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Rum and Bones: Second Tide
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Avast ye pirates! Gather your crews and set sail for adventure on the high seas in Rum & Bones:...
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Hadley (567 KP) rated Wastelands: Stories of the Apocalypse in Books
Aug 19, 2020
From the Book of Revelations to the Road Warrior; from A Canticle for Leibowitz to the Road, storytellers have long imagined the end of the world, weaving eschatological tales of catastrophe, chaos, and calamity. In doing so, these visionary authors have addressed one of the most challenging and enduring themes of imaginative fiction: the nature of life in the aftermath of total societal collapse.
Overall, there were a few good stories inside this book, but some of them seemed out of place, and there were ones that were just boring or not written well (like ending the story just to make it a short story). I only recommend this book to people who absolutely love dystopian stories, but for those who are just light readers of it, I don't think you'd enjoy it.
Being that this is a review for a handful of short stories, I am only going to mention the ones I really liked.
"Salvage" by Orson Scott Card
A long time after atom bombs have destroyed most of the Earth, a young man named Deaver finds out that there may be gold hidden within a Mormon temple, and he's willing to risk everything to get it.
I loved the story, the characters, and the playful banter between them.
"Bread and Bombs" by M. Rickert
During war time, children become curious about an odd neighbor who moves in. Parents demand that their children stay away from them because the neighbor's people are the reason so many people have died.
I liked that the story is through the childrens' eyes, not the adults.
"Dark, Dark Were the Tunnels" by George R. R. Martin
In the story that follows, you'll meet Greel. He is a scout of the People. He's penetrated the Oldest Tunnels, where the taletellers said the People had come from a million years ago. He is no coward, but he is afraid, and with good reason. You see, he's very used to being in the dark, but some visitors have come to the tunnels, and they've brought light with them...
I really liked the whole idea of people tunneling underground when nuclear war happens; there are not enough stories written about this!
"Never Despair" by Jack McDevitt
'Never Despair' tells the story of Chaka Milana, a woman who leaves her hometown in search of a storied place that holds the secrets of the Roadmakers, the almost-mythical builders of the concrete strips that cover the land, and the ruined cities with towers so high that a person could not ascend one in a day.
The story was so good that I wish it were a novel.
"Artie's Angels" by Catherine Wells
A post-apocalyptic society involving bicycles and young men.
This was probably my most favorite story out of the entire book!
"Inertia" by Nancy Kress
A story about the victims of a disfiguring epidemic who are interned in the modern equivalent of leper colonies.
Kress was able to make such a big picture out of very few characters, and in just a few pages. Really well-written.
"The End of the World As We Know It" by Dale Bailey
A lone survivor of an apocalypse attempts to grapple with the emotional dimension of his loss.
Just a really good story.
Overall, there were a few good stories inside this book, but some of them seemed out of place, and there were ones that were just boring or not written well (like ending the story just to make it a short story). I only recommend this book to people who absolutely love dystopian stories, but for those who are just light readers of it, I don't think you'd enjoy it.
Being that this is a review for a handful of short stories, I am only going to mention the ones I really liked.
"Salvage" by Orson Scott Card
A long time after atom bombs have destroyed most of the Earth, a young man named Deaver finds out that there may be gold hidden within a Mormon temple, and he's willing to risk everything to get it.
I loved the story, the characters, and the playful banter between them.
"Bread and Bombs" by M. Rickert
During war time, children become curious about an odd neighbor who moves in. Parents demand that their children stay away from them because the neighbor's people are the reason so many people have died.
I liked that the story is through the childrens' eyes, not the adults.
"Dark, Dark Were the Tunnels" by George R. R. Martin
In the story that follows, you'll meet Greel. He is a scout of the People. He's penetrated the Oldest Tunnels, where the taletellers said the People had come from a million years ago. He is no coward, but he is afraid, and with good reason. You see, he's very used to being in the dark, but some visitors have come to the tunnels, and they've brought light with them...
I really liked the whole idea of people tunneling underground when nuclear war happens; there are not enough stories written about this!
"Never Despair" by Jack McDevitt
'Never Despair' tells the story of Chaka Milana, a woman who leaves her hometown in search of a storied place that holds the secrets of the Roadmakers, the almost-mythical builders of the concrete strips that cover the land, and the ruined cities with towers so high that a person could not ascend one in a day.
The story was so good that I wish it were a novel.
"Artie's Angels" by Catherine Wells
A post-apocalyptic society involving bicycles and young men.
This was probably my most favorite story out of the entire book!
"Inertia" by Nancy Kress
A story about the victims of a disfiguring epidemic who are interned in the modern equivalent of leper colonies.
Kress was able to make such a big picture out of very few characters, and in just a few pages. Really well-written.
"The End of the World As We Know It" by Dale Bailey
A lone survivor of an apocalypse attempts to grapple with the emotional dimension of his loss.
Just a really good story.
