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Gareth von Kallenbach (980 KP) rated Maneater in Video Games
Jul 26, 2019
Talking Maneater With Bill Munk – Game Director at Tripwire Interactive
Recently I spoke with Bill Munk – Game Director at Tripwire Interactive about their pending game Maneater. I saw the game at E3 and it looks like a promising game indeed.
What is the background and setting for the game?
Maneater is a single-player, open world, action RPG set in a fictionalized version of the US Gulf Coast. Players take on the role of a baby bull shark torn from its mother’s belly. Your only tools are your wits, your jaws, and an uncanny ability to evolve as you feed. Anything and everything is on the menu… provided you kill it before it kills you.
How did the idea to play as a Shark come about?
The concept for Maneater originally came from Alex Quick, the creator of Depth and director for the original Killing Floor. Tripwire Interactive loved the over-the-top and new approach to the action RPG and open world genres so much, they decided to bring the project in-house, increasing the development staff and budget to bring the team’s concept to life.
How many levels and areas are planned for the game at release?
Players should expect a vast variety of environments to explore, including, swamps, beach resorts, sunken ship wrecks, all the way out to the deep blue sea.
What are some of the customizations that will be available and how will players be able to upgrade their character?
As players continue to eat and explore, they’ll acquire key nutrients, which can be used to help them evolve. This is where the “RPG” progression systems in Maneater really come into play. Players can choose from a variety of evolutions, that may help with increased biting power, more maneuverability, armor, and more.
What are some of the moves players will be able to do and will new moves unlock later in the game?
We really want to make sure the act of swimming and feeding feels satisfying and meaty. During our E3 demo, you saw players knifing along the surface of the water, breaching onto land, barrel rolling and charging shark bounty hunters, and diving deep into the water to gain momentum for large leaps.
What can you tell us about the enemies that players will face in the game?
Each region in the game has an Apex Predator. As you battle smaller predators and consume food in each region, the apex will do whatever it takes to protect their food source. Maneater also features a bounty system. As you wreak havoc along the coast, your infamy level will rise. This causes local bounty hunters to search for you while trying to end your feeding frenzy. Depending on your infamy level, the bounty hunters will become more difficult ranging from hunters on small skiffs, all the way up to bringing out the coast guard.
The gameplay we saw at E3 looked like fun but I was curious about how the story will advance and how do you avoid the issue of repetition in the gameplay?
Maneater is a “dueling tales of revenge” story featuring Scaly Pete, who we revealed in our newest E3 trailer. Without revealing too much, Scaly Pete is responsible for tearing you from your mother’s belly, and you manage to escape into the open waters of the gulf. That’s where our story begins. Maneater is presented through the lens of a reality TV show called “Shark Hunters vs. Maneaters” that follows the adventures of Scaly Pete as he’s hunting you throughout our world. This also allows us to follow our player shark and give a voice to the actions of the player through the show’s narrator, who is voiced by Chris Parnell.
Will the game offer multiplayer or DLC?
Right now, we want to focus on making Maneater a fantastic single-player Action RPG experience.
What are some of your favorite moves in the game?
Breaching is one of the most satisfying shark moves we’ve been working on. Breaching out of shallow waters to feed on unsuspecting beach goers on land or even on a large shark bounty hunter boat captures the over-the-top fun and ridiculousness we’re aiming for with Maneater. We’re also working really hard on what we call the “whip-shot”, where you can tail whip anything that’s in your mouth, turning objects into weaponized projectiles.
What can you tell us about the music and sound effects in the game?
We’ve been working really hard on our dynamic music system, that is constantly adapting to what the player is doing throughout the game. It’s also been an interesting challenge creating sound effects for above the water with boats, explosions and civilians and then creating a whole new set of sound effects for the underwater world, including for the underwater wildlife, underwater sounds of the boats and swimmers and so much more.
Are you planning on being at PAX West with the game?
We can’t wait to tell you more about our plans for Maneater at future shows. In the meantime, we’d recommend your readers follow @maneatergame on Twitter for the latest.
Recently I spoke with Bill Munk – Game Director at Tripwire Interactive about their pending game Maneater. I saw the game at E3 and it looks like a promising game indeed.
What is the background and setting for the game?
Maneater is a single-player, open world, action RPG set in a fictionalized version of the US Gulf Coast. Players take on the role of a baby bull shark torn from its mother’s belly. Your only tools are your wits, your jaws, and an uncanny ability to evolve as you feed. Anything and everything is on the menu… provided you kill it before it kills you.
How did the idea to play as a Shark come about?
The concept for Maneater originally came from Alex Quick, the creator of Depth and director for the original Killing Floor. Tripwire Interactive loved the over-the-top and new approach to the action RPG and open world genres so much, they decided to bring the project in-house, increasing the development staff and budget to bring the team’s concept to life.
