark and modern re-imagining of “The Little Mermaid” that brutally points up the drawbacks to throwing away your whole life and family in order to pursue someone that you know nothing about outside of a few fleeting glimpses and lustful inner fantasies.
J.L. Comeau’s “Black Cars” is the narrative of a high-class chauffeur as he tells his passenger an increasingly mysterious story about a couple of his regular customers, culminating in a creepy twist payoff that, in retrospect, actually makes it count as a legitimate horror story, and a decently gripping one at that.
And “Safe at Home” by Steve and Melanie Tem, while decidedly and disturbingly unsexy, at least has good reason to be; it’s a short character study of a young woman who’d been molested as a child, and the lasting and complex psychological damage resulting thereof that prevents her from having any normal social life or relationships, even with someone whom she legitimately likes, someone who knows what’s happened and sincerely cares for her.
So for the handful of intriguing stories that don’t make you quit (or wish you had) mid-read out of revolted disappointment, I can’t completely condemn Hottest Blood. If you want to test your own threshold for repulsion but are understandably hesitant to use online image searches to this end, I heartily recommend it.
If you are legitimately turned on by the idea of a man eating a woman alive and then gestating her alien spawn inside his own bloated body until his head detaches and crawls away (“How Deep the Taste of Love,” John Shirley), I suppose I still heartily recommend it, though I do so from a safe distance.
If you want to read one of the few stories involved that aren’t horrible, I heartily recommend trying to find them on their own somewhere else first.
But if you want “the ultimate in erotic horror,” stay the hell away. Softcore Succubus is a trap.
Purple Phoenix Games (2266 KP) rated Cosmic Run: Regeneration in Tabletop Games
Jun 12, 2019
One of the best parts of the board gaming experience is finding a fun group of people with whom to play! Sometimes, though, coordinating a game night is easier said than done. We all must occasionally forego the group experience and face the world as the Lonely Only. But fear not! The world of solo-play is a vast and exciting realm! What follows is a chronicle of my journey into the solo-playing world – notes on gameplay, mechanics, rules, difficulty, and overall experience with solo variations of commonly multiplayer games! I hope this will provide some insight as you continue to grow your collection, or explore your already owned games!
Space – the Final Frontier. Well, not anymore. You’re living in the year 2123, and space travel is not a novel idea. In fact, Earth has become uninhabitable, and the human race must find a new planet to call home! You and your team of explorers have taken to the galaxies to find a suitable replacement for the future of mankind. By befriending aliens and outmaneuvering rival explorers, your team will be credited with the discovery of new colonies on these distant planets. It’s a literal Space Race, so kick on that hyper-drive and take to the stars!
Cosmic Run: Regeneration is a competitive or cooperative dice-rolling game in which players are racing to earn the most victory points by being the first to discover new planets. It’s a Yahtzee-style push-your-luck game where you must roll certain sets of identical dice to advance your ships on the individual planet tracks. Dice can also be used to ‘hire’ aliens or find crystals, which can give you special abilities once per game. The planets must be discovered in a timely manner, though, because passing meteors could cause damage to, or even completely destroy, these planets – this is space, after all. Players earn victory points in three ways – by being the first to discover a planet, based on their position on a planet’s track if they are not the first to discover it, or by retiring sets of aliens. The player with the most victory points once all 6 planets are discovered is the winner! When playing solo, the game is played essentially the same way, with some minor differences. If the solo player discovers all 6 planets before any one is destroyed or before the meteor deck runs out, they win! However, if even a single planet is destroyed or they are not all discovered before the meteor deck runs out, the solo player loses.
I enjoy playing Cosmic Run: Regeneration as a solo game because it’s simple, but not easy. You’re just rolling dice, but you need a strategy. Do you try to advance quickly on the easiest tracks, or do you commit dice to more difficult tracks and hope that the dice rolls will be on your side? Be careful – once you commit a die to a certain track, it cannot be moved. I’ve played so many games where I commit dice to Planet 2 (2-of-a-kind) and end up rolling 3 more of the same number that could’ve been used on Planet 5 (5-of-a-kind) if I’d just committed them there in the first place! A lot of the game is dependent on the luck of the roll, but I feel like you still need a solid strategy to be successful. There’s a good balance between the two – I still feel like I’m in control of the game even though I can’t control how the dice will roll.
The one main difference between solo and group play is that the solo player is allowed to spend VPs to create ‘forcefields’ around planets. This is because in group play if a planet is destroyed, players score points for their track progress, and the game continues. For the solo player, however, if a planet is destroyed, the game is over. When playing solo, I can choose to spend either 5 or 10 VPs to create a forcefield around either 1 or all planets to protect them from meteors for one turn. Without this option in solo play, it would be impossible to win. The first 4 cards of the meteor deck are guaranteed to hit 4 different planets, so right off the bat you are starting at kind of a disadvantage. Each planet only takes 3 hits to be destroyed, so depending on how well the meteor deck is shuffled, the game would be over quickly if I weren’t able to create forcefields. It all comes back to strategy – you have to decide when to spend those VPs and what planets need protecting at any given point in the game.
That being said, scoring VPs is not really easy in solo play. To score points for a planet, you have to physically reach the planet surface – and that can take a while depending on how well you are rolling. You can hire/retire aliens for VPs, but alien cards have a die cost, so if you are hiring aliens all the time, those are dice you are not using to advance on planet tracks. And each turn, planets get closer to destruction if you don’t advance on their tracks fast enough. You can earn VPs when you land on a VP token space – you do not pick up the token if you pass it, you must land exactly on it. So all in all, you can’t afford to protect every planet every turn. You have to strategize carefully about how to risk your hard-earned VPs. The most frustrating thing is when I pay VPs to protect a planet that isn’t even the one that gets hit! 5 VPs gone that I usually can’t get back in a single turn. But that’s all part of the push-your-luck isn’t it? There’s no reward without risk, and sometimes it’s better to be safe than sorry. I’m usually not a very risky game player, but in this game I have to be. Playing it safe is not an option when I’m racing against the meteor deck.