How many levels and areas are planned for the game at release?
Players should expect a vast variety of environments to explore, including, swamps, beach resorts, sunken ship wrecks, all the way out to the deep blue sea.
What are some of the customizations that will be available and how will players be able to upgrade their character?
As players continue to eat and explore, they’ll acquire key nutrients, which can be used to help them evolve. This is where the “RPG” progression systems in Maneater really come into play. Players can choose from a variety of evolutions, that may help with increased biting power, more maneuverability, armor, and more.
What are some of the moves players will be able to do and will new moves unlock later in the game?
We really want to make sure the act of swimming and feeding feels satisfying and meaty. During our E3 demo, you saw players knifing along the surface of the water, breaching onto land, barrel rolling and charging shark bounty hunters, and diving deep into the water to gain momentum for large leaps.
What can you tell us about the enemies that players will face in the game?
Each region in the game has an Apex Predator. As you battle smaller predators and consume food in each region, the apex will do whatever it takes to protect their food source. Maneater also features a bounty system. As you wreak havoc along the coast, your infamy level will rise. This causes local bounty hunters to search for you while trying to end your feeding frenzy. Depending on your infamy level, the bounty hunters will become more difficult ranging from hunters on small skiffs, all the way up to bringing out the coast guard.
The gameplay we saw at E3 looked like fun but I was curious about how the story will advance and how do you avoid the issue of repetition in the gameplay?
Maneater is a “dueling tales of revenge” story featuring Scaly Pete, who we revealed in our newest E3 trailer. Without revealing too much, Scaly Pete is responsible for tearing you from your mother’s belly, and you manage to escape into the open waters of the gulf. That’s where our story begins. Maneater is presented through the lens of a reality TV show called “Shark Hunters vs. Maneaters” that follows the adventures of Scaly Pete as he’s hunting you throughout our world. This also allows us to follow our player shark and give a voice to the actions of the player through the show’s narrator, who is voiced by Chris Parnell.
Will the game offer multiplayer or DLC?
Right now, we want to focus on making Maneater a fantastic single-player Action RPG experience.
What are some of your favorite moves in the game?
Breaching is one of the most satisfying shark moves we’ve been working on. Breaching out of shallow waters to feed on unsuspecting beach goers on land or even on a large shark bounty hunter boat captures the over-the-top fun and ridiculousness we’re aiming for with Maneater. We’re also working really hard on what we call the “whip-shot”, where you can tail whip anything that’s in your mouth, turning objects into weaponized projectiles.
What can you tell us about the music and sound effects in the game?
We’ve been working really hard on our dynamic music system, that is constantly adapting to what the player is doing throughout the game. It’s also been an interesting challenge creating sound effects for above the water with boats, explosions and civilians and then creating a whole new set of sound effects for the underwater world, including for the underwater wildlife, underwater sounds of the boats and swimmers and so much more.
Are you planning on being at PAX West with the game?
We can’t wait to tell you more about our plans for Maneater at future shows. In the meantime, we’d recommend your readers follow @maneatergame on Twitter for the latest.
postapocalypticplayground (27 KP) rated The Wicked Deep in Books
May 1, 2018
Everything a contemporary fantasy should be
I got a copy of The Wicked Deep in a book sub box, I had seen it around but didn't know much about it which is perfect because sometimes knowing can turn me away, as i'm often a creature of habit. I'm not really a fan of fantasy in a contemporary setting but this book changed my mind completely! I think that this is because the small town of Sparrow doesn't feel contemporary. Forgotten for most of the year, it's a crumbling town being slowly reclaimed by the sea. With no chain stores or high street names it's kind of trapped in time, which all ends up adding to the authenticity of Swan Season - A short time each year where it's said that the drowned witch Swan sisters return to the shore to claim the lives of men in the town. Despite there actually being annual deaths, tourists still flock to Sparrow every year. The story is also nicely interposed with chapters about the history of the town and the Swan sisters time there, which also gives it a less contemporary feel.
Before I go any further I want to cut to one thing, this book has been published by Simon and Schuster's Children's Division - so set your sights here. Yes this is a tale of darkness, murder and revenge, but don't expect it to be graphic or horrifying - I mention this as I have seen some people complain that it isn't enough of those things. YA covers a large age range and sometimes it's going to be towards the lower end and to be honest, the story telling is so fantastic that it doesn't need to be graphic or over the top. I think Shea Ernshaw does an amazing job of conveying dread without resorting to shock. That's also evident that despite the subject matter this is a really easy and captivating read, I couldn't put it down and read it in a day!
There isn't a character I disliked. The sisters were portrayed brilliantly, all reacting differently to the 200 years of vengeance and I found it a really interesting take on how they can become either weary or sharpened by this. The children of the town as well were thoughtfully considered with how they have come to accept the fate of the town they were born into, and almost embrace it like a birthright, despite knowing what the fates could have in store. I want to be careful of saying too much about the characters as there is some brilliant misdirection and a twist to this tale, which kept me on my toes.
The story feels very ethereal, from the mists of the sisters song to the decrepit lighthouse island and the run down township. Even the antics of the children at the start of Swan Season seems as if they are already under a spell rather than the elaborate dares they look to be playing - perhaps that is a spell over the whole town, in that they float along knowing what is coming yet seem in no hurry to change or move to do anything about it.
I loved this book for so many reasons and it's beautifully not afraid to be a stand alone which is so refreshing at the moment. The cover is gorgeous too! I have no hesitation in giving this book 5*
Before I go any further I want to cut to one thing, this book has been published by Simon and Schuster's Children's Division - so set your sights here. Yes this is a tale of darkness, murder and revenge, but don't expect it to be graphic or horrifying - I mention this as I have seen some people complain that it isn't enough of those things. YA covers a large age range and sometimes it's going to be towards the lower end and to be honest, the story telling is so fantastic that it doesn't need to be graphic or over the top. I think Shea Ernshaw does an amazing job of conveying dread without resorting to shock. That's also evident that despite the subject matter this is a really easy and captivating read, I couldn't put it down and read it in a day!
There isn't a character I disliked. The sisters were portrayed brilliantly, all reacting differently to the 200 years of vengeance and I found it a really interesting take on how they can become either weary or sharpened by this. The children of the town as well were thoughtfully considered with how they have come to accept the fate of the town they were born into, and almost embrace it like a birthright, despite knowing what the fates could have in store. I want to be careful of saying too much about the characters as there is some brilliant misdirection and a twist to this tale, which kept me on my toes.
The story feels very ethereal, from the mists of the sisters song to the decrepit lighthouse island and the run down township. Even the antics of the children at the start of Swan Season seems as if they are already under a spell rather than the elaborate dares they look to be playing - perhaps that is a spell over the whole town, in that they float along knowing what is coming yet seem in no hurry to change or move to do anything about it.
I loved this book for so many reasons and it's beautifully not afraid to be a stand alone which is so refreshing at the moment. The cover is gorgeous too! I have no hesitation in giving this book 5*
BankofMarquis (1832 KP) rated The Meg (2018) in Movies
Dec 4, 2018
Not "So Awful It's Good", just Awful
One of the surprise hits of the summer of 2018 was the "so bad it's good" mega-shark movie THE MEG, starring the impediment of modern-day machismo, Jason Statham. So, when I saw that it was streaming on DirecTV, I thought I'd melt into the couch with a blanket and a beverage of my choice and relish in the over-the-top awfulness that is THE MEG.
Well...I am here to report that THE MEG is awful, just not over-the-top "so bad it's good" awful. It's just awful - and that is an awful disappointment.
I can see the pitch now - THE MEG is "Jaws, but bigger, it's Mega-Jaws! What were the best parts of Jaws? Well, we're gonna do that again, just more!" But what these filmmakers failed to realize is that the best part of Jaws isn't the shark attacking, it's the interaction of the 3 men who go off in search of the shark.
And...the folks that are "fish-fodder" for this big shark just aren't interesting enough. The filmmakers give Jason Statham a PTSD backstory that is forgotten about 2 minutes into the film. His nemesis/former crewmate (a forgettable Robert Taylor) hates Statham's character for about 5 minutes...the stalwart captain is...well stalwart and he is played by "I always melt into the background" Cliff Curtis. Rubie Rose is on-board as the "young genius" who's good looks and youth makes everyone underestimate her - even after she proves over and over again that she is young and a GENIUS. And then, there's good ol' Rain Wilson (Dwight from THE OFFICE) who's the megalomaniacal mega-billionaire who wants to capture (not kill) The Meg for profit.
The problem with all these characters (and others like Masi Oka's homesick scientist) is that they are one-note but not SO one note that they are over-the-top caricatures. They're just boring and forgettable.
As for the shark killings (the real reason that The Meg is intriguing), they are just as boring and forgettable as the characters. Most of them are homages to kills ni the Jaws series of films, so there is some fun in that, but none of them are truly unique and original or over-the-top enough.
The blame, I think, probably goes to "the suits" at Warner Brothers or perhaps Gravity Pictures. There are 3 writers on this, so clearly the script kept getting sent back to the drawing board - and 19(!) producers attached. I heard that Eli Roth was attached at one point and he wanted to make it EXTREMELY graphic and bloody - but "the suits" wanted something they could market to a broader audience, so let him go and hired the always mediocre Jon Turtletaub (LAST VEGAS, THE SORCERER'S APPRENTICE) to Direct and mediocrity reigns all over.