Cosmic Run: Regeneration is a game of strategy with some healthy helpings of luck and risk-taking. You need a solid strategy, but one that is flexible enough to adapt to your dice rolls on any given turn. No game is a guaranteed win – if I win it’s usually at the last possible second. This game is easy to play, but not necessarily easy to win and that’s what keeps me coming back to play. Even as a solo game, it’s engaging and I think it’s pretty fun too!
https://purplephoenixgames.wordpress.com/2019/01/25/solo-chronicles-cosmic-run-regeneration/
Space – the Final Frontier. Well, not anymore. You’re living in the year 2123, and space travel is not a novel idea. In fact, Earth has become uninhabitable, and the human race must find a new planet to call home! You and your team of explorers have taken to the galaxies to find a suitable replacement for the future of mankind. By befriending aliens and outmaneuvering rival explorers, your team will be credited with the discovery of new colonies on these distant planets. It’s a literal Space Race, so kick on that hyper-drive and take to the stars!
Cosmic Run: Regeneration is a competitive or cooperative dice-rolling game in which players are racing to earn the most victory points by being the first to discover new planets. It’s a Yahtzee-style push-your-luck game where you must roll certain sets of identical dice to advance your ships on the individual planet tracks. Dice can also be used to ‘hire’ aliens or find crystals, which can give you special abilities once per game. The planets must be discovered in a timely manner, though, because passing meteors could cause damage to, or even completely destroy, these planets – this is space, after all. Players earn victory points in three ways – by being the first to discover a planet, based on their position on a planet’s track if they are not the first to discover it, or by retiring sets of aliens. The player with the most victory points once all 6 planets are discovered is the winner! When playing solo, the game is played essentially the same way, with some minor differences. If the solo player discovers all 6 planets before any one is destroyed or before the meteor deck runs out, they win! However, if even a single planet is destroyed or they are not all discovered before the meteor deck runs out, the solo player loses.
I enjoy playing Cosmic Run: Regeneration as a solo game because it’s simple, but not easy. You’re just rolling dice, but you need a strategy. Do you try to advance quickly on the easiest tracks, or do you commit dice to more difficult tracks and hope that the dice rolls will be on your side? Be careful – once you commit a die to a certain track, it cannot be moved. I’ve played so many games where I commit dice to Planet 2 (2-of-a-kind) and end up rolling 3 more of the same number that could’ve been used on Planet 5 (5-of-a-kind) if I’d just committed them there in the first place! A lot of the game is dependent on the luck of the roll, but I feel like you still need a solid strategy to be successful. There’s a good balance between the two – I still feel like I’m in control of the game even though I can’t control how the dice will roll.
The one main difference between solo and group play is that the solo player is allowed to spend VPs to create ‘forcefields’ around planets. This is because in group play if a planet is destroyed, players score points for their track progress, and the game continues. For the solo player, however, if a planet is destroyed, the game is over. When playing solo, I can choose to spend either 5 or 10 VPs to create a forcefield around either 1 or all planets to protect them from meteors for one turn. Without this option in solo play, it would be impossible to win. The first 4 cards of the meteor deck are guaranteed to hit 4 different planets, so right off the bat you are starting at kind of a disadvantage. Each planet only takes 3 hits to be destroyed, so depending on how well the meteor deck is shuffled, the game would be over quickly if I weren’t able to create forcefields. It all comes back to strategy – you have to decide when to spend those VPs and what planets need protecting at any given point in the game.
That being said, scoring VPs is not really easy in solo play. To score points for a planet, you have to physically reach the planet surface – and that can take a while depending on how well you are rolling. You can hire/retire aliens for VPs, but alien cards have a die cost, so if you are hiring aliens all the time, those are dice you are not using to advance on planet tracks. And each turn, planets get closer to destruction if you don’t advance on their tracks fast enough. You can earn VPs when you land on a VP token space – you do not pick up the token if you pass it, you must land exactly on it. So all in all, you can’t afford to protect every planet every turn. You have to strategize carefully about how to risk your hard-earned VPs. The most frustrating thing is when I pay VPs to protect a planet that isn’t even the one that gets hit! 5 VPs gone that I usually can’t get back in a single turn. But that’s all part of the push-your-luck isn’t it? There’s no reward without risk, and sometimes it’s better to be safe than sorry. I’m usually not a very risky game player, but in this game I have to be. Playing it safe is not an option when I’m racing against the meteor deck.
Cosmic Run: Regeneration is a game of strategy with some healthy helpings of luck and risk-taking. You need a solid strategy, but one that is flexible enough to adapt to your dice rolls on any given turn. No game is a guaranteed win – if I win it’s usually at the last possible second. This game is easy to play, but not necessarily easy to win and that’s what keeps me coming back to play. Even as a solo game, it’s engaging and I think it’s pretty fun too!
https://purplephoenixgames.wordpress.com/2019/01/25/solo-chronicles-cosmic-run-regeneration/
Kirk Bage (1775 KP) rated The Expanse in TV
Sep 4, 2020 (Updated Feb 11, 2021)
In this particular future, where there exists a cold war tension between the splintered factions of humanity across the solar system, all is not well. Earthers, Dusters (Martians) and Skinnies (Belters) compete for resources and political strength in an ever shifting landscape of trust and betrayal. It is a sci-fi geek’s paradise, full of believable tech, an extensive character list and jargon coming out of the wazoo! It’s all very complicated… and season five just finished airing on Amazon Prime on Wednesday 3rd Feb, so I thought it a good time to talk about it in detail.
Based on the novel series by James S. A. Corey (actually the assumed name of collaborators Ty Franck and Daniel Abraham), which began in 2011 and has produced one book a year since, the TV version has been on the go since 2015, first at SyFy and then at Amazon after being cancelled unfairly, and to mass uproar from the fans, after Season three. It isn’t something you watch casually – either you are into it and make a point of obsessing about it, or you watch a few, feel completely lost and admit it isn’t for you; although you suspect it is good and you just didn’t make the effort to engage enough. Sci-fi this earnest can be like that: a little unforgiving to tourists and passers-by.