If you want a "so bad it's good" mega-shark film and check out DEEP BLUE SEA (the Samuel L. Jackson speech in this film is worth the price of admission). And when you see THE MEG on whatever streaming platform you prefer and are prepared to watch it "for a laugh", save yourself the bother (and the boredom) and stream something else.
Letter Grade: C (it is competently made)
4 stars (out of 10) and you can take that to the Bank(ofMarquis)
Well...I am here to report that THE MEG is awful, just not over-the-top "so bad it's good" awful. It's just awful - and that is an awful disappointment.
I can see the pitch now - THE MEG is "Jaws, but bigger, it's Mega-Jaws! What were the best parts of Jaws? Well, we're gonna do that again, just more!" But what these filmmakers failed to realize is that the best part of Jaws isn't the shark attacking, it's the interaction of the 3 men who go off in search of the shark.
And...the folks that are "fish-fodder" for this big shark just aren't interesting enough. The filmmakers give Jason Statham a PTSD backstory that is forgotten about 2 minutes into the film. His nemesis/former crewmate (a forgettable Robert Taylor) hates Statham's character for about 5 minutes...the stalwart captain is...well stalwart and he is played by "I always melt into the background" Cliff Curtis. Rubie Rose is on-board as the "young genius" who's good looks and youth makes everyone underestimate her - even after she proves over and over again that she is young and a GENIUS. And then, there's good ol' Rain Wilson (Dwight from THE OFFICE) who's the megalomaniacal mega-billionaire who wants to capture (not kill) The Meg for profit.
The problem with all these characters (and others like Masi Oka's homesick scientist) is that they are one-note but not SO one note that they are over-the-top caricatures. They're just boring and forgettable.
As for the shark killings (the real reason that The Meg is intriguing), they are just as boring and forgettable as the characters. Most of them are homages to kills ni the Jaws series of films, so there is some fun in that, but none of them are truly unique and original or over-the-top enough.
The blame, I think, probably goes to "the suits" at Warner Brothers or perhaps Gravity Pictures. There are 3 writers on this, so clearly the script kept getting sent back to the drawing board - and 19(!) producers attached. I heard that Eli Roth was attached at one point and he wanted to make it EXTREMELY graphic and bloody - but "the suits" wanted something they could market to a broader audience, so let him go and hired the always mediocre Jon Turtletaub (LAST VEGAS, THE SORCERER'S APPRENTICE) to Direct and mediocrity reigns all over.
If you want a "so bad it's good" mega-shark film and check out DEEP BLUE SEA (the Samuel L. Jackson speech in this film is worth the price of admission). And when you see THE MEG on whatever streaming platform you prefer and are prepared to watch it "for a laugh", save yourself the bother (and the boredom) and stream something else.
Letter Grade: C (it is competently made)
4 stars (out of 10) and you can take that to the Bank(ofMarquis)
Lucy Buglass (45 KP) rated The Meg (2018) in Movies
Jun 20, 2019
Statham vs Massive Prehistoric Shark
Before I start my review, I think I should add a quick disclaimer. I knew fine well that I wasn’t walking into a Oscar-worthy, perfect film as soon as I booked my ticket for The Meg. With the exception of Jaws, how many shark films have actually been award worthy? We’ve seen a huge boom in shark popularity ranging from plausible to the downright stupid (yes Sharknado, I’m looking at you and your buddies). But despite my already low expectations, I still have a fair amount of criticism for what I saw.
My biggest problem from the get-go is that we get no explanation for why the megalodon, a shark that’s been extinct for 2 million years has suddenly came back to gobble people up. How did it survive? Why is it there? Even the most low budget, downright awful creature features try to offer some silly scientific explanation for why the antagonist exists at all. It’s dumb, but hey, at least they tried. The Meg makes no effort to try and explain anything which was frustrating to me. The most we got was “Oh hey, there’s this really big creature that we thought was extinct but it’s actually living down in the Marianas trench – surprise!”. This might be a sufficient explanation for some, but not for me.
Having said that, was it an entertaining film? Sure. I did really enjoy the visuals especially and thought they did an excellent job with the CGI and actually bringing this creature and the underwater facility to life. Cinematically it’s a stunning film to look at, and despite all this implausibility, it still transports you to this huge, unknown, underwater world for the duration. I’ve seen some terrible CGI in my time, but thankfully The Meg doesn’t fall into this category. These visuals make up for the cringe-worthy script and lines that were supposed to be serious and instead made me burst out laughing. But let’s be honest, I’d be disappointed if the script wasn’t this god-awful. You walk into a film like this expecting to face palm a couple of times, don’t you?
I would’ve liked a bit more brutality as the Meg is supposed to be a terrifying, monster shark that’s approximately 60 feet in length. (The Great White shark can grow up to 20 feet for comparison). Despite it’s 12 rating I’m sure more blood and violence would’ve been acceptable as Jaws managed to get away with it back in 1975. Who could forget that scene where an unfortunate fellow slides down into the shark’s mouth? Brutal. Whilst I appreciate this isn’t necessarily a horror film, it actually needed more violence and less filler scenes in my opinion. It’s not often that I ask for more violence,` especially in an action film, yet here we are.
To conclude, The Meg is a fun way to spend your evening, but it ultimately felt like a high budget B-Movie. The actors tried their best with the script they had, but even people like Jason Statham and Ruby Rose couldn’t make it better. (what was up with Statham’s accent, by the way?!). If you’re wanting a silly shark film with more substance, I’d recommend Deep Blue Sea instead
https://lucygoestohollywood.com/2018/08/19/statham-vs-massive-prehistoric-shark-my-thoughts-on-the-meg/
My biggest problem from the get-go is that we get no explanation for why the megalodon, a shark that’s been extinct for 2 million years has suddenly came back to gobble people up. How did it survive? Why is it there? Even the most low budget, downright awful creature features try to offer some silly scientific explanation for why the antagonist exists at all. It’s dumb, but hey, at least they tried. The Meg makes no effort to try and explain anything which was frustrating to me. The most we got was “Oh hey, there’s this really big creature that we thought was extinct but it’s actually living down in the Marianas trench – surprise!”. This might be a sufficient explanation for some, but not for me.
Having said that, was it an entertaining film? Sure. I did really enjoy the visuals especially and thought they did an excellent job with the CGI and actually bringing this creature and the underwater facility to life. Cinematically it’s a stunning film to look at, and despite all this implausibility, it still transports you to this huge, unknown, underwater world for the duration. I’ve seen some terrible CGI in my time, but thankfully The Meg doesn’t fall into this category. These visuals make up for the cringe-worthy script and lines that were supposed to be serious and instead made me burst out laughing. But let’s be honest, I’d be disappointed if the script wasn’t this god-awful. You walk into a film like this expecting to face palm a couple of times, don’t you?
I would’ve liked a bit more brutality as the Meg is supposed to be a terrifying, monster shark that’s approximately 60 feet in length. (The Great White shark can grow up to 20 feet for comparison). Despite it’s 12 rating I’m sure more blood and violence would’ve been acceptable as Jaws managed to get away with it back in 1975. Who could forget that scene where an unfortunate fellow slides down into the shark’s mouth? Brutal. Whilst I appreciate this isn’t necessarily a horror film, it actually needed more violence and less filler scenes in my opinion. It’s not often that I ask for more violence,` especially in an action film, yet here we are.
To conclude, The Meg is a fun way to spend your evening, but it ultimately felt like a high budget B-Movie. The actors tried their best with the script they had, but even people like Jason Statham and Ruby Rose couldn’t make it better. (what was up with Statham’s accent, by the way?!). If you’re wanting a silly shark film with more substance, I’d recommend Deep Blue Sea instead
https://lucygoestohollywood.com/2018/08/19/statham-vs-massive-prehistoric-shark-my-thoughts-on-the-meg/
Gareth von Kallenbach (980 KP) rated Captain Cat in Video Games
Jul 8, 2019
Cats rule! Seriously. Just ask the crazy cat lady that lives with me, err… I mean my wife (cue Doug Benson). Cats are natural fisher… cats? Right? And who doesn’t like a great puzzle game. So why not have all three. Mobile users have been living with this kind of excitement for a while now, and they have finally let us console games have some fun as well.
Joking aside, Captain Cat (“CC”), which originally launched on iOS and Android, has made its way to the Xbox One and Nintendo Switch. With a price tag of $6.99 on both platforms, the big question is, is a mobile to console port even worth that price tag?
CC is super easy to pick up and play with its simplified control scheme. Playing as the titular character, your end goal is to catch fish using your… anchor? The game starts pretty simple, but introduces new obstacles and adversaries to add to the challenge as you progress. With 4 game modes available, there seems to be plenty to do.
Waspfish, the main came mode, has you making your way through 25 levels of casting your anchor, dodging obstructions and catching fish. Watch for those enemies though, as getting hit could cause you to restart your level. Housekeeper is another mode, also having 25 levels, and it’s essentially the same as Waspfish. It has subtle differences including enemies, and your end goal being to catch a snail that can hide in its shell. Try to catch him while he’s hiding and you’ll have to restart the level. As with many games on mobile, you are scored on your performance on each level in both modes. Your aim is to try and nab a three-star rating by completing the level as fast as possible, in as little moves as possible, while collecting all the coins you can.