Personally, I went through 2 phases with it. The first was watching it late at night with autoplay on, falling in and out of sleep depending on how exciting what was happening was, missing a lot of the detail and feeling largely lost in space. The second was coming back to Season 4 recently (about 3 weeks ago), after taking in a full recap of the story, and becoming a true fan that couldn’t get enough of the complex web of storylines, motives and personalities. Catching up enough to have to wait a week between episodes for the last 4 weeks, which has been tremendously rewarding.
Not that I had a major problem with it from the start. I thought it had a great look and a great mood about it, but lacked some star quality in the cast and was fairly opaque storywise. It always had potential. It was a question of whether you could be bothered to invest in that, knowing that it may go nowhere or even get cancelled very quickly – the TV universe is not known for being kind to sci-fi, as die-hard fans of Firefly still weep about regularly, and quite correctly.
In season one you watch it for the only person onboard that you have heard of, namely Thomas Jane (from The Mist and The Punisher) as det. Joe Miller, a cynical sleuth complete with a great anachronistic hat, who gets wrapped up in a mystery so mysterious it is often hard to work out what he is doing at all, and why… he literally comes and goes, for reasons that become apparent in later seasons. A frustrating and yet fascinating entity that must have been a real test to get right.
The show’s main cast also take a lot of time to warm up, to the point where you wonder who they are and whether they will be in it for long? Steven Strait, Dominique Tipper, Wes Chatham and Cas Anvar, as the ragtag collective of a small ship (they eventually name The Rocinante) that finds itself at the centre of a huge political shitstorm as the last bastion of impartial hope and moral reasoning, exude such little charisma at first it all seems doomed to fail. But, something magical begins to happen, by virtue of being in their presence a lot – you start to care. And the more you care the more the subsequent events have the power to stun you sideways!
More than anything else I can think of in recent years, this is a show that rewards patient investment. You will have definite moments of wanting to quit or take a long break, but the more faith you show in it, the more it will reward you in the long run. For me it was the climax of season 3 when I realised I was 100% into it, and that everything that had happened to that point was now starting to make sense in a larger context. Basically, what you think this is and what you assume it is about early doors, is not where it ends up. It goes somewhere way better!
Perhaps because it has the support of the book series as inspiration, the writing and story arc feels stronger and stronger in time. There are to date 9 books, so there is still scope to let this run for a good few years. And it does start to feel like there is a point where it will all completely tie together. Anyway, I am rambling as much as an average episode seems to do here. The point is, there is something right on the tightrope edge of classic or near miss going on with this. The cast have all really grown into their skins and personalities, and there are some moments in seasons 4 & 5 that left me jaw dropped at their dramatic weight!
Look, this isn’t going to be for everyone. It is very easy to say “I don’t get it” and move on with this show, but I am a sci-fi veteran , if not full geek, and I now absolutely love it. Cult status then is what we are talking about here. There will be a good wait for season six now, but the cliffhanger is mouth-watering, so I am in! It’s far from impossible they will ruin the vibe at some point and it will all fall flat… or, it could become the stuff of legend. I’ll be there to find out either way. No chance I am doing 5 seasons of something to drop out at that point.
Take away the space and the spaceships and this is a story about division and rights, and the hard work it takes to meet a diplomatic solution to the many differences and grievances that exist between different tribes and factions. What will some do to gain power? What will others do to ensure freedom and justice? How easy is it to waste life in the name of a cause? Oh, yeah and there’s also the little detail of an ancient alien civilisation that have been leaving tech and artifacts all over the solar system for us to fight over and try to control. As I say, the main story element of it all still feels like a partial mystery, and I love that!
Based on the novel series by James S. A. Corey (actually the assumed name of collaborators Ty Franck and Daniel Abraham), which began in 2011 and has produced one book a year since, the TV version has been on the go since 2015, first at SyFy and then at Amazon after being cancelled unfairly, and to mass uproar from the fans, after Season three. It isn’t something you watch casually – either you are into it and make a point of obsessing about it, or you watch a few, feel completely lost and admit it isn’t for you; although you suspect it is good and you just didn’t make the effort to engage enough. Sci-fi this earnest can be like that: a little unforgiving to tourists and passers-by.
Personally, I went through 2 phases with it. The first was watching it late at night with autoplay on, falling in and out of sleep depending on how exciting what was happening was, missing a lot of the detail and feeling largely lost in space. The second was coming back to Season 4 recently (about 3 weeks ago), after taking in a full recap of the story, and becoming a true fan that couldn’t get enough of the complex web of storylines, motives and personalities. Catching up enough to have to wait a week between episodes for the last 4 weeks, which has been tremendously rewarding.
Not that I had a major problem with it from the start. I thought it had a great look and a great mood about it, but lacked some star quality in the cast and was fairly opaque storywise. It always had potential. It was a question of whether you could be bothered to invest in that, knowing that it may go nowhere or even get cancelled very quickly – the TV universe is not known for being kind to sci-fi, as die-hard fans of Firefly still weep about regularly, and quite correctly.
In season one you watch it for the only person onboard that you have heard of, namely Thomas Jane (from The Mist and The Punisher) as det. Joe Miller, a cynical sleuth complete with a great anachronistic hat, who gets wrapped up in a mystery so mysterious it is often hard to work out what he is doing at all, and why… he literally comes and goes, for reasons that become apparent in later seasons. A frustrating and yet fascinating entity that must have been a real test to get right.
The show’s main cast also take a lot of time to warm up, to the point where you wonder who they are and whether they will be in it for long? Steven Strait, Dominique Tipper, Wes Chatham and Cas Anvar, as the ragtag collective of a small ship (they eventually name The Rocinante) that finds itself at the centre of a huge political shitstorm as the last bastion of impartial hope and moral reasoning, exude such little charisma at first it all seems doomed to fail. But, something magical begins to happen, by virtue of being in their presence a lot – you start to care. And the more you care the more the subsequent events have the power to stun you sideways!