Our third mode, Infinite, is exactly what it sounds like. The Captain casts out into the sea where your goal is to get as deep as you possibly can while dodging obstacles and enemies. The final mode is called Perfect. This is by far the most difficult of the game modes. Getting only one cast of your anchor, you restart the level if you miss. It requires some trial and error, but the challenge was welcome and a great mode to get you to think strategy in where to cast.
These combination of modes should keep you occupied for a few ours, and are great for a quick pick up and play game when you only have a few minutes to sneak in some gaming. However, I question why you wouldn’t just pick up your phone and play it on there if it’s a game you really want to play. Although a quick look showed me that the game is no longer on the Play Store and can only be side-loaded via APK from other sources. I cannot speak to the availability on iOS.
Overall, Captain Cat is a fun puzzle game (which is surprisingly missing any sort of leaderboard) that provided some challenging moments and kept me engaged while I was playing. So now we get back to our question at hand. Is it worth the $6.99 price tag? If it’s on the Switch, I would say go for it. It’s the version I reviewed, but it also seems to make much more sense to be able to carry the game with you and play anywhere, versus the stationary nature of the Xbox One.
Joking aside, Captain Cat (“CC”), which originally launched on iOS and Android, has made its way to the Xbox One and Nintendo Switch. With a price tag of $6.99 on both platforms, the big question is, is a mobile to console port even worth that price tag?
CC is super easy to pick up and play with its simplified control scheme. Playing as the titular character, your end goal is to catch fish using your… anchor? The game starts pretty simple, but introduces new obstacles and adversaries to add to the challenge as you progress. With 4 game modes available, there seems to be plenty to do.
Waspfish, the main came mode, has you making your way through 25 levels of casting your anchor, dodging obstructions and catching fish. Watch for those enemies though, as getting hit could cause you to restart your level. Housekeeper is another mode, also having 25 levels, and it’s essentially the same as Waspfish. It has subtle differences including enemies, and your end goal being to catch a snail that can hide in its shell. Try to catch him while he’s hiding and you’ll have to restart the level. As with many games on mobile, you are scored on your performance on each level in both modes. Your aim is to try and nab a three-star rating by completing the level as fast as possible, in as little moves as possible, while collecting all the coins you can.
Our third mode, Infinite, is exactly what it sounds like. The Captain casts out into the sea where your goal is to get as deep as you possibly can while dodging obstacles and enemies. The final mode is called Perfect. This is by far the most difficult of the game modes. Getting only one cast of your anchor, you restart the level if you miss. It requires some trial and error, but the challenge was welcome and a great mode to get you to think strategy in where to cast.
These combination of modes should keep you occupied for a few ours, and are great for a quick pick up and play game when you only have a few minutes to sneak in some gaming. However, I question why you wouldn’t just pick up your phone and play it on there if it’s a game you really want to play. Although a quick look showed me that the game is no longer on the Play Store and can only be side-loaded via APK from other sources. I cannot speak to the availability on iOS.
Overall, Captain Cat is a fun puzzle game (which is surprisingly missing any sort of leaderboard) that provided some challenging moments and kept me engaged while I was playing. So now we get back to our question at hand. Is it worth the $6.99 price tag? If it’s on the Switch, I would say go for it. It’s the version I reviewed, but it also seems to make much more sense to be able to carry the game with you and play anywhere, versus the stationary nature of the Xbox One.
Bong Mines Entertainment (15 KP) rated The Beginning - Single by The Crab Apples in Music
Jul 10, 2019
The Crab Apples is an indie pop-rock band based in Barcelona. Not too long ago, they released a wonderful indie-pop tune, entitled, “The Beginning”.
“You’ve already taken all your roots. Planted at least two seeds and you talk about them and I smile and nod my head. Though deep down I feel like dying. ‘Cause I know you have your life across the sea while I’m stuck in here, lost, wondering what I might potentially be.” – lyrics
‘The Beginning’ tells a bittersweet tale of a young woman who wants to travel overseas to visit a special guy in her life, someone who she desires to be with.
While in preparation to depart, she decides not to go and see him anymore. Subsequently, she rejects the idea of traveling on a plane to a far-away land.
Her sudden decision might be based on the fact that she considers herself an easy prey whose heart was effortlessly captured by the above-mentioned individual.
Later, she admits that if he would have opened his hand, she would’ve fallen into his trap like a big dumb fly.
What she wants now is to be free from his enchanting hook, which he uses to catch victims who are attracted to his charm.
But in order to achieve her desired goal, she can’t go to see him because she will fall under his spell once again.
‘The Beginning’ contains a relatable storyline, pleasing vocals, and buoyant instrumentation flavored with guitar products and alternative-pop elements. Also, the likable tune is featured on The Crab Apples’ “More Mistakes” EP.
“‘The End’ and ‘The Beginning’ are two parts of the same song. But in the versions we have made, we understand each part as different entities. Recording ‘The End’ was amazing because we experienced like never before. We went crazy with voice effects and synths. Laia came to the studio when she only needed to record the bass and recorded it in a shot as she listened and discovered how she had mutated the song throughout the process. All this took us away from our habitual ways of doing things and took us to lands we had never explored before.” – The Crab Apples
The Crab Apples consists of Carla Gimeno (vocals, guitar), Laia Alsina (electric guitar), Laia Martí (bass) and Mauro Cavallaro (drums).
What started as a project between four friends from the same town, quickly grew and they became the group we know now.
The release of their EP has led the dynamic foursome to comfortably play on stages all over Spain.
Not too long ago, Laia Alsina mentioned why their custom pedalboards for guitar and bass gives them freedom and peace of mind while on tour.
“I’ve been practically two years with the Evo Track S2 pedalboard and it has certainly been a great change. I find it very comfortable and easy to use to carry my pedals and especially when playing live. The elevation of the second row really helps me to activate and deactivate the effects easily. It prevents me to play accidentally the pedal on the side (common). I’m very happy because I’ve toured a lot and the pedalboard still lasts.” – Laia Alsina
Although they might not look like it at first sight, The Crab Apples considers their mistakes beautiful. Through their scars, what once seemed weak is now attractively strong.
“You’ve already taken all your roots. Planted at least two seeds and you talk about them and I smile and nod my head. Though deep down I feel like dying. ‘Cause I know you have your life across the sea while I’m stuck in here, lost, wondering what I might potentially be.” – lyrics
‘The Beginning’ tells a bittersweet tale of a young woman who wants to travel overseas to visit a special guy in her life, someone who she desires to be with.
While in preparation to depart, she decides not to go and see him anymore. Subsequently, she rejects the idea of traveling on a plane to a far-away land.
Her sudden decision might be based on the fact that she considers herself an easy prey whose heart was effortlessly captured by the above-mentioned individual.
Later, she admits that if he would have opened his hand, she would’ve fallen into his trap like a big dumb fly.
What she wants now is to be free from his enchanting hook, which he uses to catch victims who are attracted to his charm.
But in order to achieve her desired goal, she can’t go to see him because she will fall under his spell once again.
‘The Beginning’ contains a relatable storyline, pleasing vocals, and buoyant instrumentation flavored with guitar products and alternative-pop elements. Also, the likable tune is featured on The Crab Apples’ “More Mistakes” EP.
“‘The End’ and ‘The Beginning’ are two parts of the same song. But in the versions we have made, we understand each part as different entities. Recording ‘The End’ was amazing because we experienced like never before. We went crazy with voice effects and synths. Laia came to the studio when she only needed to record the bass and recorded it in a shot as she listened and discovered how she had mutated the song throughout the process. All this took us away from our habitual ways of doing things and took us to lands we had never explored before.” – The Crab Apples
The Crab Apples consists of Carla Gimeno (vocals, guitar), Laia Alsina (electric guitar), Laia Martí (bass) and Mauro Cavallaro (drums).
What started as a project between four friends from the same town, quickly grew and they became the group we know now.
The release of their EP has led the dynamic foursome to comfortably play on stages all over Spain.
Not too long ago, Laia Alsina mentioned why their custom pedalboards for guitar and bass gives them freedom and peace of mind while on tour.
“I’ve been practically two years with the Evo Track S2 pedalboard and it has certainly been a great change. I find it very comfortable and easy to use to carry my pedals and especially when playing live. The elevation of the second row really helps me to activate and deactivate the effects easily. It prevents me to play accidentally the pedal on the side (common). I’m very happy because I’ve toured a lot and the pedalboard still lasts.” – Laia Alsina
Although they might not look like it at first sight, The Crab Apples considers their mistakes beautiful. Through their scars, what once seemed weak is now attractively strong.
Never meet your heroes is the succinct tag line of this Amazon original series, dealing with the notion that all superheroes are morally good… but what if they weren’t…?
Filmed in Canada, and starring New Zealand actors Karl Urban and American Gothic’s Antony Starr, this violent and very adult take on the costumed hero mythology is enough removed from standard American sensibilities to allow it to explore itself boldly and largely uncensored. It is definitely not a show for kids!
From the opening scenes it is evident that The Boys is not afraid to use gallons of blood and gore, nudity and colourful language to emphasise its point of a world corrupt, corporate and cruel, where the falacy of the powerful being there to protect you is shown up as pure money-spinning political and media manipulation.