More than anything else I can think of in recent years, this is a show that rewards patient investment. You will have definite moments of wanting to quit or take a long break, but the more faith you show in it, the more it will reward you in the long run. For me it was the climax of season 3 when I realised I was 100% into it, and that everything that had happened to that point was now starting to make sense in a larger context. Basically, what you think this is and what you assume it is about early doors, is not where it ends up. It goes somewhere way better!
Perhaps because it has the support of the book series as inspiration, the writing and story arc feels stronger and stronger in time. There are to date 9 books, so there is still scope to let this run for a good few years. And it does start to feel like there is a point where it will all completely tie together. Anyway, I am rambling as much as an average episode seems to do here. The point is, there is something right on the tightrope edge of classic or near miss going on with this. The cast have all really grown into their skins and personalities, and there are some moments in seasons 4 & 5 that left me jaw dropped at their dramatic weight!
Look, this isn’t going to be for everyone. It is very easy to say “I don’t get it” and move on with this show, but I am a sci-fi veteran , if not full geek, and I now absolutely love it. Cult status then is what we are talking about here. There will be a good wait for season six now, but the cliffhanger is mouth-watering, so I am in! It’s far from impossible they will ruin the vibe at some point and it will all fall flat… or, it could become the stuff of legend. I’ll be there to find out either way. No chance I am doing 5 seasons of something to drop out at that point.
Take away the space and the spaceships and this is a story about division and rights, and the hard work it takes to meet a diplomatic solution to the many differences and grievances that exist between different tribes and factions. What will some do to gain power? What will others do to ensure freedom and justice? How easy is it to waste life in the name of a cause? Oh, yeah and there’s also the little detail of an ancient alien civilisation that have been leaving tech and artifacts all over the solar system for us to fight over and try to control. As I say, the main story element of it all still feels like a partial mystery, and I love that!
Purple Phoenix Games (2266 KP) rated Among the Stars in Tabletop Games
Dec 3, 2021
If there is a mechanic that we at Purple Phoenix Games seem to really love, it is card drafting. One such game that has been a big hit for us (well, at least for 3 of us….) is 7 Wonders. Draft a card, pass the rest to your neighbor, draft another card from those received from your other neighbor, and repeat. Set in the Ancient World, you are working to build the most wondrous city. But Laura, why all the 7 Wonders talk in this review? Well, because Among the Stars gives me major 7 Wonders vibes, but IN SPACE. Keep reading to see what I mean.
Disclaimer: Among the Stars can be played in two different modes – Aggressive and Non-Aggressive. This review covers the core game Non-Aggressive mode of play. -L
Among the Stars is a game of card drafting and tile placement in which players take on the roles of different alien races attempting to build the most efficient space station over the span of 4 years (rounds). After the 4th and final round, players calculate their final scores, and the player with the highest score is the winner! To setup for a game, assemble the Location deck as described in the rules. Each player takes a Main Reactor card and score marker in their chosen color. Score markers are placed at zero on the score board, and players put their Main Reactor card face-up in front of them, along with 2 Energy Cubes. Players choose, or are randomly given, a Race Tile with a special Racial Ability to be used throughout the game. Randomly draw the requisite number of Objective cards and put them face-up near the score board. The game is now ready to begin!
Over the course of 4 rounds, players will be drafting cards and playing them into their Space Station. At the start of each round, every player collects 10 Credits (game currency), and draws a hand of 6 Location cards. Every turn, players will select one card from their hand, place it face-down in front of them, and will pass the remaining cards in their hand to the next player (in either clockwise or counter-clockwise direction, depending on the round). Players will then simultaneously reveal their chosen card and perform one of three actions: Build a Location, Build Power Reactor, or Discard and gain 3 Credits. To Build a Location, you pay its listed cost in Credits and/or Energy and add it to your Space Station. Locations must be placed orthogonally adjacent to an existing Location. When you build a Location, you immediately gain the listed number of VP (tracked on the score board), and may use its ability. Some abilities are immediate and earn you extra VP now, while some are delayed and will be counted at the end of the game. To Build a Power Reactor, you will first discard your selected card for the turn. Pay the 1 Credit cost of a Power Reactor and place it into your Space Station, along with 2 Energy Cubes. Every round, you get 10 Credits, but Energy Cubes do not replenish unless you build more Power Reactors, so keep an eye on your resources! The last possible action is to Discard and gain 3 Credits, and is pretty self-explanatory.
Players continue taking turns (drafting cards, passing cards, and playing cards) until they are left with no cards in hand. The round is now over. Move the round marker to the next space, and begin a new round by drawing another hand of 6 cards. After the 4th round of play, the game ends and final VP are scored. Victory Points have been earned throughout the game, but now any delayed abilities are triggered and scored, Objective points are added, and players gain points for Power Reactors and remaining Credits. The player with the highest score is the winner!
See what I mean about being 7 Wonders in space? The overall gameplay is pretty much the same thing – draft a card, pass cards, play the card – even though thematically they’re on opposite ends of time. That familiarity and simplicity of the gameplay definitely added to my enjoyment of the game. And when I say ‘simplicity’ of gameplay, I do not mean that it is an easy game necessarily. It still requires a decent amount of strategy! Not only do you have to decide what card to draft for maximum benefit, but you also need to figure out exactly where to put it in your Space Station too. Some Locations may give you extra VP for being adjacent to certain other Locations, or they may even earn more VP for distance between two Locations. You’ve got to be thinking in advance, but also able to adapt on the fly. Do you draft a card that you don’t necessarily want because you can see your opponent needs it? Or do you keep your head down and try to fly under the radar? The strategy and mechanics work very well together in creating an engaging and entertaining game.
Components. This game basically just consists of cards, a score board, and some tokens. So even though it’s nothing too fancy or anything, they’re still pretty decent quality! The artwork is thematic and fun to look at, and the layout of the cards is easy to understand. The cards are square, so that makes for some interesting shuffling, but the square shape really lends itself well to the tile-laying aspect of the gameplay. So all in all, good production quality. Just be warned – as the game progresses, it turns into quite a table hog, since you are constantly adding cards to your Space Station. Not a knock on the game, just a heads up so you give yourself plenty of room!
Will Among the Stars replace 7 Wonders for me? Ultimately, no. Don’t get me wrong, it’s still a great game, but 7 Wonders just offers a little more strategy that bumps it to a higher level than Among the Stars. To introduce players to these mechanics and gameplay style, I would use Among the Stars because it is a little ‘lighter’ than 7 Wonders, if you ask me. If you are a fan of 7 Wonders and are interested in a more futuristic theme, I would definitely recommend checking out Among the Stars. It’s a neat game that has been hiding on my game shelf without the playtime it deserves. Purple Phoenix Games gives this one a stellar 15 / 18.
Disclaimer: Among the Stars can be played in two different modes – Aggressive and Non-Aggressive. This review covers the core game Non-Aggressive mode of play. -L
Among the Stars is a game of card drafting and tile placement in which players take on the roles of different alien races attempting to build the most efficient space station over the span of 4 years (rounds). After the 4th and final round, players calculate their final scores, and the player with the highest score is the winner! To setup for a game, assemble the Location deck as described in the rules. Each player takes a Main Reactor card and score marker in their chosen color. Score markers are placed at zero on the score board, and players put their Main Reactor card face-up in front of them, along with 2 Energy Cubes. Players choose, or are randomly given, a Race Tile with a special Racial Ability to be used throughout the game. Randomly draw the requisite number of Objective cards and put them face-up near the score board. The game is now ready to begin!
Over the course of 4 rounds, players will be drafting cards and playing them into their Space Station. At the start of each round, every player collects 10 Credits (game currency), and draws a hand of 6 Location cards. Every turn, players will select one card from their hand, place it face-down in front of them, and will pass the remaining cards in their hand to the next player (in either clockwise or counter-clockwise direction, depending on the round). Players will then simultaneously reveal their chosen card and perform one of three actions: Build a Location, Build Power Reactor, or Discard and gain 3 Credits. To Build a Location, you pay its listed cost in Credits and/or Energy and add it to your Space Station. Locations must be placed orthogonally adjacent to an existing Location. When you build a Location, you immediately gain the listed number of VP (tracked on the score board), and may use its ability. Some abilities are immediate and earn you extra VP now, while some are delayed and will be counted at the end of the game. To Build a Power Reactor, you will first discard your selected card for the turn. Pay the 1 Credit cost of a Power Reactor and place it into your Space Station, along with 2 Energy Cubes. Every round, you get 10 Credits, but Energy Cubes do not replenish unless you build more Power Reactors, so keep an eye on your resources! The last possible action is to Discard and gain 3 Credits, and is pretty self-explanatory.
Players continue taking turns (drafting cards, passing cards, and playing cards) until they are left with no cards in hand. The round is now over. Move the round marker to the next space, and begin a new round by drawing another hand of 6 cards. After the 4th round of play, the game ends and final VP are scored. Victory Points have been earned throughout the game, but now any delayed abilities are triggered and scored, Objective points are added, and players gain points for Power Reactors and remaining Credits. The player with the highest score is the winner!
See what I mean about being 7 Wonders in space? The overall gameplay is pretty much the same thing – draft a card, pass cards, play the card – even though thematically they’re on opposite ends of time. That familiarity and simplicity of the gameplay definitely added to my enjoyment of the game. And when I say ‘simplicity’ of gameplay, I do not mean that it is an easy game necessarily. It still requires a decent amount of strategy! Not only do you have to decide what card to draft for maximum benefit, but you also need to figure out exactly where to put it in your Space Station too. Some Locations may give you extra VP for being adjacent to certain other Locations, or they may even earn more VP for distance between two Locations. You’ve got to be thinking in advance, but also able to adapt on the fly. Do you draft a card that you don’t necessarily want because you can see your opponent needs it? Or do you keep your head down and try to fly under the radar? The strategy and mechanics work very well together in creating an engaging and entertaining game.
Components. This game basically just consists of cards, a score board, and some tokens. So even though it’s nothing too fancy or anything, they’re still pretty decent quality! The artwork is thematic and fun to look at, and the layout of the cards is easy to understand. The cards are square, so that makes for some interesting shuffling, but the square shape really lends itself well to the tile-laying aspect of the gameplay. So all in all, good production quality. Just be warned – as the game progresses, it turns into quite a table hog, since you are constantly adding cards to your Space Station. Not a knock on the game, just a heads up so you give yourself plenty of room!
Will Among the Stars replace 7 Wonders for me? Ultimately, no. Don’t get me wrong, it’s still a great game, but 7 Wonders just offers a little more strategy that bumps it to a higher level than Among the Stars. To introduce players to these mechanics and gameplay style, I would use Among the Stars because it is a little ‘lighter’ than 7 Wonders, if you ask me. If you are a fan of 7 Wonders and are interested in a more futuristic theme, I would definitely recommend checking out Among the Stars. It’s a neat game that has been hiding on my game shelf without the playtime it deserves. Purple Phoenix Games gives this one a stellar 15 / 18.
KittyMiku (138 KP) rated Sold to the Werewolf Prince in Books
May 23, 2019
Contains spoilers, click to show
This book is very short and has a good thought behind it. Since the world Hannah is now trying to integrate into is all about being kind and polite at all costs, its easy to see why she would have troubles with some of it. If offending someone meant execution, any human would have a problem living there without issue. I think that is the biggest idea I found to be enjoyable in the book. I love the idea of aliens and space travel, but the view point on having to keep your tongue tied to always be able to be kind to someone is what pique my interest. However, its not just your voice and words, its in your actions too. That whole world made sure everyone at all times are kept in a pleasured and blissful state.