We follow Jack Quaid’s naive victim Hughie Cambell, as he comes to realise the true nature of the self-centred and entirely flawed “heroes” that make up The Seven – an elite collection of super-powered “freaks”, led by Starr’s superbly vain and ego-maniachal Homelander; yet ultimately controlled by the Vought corporation and its unethical CEO Madelyn Stillwell, played with nervy relish by Elizabeth Shue.
There is Translucent, who can turn his skin invisible, but has to be naked to do so, and uses it largely to lurk in women’s bathrooms… The Deep, who can speak to sea creatures, but manifests a poisonous macho air, driven by massive insecurity… and A-Train, the world’s fastest man, who is a self-serving junkie with big issues.
Into the mix comes, the newest member of The Seven, Erin Moriaty, as Annie January, aka Starlight. Who may or may not have what it takes to join the ranks of well publicised fame, if she can turn a blind eye to the sinister workings of Vought and fit in.
Meanwhile, Hughie, looking for justice and perhaps revenge, meets Will Butcher (Urban), a man with a shady past, a terrible London accent (hilariously brought to attention whenever possible), and a reason to despise and hunt The Seven to extinction. The narrative progresses through this hunt, and the revelation of many secrets, into a cat and mouse game between the powerful “heroes” and the mere mortals determined to stop them.
Arch humour presides; nothing is handled with any sense of realism, favouring spectacle over believability. The tongue is firmly in cheek throughout, and the fun comes from the inventive ways the “Supes” use and misuse their powers, versus the resourcefulness of the essentially powerless methods employed by The Boys to chase them down and bring them to justice.
There are moments when the idea overshadows the actual script, for sure. Other times when the density of characters becomes confusing and unfocused. Without spoilers, it does all go in some very interesting directions, and by the end of episode 8 and the season finale it reaches a point suggesting a tactic many new shows seem to favour. Namely, to leaves things open enough, and on a cliff edge enough, to lead it anywhere it wants to go in a second series.
I have to admit, I wasn’t always comfortable with the tone of it… but, perhaps, that is the point. I did, however, find it very entertaining, fascinatingly post-modern and allegorical. As with many of the “Supes” it could have the ability to fly… but isn’t quite there yet!
Filmed in Canada, and starring New Zealand actors Karl Urban and American Gothic’s Antony Starr, this violent and very adult take on the costumed hero mythology is enough removed from standard American sensibilities to allow it to explore itself boldly and largely uncensored. It is definitely not a show for kids!
From the opening scenes it is evident that The Boys is not afraid to use gallons of blood and gore, nudity and colourful language to emphasise its point of a world corrupt, corporate and cruel, where the falacy of the powerful being there to protect you is shown up as pure money-spinning political and media manipulation.
We follow Jack Quaid’s naive victim Hughie Cambell, as he comes to realise the true nature of the self-centred and entirely flawed “heroes” that make up The Seven – an elite collection of super-powered “freaks”, led by Starr’s superbly vain and ego-maniachal Homelander; yet ultimately controlled by the Vought corporation and its unethical CEO Madelyn Stillwell, played with nervy relish by Elizabeth Shue.
There is Translucent, who can turn his skin invisible, but has to be naked to do so, and uses it largely to lurk in women’s bathrooms… The Deep, who can speak to sea creatures, but manifests a poisonous macho air, driven by massive insecurity… and A-Train, the world’s fastest man, who is a self-serving junkie with big issues.
Into the mix comes, the newest member of The Seven, Erin Moriaty, as Annie January, aka Starlight. Who may or may not have what it takes to join the ranks of well publicised fame, if she can turn a blind eye to the sinister workings of Vought and fit in.
Meanwhile, Hughie, looking for justice and perhaps revenge, meets Will Butcher (Urban), a man with a shady past, a terrible London accent (hilariously brought to attention whenever possible), and a reason to despise and hunt The Seven to extinction. The narrative progresses through this hunt, and the revelation of many secrets, into a cat and mouse game between the powerful “heroes” and the mere mortals determined to stop them.
Arch humour presides; nothing is handled with any sense of realism, favouring spectacle over believability. The tongue is firmly in cheek throughout, and the fun comes from the inventive ways the “Supes” use and misuse their powers, versus the resourcefulness of the essentially powerless methods employed by The Boys to chase them down and bring them to justice.
There are moments when the idea overshadows the actual script, for sure. Other times when the density of characters becomes confusing and unfocused. Without spoilers, it does all go in some very interesting directions, and by the end of episode 8 and the season finale it reaches a point suggesting a tactic many new shows seem to favour. Namely, to leaves things open enough, and on a cliff edge enough, to lead it anywhere it wants to go in a second series.
I have to admit, I wasn’t always comfortable with the tone of it… but, perhaps, that is the point. I did, however, find it very entertaining, fascinatingly post-modern and allegorical. As with many of the “Supes” it could have the ability to fly… but isn’t quite there yet!
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