At first, I was intrigued on the aliens and the life on their planet, but I found my interest leading me more towards how Hannah explained how Humans act to one another and how its hard to come by people who are naturally kind and respectful. Though the idea of being executed for saying anything in any way that could offend someone is kind of hard to get behind, I also feel like its something we should all strive for anyways. I can see the disadvantages of always being kind and polite as well though. In the book, Hannah had made it clear she was never sure what would offend someone and get her possibly killed and so she kept a lot of questions and thoughts to herself. I can completely understand that. To a degree though, I think keeping unkind things or questions that could be offense to yourself to be a great idea. However, when it comes to asking things about someone's religion or culture, I would think that wouldn't create a lot of offense. After all, we are all curious about something we don't understand or don't know. It did bring up a lot of things that we allow our children to say and do that isn't kind and allows others to feel unworthy or disrespected. For example name calling. In the story Hannah had tried to explain there are ways to say something to make in endearing. She used the term "bookworm". She went on to explain that in school people called her a bookworm to be mean and hurtful, it was an insult, but at home her mother used the term endearingly because Hannah always had her nose in a book. And if we are honest with ourselves, we know this is often a true case. Kids at school can be mean and hurtful if you don't fit in, but sometimes the insults they deal can also be ones of endearment from those we love. An example of this is the label gamer. In schools being a gamer meant you didn't have a ton of friends and often were picked on because you preferred to be at home playing your games than going to parties. However, if your wife is playfully teasing you by calling you a gamer, or uses it as an endearing term, it is not hurtful at all. Isn't it funny how something so silly as a single word used to describe you can have duel purposes; Hurtful and endearing?
I think Hannah's explanation of that was pretty dead on, but that wasn't all she brought up that reminded me of how awful humans can be. She has brought up how possessive humans can be to materials, enough to kill or have a hand in killing someone else for it. This is something we actually see everyday, if we allow ourselves too. People kill other people for money and material objects. People kill animals, and we aren't talking about for food purposes, because they want to or because it will allow them to make money for certain pieces of the animal. They aren't just hurtful, they are lethal to others and their environment. I found myself cringing at how real her words were. I know these things are going on in the world, we all do, but to have it spoken out loud so bluntly makes you wish it would just stop. In the book, Hannah had stated the American Government had stated that aliens had visited and they covered it up. And Prince Tamkin had stated because of human hostile nature, they didn't see why they should bother with the humans. He said most aliens didn't see the humans worth the hassle. That brings me to question if it is possible that this is also true.
Think about it. Let's say this particular book is correct in the fact aliens exist and they gave up trying to communicate with us because of our hostile natures. Always putting ourselves first and anyone, anything else last. It would make sense in a way, don't you think? I know this is a Sci-fi romance book, but at the same time, it does make a lot of sense. Hannah had said we were egotistical and self centered, thinking we had the best technology in the universe and that we can take anything we want and its true. As a race, humans are horrible creatures. That's not to say there aren't good ones out there. Even Hannah had explained that there were groups of people who fought for the Earth and others. Just as there are people in the real world who do that same. So if Wright can have a lot of truth in the book, who is not to say she was able to come up with a reason on why aliens stay away from Earth? Even though the space travel seems still to far for us to know if that was that is a real thing or not, it is still something worth thinking about.
I do have one major compliant about the book. The intercourse scenes. There were a total of three heavily detailed scenes that I don't completely understand. Do not get my wrong, the first scene was to make it so you understood that pleasing the woman in the bedroom was extremely important and it completely proved this case. However, I do not feels that so much needed to be in the book. The story could have used more details on the alien planet and the major city they resided in. I would have loved to know more about it. I would have loved to actually have seen the different communities and wild life. I was disappointed there wasn't more but instead I got steamy intercourse scenes that would make adult movie stars blush.
I would rate this book 3 stars out of 5 stars. It had brought up a lot of topics to discuss and ponder on and definitely left me wanting more, but the intercourse scenes were over the top and just too much for me. I would have been find with just the first one and maybe shorter scenes for the others. To me it just took away from the story in a way I didn't like.
At first, I was intrigued on the aliens and the life on their planet, but I found my interest leading me more towards how Hannah explained how Humans act to one another and how its hard to come by people who are naturally kind and respectful. Though the idea of being executed for saying anything in any way that could offend someone is kind of hard to get behind, I also feel like its something we should all strive for anyways. I can see the disadvantages of always being kind and polite as well though. In the book, Hannah had made it clear she was never sure what would offend someone and get her possibly killed and so she kept a lot of questions and thoughts to herself. I can completely understand that. To a degree though, I think keeping unkind things or questions that could be offense to yourself to be a great idea. However, when it comes to asking things about someone's religion or culture, I would think that wouldn't create a lot of offense. After all, we are all curious about something we don't understand or don't know. It did bring up a lot of things that we allow our children to say and do that isn't kind and allows others to feel unworthy or disrespected. For example name calling. In the story Hannah had tried to explain there are ways to say something to make in endearing. She used the term "bookworm". She went on to explain that in school people called her a bookworm to be mean and hurtful, it was an insult, but at home her mother used the term endearingly because Hannah always had her nose in a book. And if we are honest with ourselves, we know this is often a true case. Kids at school can be mean and hurtful if you don't fit in, but sometimes the insults they deal can also be ones of endearment from those we love. An example of this is the label gamer. In schools being a gamer meant you didn't have a ton of friends and often were picked on because you preferred to be at home playing your games than going to parties. However, if your wife is playfully teasing you by calling you a gamer, or uses it as an endearing term, it is not hurtful at all. Isn't it funny how something so silly as a single word used to describe you can have duel purposes; Hurtful and endearing?
I think Hannah's explanation of that was pretty dead on, but that wasn't all she brought up that reminded me of how awful humans can be. She has brought up how possessive humans can be to materials, enough to kill or have a hand in killing someone else for it. This is something we actually see everyday, if we allow ourselves too. People kill other people for money and material objects. People kill animals, and we aren't talking about for food purposes, because they want to or because it will allow them to make money for certain pieces of the animal. They aren't just hurtful, they are lethal to others and their environment. I found myself cringing at how real her words were. I know these things are going on in the world, we all do, but to have it spoken out loud so bluntly makes you wish it would just stop. In the book, Hannah had stated the American Government had stated that aliens had visited and they covered it up. And Prince Tamkin had stated because of human hostile nature, they didn't see why they should bother with the humans. He said most aliens didn't see the humans worth the hassle. That brings me to question if it is possible that this is also true.
Think about it. Let's say this particular book is correct in the fact aliens exist and they gave up trying to communicate with us because of our hostile natures. Always putting ourselves first and anyone, anything else last. It would make sense in a way, don't you think? I know this is a Sci-fi romance book, but at the same time, it does make a lot of sense. Hannah had said we were egotistical and self centered, thinking we had the best technology in the universe and that we can take anything we want and its true. As a race, humans are horrible creatures. That's not to say there aren't good ones out there. Even Hannah had explained that there were groups of people who fought for the Earth and others. Just as there are people in the real world who do that same. So if Wright can have a lot of truth in the book, who is not to say she was able to come up with a reason on why aliens stay away from Earth? Even though the space travel seems still to far for us to know if that was that is a real thing or not, it is still something worth thinking about.
I do have one major compliant about the book. The intercourse scenes. There were a total of three heavily detailed scenes that I don't completely understand. Do not get my wrong, the first scene was to make it so you understood that pleasing the woman in the bedroom was extremely important and it completely proved this case. However, I do not feels that so much needed to be in the book. The story could have used more details on the alien planet and the major city they resided in. I would have loved to know more about it. I would have loved to actually have seen the different communities and wild life. I was disappointed there wasn't more but instead I got steamy intercourse scenes that would make adult movie stars blush.
I would rate this book 3 stars out of 5 stars. It had brought up a lot of topics to discuss and ponder on and definitely left me wanting more, but the intercourse scenes were over the top and just too much for me. I would have been find with just the first one and maybe shorter scenes for the others. To me it just took away from the story in a way I didn't like.
Gareth von Kallenbach (965 KP) rated the PC version of Call of Duty: Ghosts in Video Games
Jun 19, 2019
Call of Duty: Ghosts is the latest installment in the commonly popular series and the first design with the next generation of consoles in mind. The 10th main game in the series is brought to life by series creator Infinity Ward with assistance from Raven and Neversoft, was written by Academy award-winning writer-director Stephen Gaghan who lists “Traffic” and “Syrianna” among his many credits.
Starting a whole new story arc, the game is set in the near future when a group of militants from the Latin American-based power conglomerate called the Federation, launch a surprise attack on a space station and unleash a devastating attack upon cities of the American Southwest that utterly destroys many of them in the process. The game jumps forward in time and follows the exploits of two brothers named Logan and David who nearly escaped the destruction of San Diego and 10 years later find the remaining American forces fighting a war against the ever-expanding Federation forces. When a rescue mission goes awry, Logan and David find themselves recruited by their father Elias into an elite Ghost Squad unit who soon discover that members of their unit are being hunted down by a former member named Rorke who was assumed killed on a mission many years earlier. The fact that Rorke may also be behind the attack on the United States as well as a big cog in the Federation’s plans springs the team into action with the fate of the United States hanging in the balance.
Players will play as various characters and assume control of everything from remote operated weaponry, Apache helicopters, tanks, and even a German shepherd named Riley who is a very welcome addition to the series. The heavily modified engine produces some amazing graphics in the game especially during some of the more scenic locales ranging from underwater missions to snow-covered landscapes as well as desolate cities such as Vegas and San Diego. Playing on the PC, did require a bit of patience at launch as the graphics did not seem up to par with what we’ve come to expect from the series much less a next-generation tweaking of the engine. Thankfully the game was soon patched and the graphics stepped up considerably although in multiplayer there were some frustrating moments where the mouse was not recognized and I had to do a series of workarounds until a patch resolved the issue. I still have occasional issues with the system wanting to reset the graphics down to the base level even though my card is more than capable of running the high-level graphics setting. This is a very minor annoyance though as I am able to customize the controls and settings anyway that I like and the gameplay is absolutely phenomenal as the developers clearly put an emphasis on a higher frame rate and smoother gameplay experience.
Fans of the series will know what to expect as there are a lot of familiar touches such is the wave-based attacks, stealth missions, and at the gun battles that are signature of the series. Early in the game, many moments seem to have been almost carbon copies of earlier games but thankfully the game finds stride roughly at the midway point and presses the accelerator all the way to the boards for one nonstop thrill ride which includes an epic finale and some shocking moments along the way not the least of which are the bonus scenes during the credits.
While I was able to complete the solo campaign in just under five hours I did find myself really caught up in the story and the characters which is something that I had not experienced in Black Ops 2 as a largely completed the solo play portion of that game out of obligation rather than compulsion. Absolutely love the space fight sequences as the Zero G combat was great and I would absolutely love to see an entire game set in this environment. I also loved taking control of the tank and running over opponents while unleashing furious amounts of firepower upon all those that crossed my path.
Now multi-play is the bread-and-butter of series and Ghosts definitely has a lot to offer in this category. From the co-op missions to the alien infested “Extinction” mode for up to four players battle against hordes of aliens for survival the game truly has something for everyone. Fans will be happy to know that in addition to the standard Death Match, Team Death Match, Kill Confirmed, and Domination modes there are five other modes which include Infected, Blitz, Search and Rescue, Search and Destroy, and Cranked as well as the standard and Hardcore modes of play.
Customization has long been a big part of the series and this timeout players can play is either a male or female character and have the option to customize the look of their player and online matches down to the type of headgear and uniform that they wear. As with previous games in the series, players are awarded points for kills, assists, and other challenges and actions during gameplay which allow them to rank up and obtain new weaponry, perks, and kill streak rewards. While I did find the customization menus took a little bit to get used to after being so familiar with the ones in the previous games, I soon was up and running and found plenty of options to my liking and I continue to experiment with various configurations to date.
The online maps are fantastic and full of detail however some of them appear to not have the same graphical wow as others because most of them absolutely blow you away and are filled with all sorts of nice touches such as dust and particle effects which have caused players with itchy trigger fingers to jump at shadows and shooter the paper flowing in the wind. The biggest complaint many people have with the maps is that they are extremely large in size and would be better suited for larger teams rather than the current number that is limited for online play. I specifically enjoy one in the snow as well as one set in a devastated city complete with leaning and partially destroyed buildings which allow endless opportunity to get the drop on your opponent especially from many floors up.
While I had some initial frustrations with the game, they quickly vanished and the more time I spent with it the more I was drawn into the characters and storyline as well as the multi-play versatility of the game. Well if used frustrations remain I have no doubt they will be patched eventually, and while I would’ve liked a slightly longer story mode what was presented was absolutely epic and delivered one of the best call of duty experiences to date.
I highly recommend the game and encourage people to focus on the many things that the game and gets right instead of lamenting about things that you wish they were included or what you feel was done wrong because it is a phenomenal ride that is not to be missed.
http://sknr.net/2013/11/17/call-of-duty-ghosts/
Starting a whole new story arc, the game is set in the near future when a group of militants from the Latin American-based power conglomerate called the Federation, launch a surprise attack on a space station and unleash a devastating attack upon cities of the American Southwest that utterly destroys many of them in the process. The game jumps forward in time and follows the exploits of two brothers named Logan and David who nearly escaped the destruction of San Diego and 10 years later find the remaining American forces fighting a war against the ever-expanding Federation forces. When a rescue mission goes awry, Logan and David find themselves recruited by their father Elias into an elite Ghost Squad unit who soon discover that members of their unit are being hunted down by a former member named Rorke who was assumed killed on a mission many years earlier. The fact that Rorke may also be behind the attack on the United States as well as a big cog in the Federation’s plans springs the team into action with the fate of the United States hanging in the balance.
Players will play as various characters and assume control of everything from remote operated weaponry, Apache helicopters, tanks, and even a German shepherd named Riley who is a very welcome addition to the series. The heavily modified engine produces some amazing graphics in the game especially during some of the more scenic locales ranging from underwater missions to snow-covered landscapes as well as desolate cities such as Vegas and San Diego. Playing on the PC, did require a bit of patience at launch as the graphics did not seem up to par with what we’ve come to expect from the series much less a next-generation tweaking of the engine. Thankfully the game was soon patched and the graphics stepped up considerably although in multiplayer there were some frustrating moments where the mouse was not recognized and I had to do a series of workarounds until a patch resolved the issue. I still have occasional issues with the system wanting to reset the graphics down to the base level even though my card is more than capable of running the high-level graphics setting. This is a very minor annoyance though as I am able to customize the controls and settings anyway that I like and the gameplay is absolutely phenomenal as the developers clearly put an emphasis on a higher frame rate and smoother gameplay experience.
Fans of the series will know what to expect as there are a lot of familiar touches such is the wave-based attacks, stealth missions, and at the gun battles that are signature of the series. Early in the game, many moments seem to have been almost carbon copies of earlier games but thankfully the game finds stride roughly at the midway point and presses the accelerator all the way to the boards for one nonstop thrill ride which includes an epic finale and some shocking moments along the way not the least of which are the bonus scenes during the credits.
While I was able to complete the solo campaign in just under five hours I did find myself really caught up in the story and the characters which is something that I had not experienced in Black Ops 2 as a largely completed the solo play portion of that game out of obligation rather than compulsion. Absolutely love the space fight sequences as the Zero G combat was great and I would absolutely love to see an entire game set in this environment. I also loved taking control of the tank and running over opponents while unleashing furious amounts of firepower upon all those that crossed my path.
Now multi-play is the bread-and-butter of series and Ghosts definitely has a lot to offer in this category. From the co-op missions to the alien infested “Extinction” mode for up to four players battle against hordes of aliens for survival the game truly has something for everyone. Fans will be happy to know that in addition to the standard Death Match, Team Death Match, Kill Confirmed, and Domination modes there are five other modes which include Infected, Blitz, Search and Rescue, Search and Destroy, and Cranked as well as the standard and Hardcore modes of play.
Customization has long been a big part of the series and this timeout players can play is either a male or female character and have the option to customize the look of their player and online matches down to the type of headgear and uniform that they wear. As with previous games in the series, players are awarded points for kills, assists, and other challenges and actions during gameplay which allow them to rank up and obtain new weaponry, perks, and kill streak rewards. While I did find the customization menus took a little bit to get used to after being so familiar with the ones in the previous games, I soon was up and running and found plenty of options to my liking and I continue to experiment with various configurations to date.
The online maps are fantastic and full of detail however some of them appear to not have the same graphical wow as others because most of them absolutely blow you away and are filled with all sorts of nice touches such as dust and particle effects which have caused players with itchy trigger fingers to jump at shadows and shooter the paper flowing in the wind. The biggest complaint many people have with the maps is that they are extremely large in size and would be better suited for larger teams rather than the current number that is limited for online play. I specifically enjoy one in the snow as well as one set in a devastated city complete with leaning and partially destroyed buildings which allow endless opportunity to get the drop on your opponent especially from many floors up.
While I had some initial frustrations with the game, they quickly vanished and the more time I spent with it the more I was drawn into the characters and storyline as well as the multi-play versatility of the game. Well if used frustrations remain I have no doubt they will be patched eventually, and while I would’ve liked a slightly longer story mode what was presented was absolutely epic and delivered one of the best call of duty experiences to date.
I highly recommend the game and encourage people to focus on the many things that the game and gets right instead of lamenting about things that you wish they were included or what you feel was done wrong because it is a phenomenal ride that is not to be missed.
http://sknr.net/2013/11/17/call-of-duty-ghosts/
Curiosity Quills: Chronology
Richard Roberts, Tony Healey, Piers Anthony, J.R. Rain, Jordan Elizabeth Mierek, James Wymore, Stan Swanson, Darin Kennedy , Julie Frost , Andrew Buckley , J.P. Moynahan, B. C. Johnson, J. P. Sloan, Andrew J. Rausch, Katie Young , Scott Nicholson, Wilbert Stanton, Tara Tyler, Mark W. Woodring, J. E. Anckorn, Nathan L. Yocum, G. Miki Hayden, Matthew S. Cox and Matthew Graybosch
6.0
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It's time... for time! Embark on a literary journey through the ages with Curiosity Quills Press in...