Purple Phoenix Games (2266 KP) rated Dirt Dog in Tabletop Games
Oct 22, 2020
My family is a dog family. Growing up I was lucky to live with a Lhasa Apso named Sasha, and a Jack Russell Terrier named Casey. They were both great dogs to grow up with, and since being with my wife we have added a Yorkshire Terrier named Millie and a Powderpuff Chinese Crested named Mojo (who now lives with Laura). So when I saw a game named Dirt Dog that had cute art and was looking for previews, I knew I had to check it out. I mean, my dogs were ALWAYS dirty, so this should be a cinch, right?
Dirt Dogs is a two or four player game where each side will be building an obstacle course through which the other side will run down a quarry animal. The obstacle course is a series of cards with icons needed to satisfy in order to pass, and each dog runner will have stats that correspond to these challenges that can also be manipulated with additional card play.
DISCLAIMER: We were provided a prototype copy of this game for the purposes of this review. These are preview copy components, and I do not know for sure if the final components will be different from these shown. You are invited to back the game through the Kickstarter campaign, or purchase through any retailers stocking it after fulfillment. -T
To setup, set aside the Entrance and Quarry cards from the large deck of brown-backed Burrow cards. Shuffle the Burrow cards to form a draw deck, and shuffle the gold-backed Obedience cards into their own pile. Each player (or team, but for this preview I will be reviewing from a two-player game perspective) will choose a dog breed card to use and place it in front of themselves. The icon on the bottom right hand side of the dog card signifies Moxie and an amount of Moxie tokens (bones) will be collected for use by the player. Reveal and place in an offer 12 Obedience cards to be drafted by the players. During the first round of play one player will be the builder and the other will be the first runner. Each player will draw five Burrow cards to begin and the game may now commence!
Dirt Dog will last three or more rounds (depending on what the players decide) and each round will have the roles of first builder and runner reversed. The builder will assemble an obstacle course of Burrow cards from their hand along with an Entrance to get in and a Quarry at the end. The cards are multipurpose in that the right side of the card lists obstacle tests the dogs will need to meet or surpass in order to clear it, and the left side includes icons that can be used by the runner player to assist their dog in a successful run. Similarly, Obedience cards may be played during the run to help overcome a particularly difficult obstacle, but then it will be unavailable for use to build the subsequent Burrow course.
Once a course has been decided and placed before the runner, they will analyze the tests on each card encountered and use their dog stats in addition to any cards they would like to play from hand. Should a runner successfully complete a course and capture the Quarry at the end they will collect the Quarry card and immediately add Dachshund tokens (weineeples?) to increase their stats per the card for the rest of the game.
Players then switch roles and whichever player ends the round with the most remaining Moxie will win the round and collect the Round Winner token (black animeeple because I can’t make out which breed it might be) notating such. The winner is the player who collected the most Round Winner tokens at the end of the three (or more) rounds!
Components. Again, this is a prototype copy of the game, and as such the components will not be exactly as shown in these photos. That said, for a prototype copy, the components are pretty decent! The cards are all nice, and the art on them is suuuuper cute. The layout of the cards is ok, and the iconography is easy to understand. The tokens and different -eeples are wonderful, though those may be different in the final version. It all depends on Kickstarter success though, folks, so you know the drill with backing games.
Dirt Dog reminds me of a couple games I have played, or at least certain mechanics. The building of the burrow runs reminds me of Boss Monster dungeon building as you are trying to foil the runner’s progress, but they can also use cards from hand to help overcome the obstacles. Also, many games now are including multi-use cards in the design, and I absolutely love it. Having to really determine the best use for a card – now during my run, or later to build a run for my opponent – is a wonderful layer that I enjoy. Of course building up a character’s stats is a mechanic I wish more games used. I mean, what’s the best part about playing RPGs? It’s level-up day!
This one is very cute to play and is quite light. I may have found a winning dog to use every time, but I will not spoil that for you. If it seems to become a problem in your plays, I suggest just removing that dog from those available to help overcome that. Remember – the winner of the round is the dog that ends the round with the most Moxie. That said, I still very much enjoy Dirt Dog. The art is great, features at least one of my previous breeds, and leaves itself open for expansions of new breeds and obstacles to be added later.
If you are looking for a cute dog-themed game with light rules and pretty good replayability, I suggest you check out Dirt Dog. It’s a fun and quick little card game that you can even play with AP-prone gamers as the choices are not necessarily do-or-die. Plus, enjoy the art along the way. It’s very nice. You are invited to back the game on Kickstarter that launches soon! Tell them Purple Phoenix Games sent you or I’ll sick a Jack Russell on your yard to dig dig dig until they wear themselves out. At least, that’s what MY JRT used to do…
Dirt Dogs is a two or four player game where each side will be building an obstacle course through which the other side will run down a quarry animal. The obstacle course is a series of cards with icons needed to satisfy in order to pass, and each dog runner will have stats that correspond to these challenges that can also be manipulated with additional card play.
DISCLAIMER: We were provided a prototype copy of this game for the purposes of this review. These are preview copy components, and I do not know for sure if the final components will be different from these shown. You are invited to back the game through the Kickstarter campaign, or purchase through any retailers stocking it after fulfillment. -T
To setup, set aside the Entrance and Quarry cards from the large deck of brown-backed Burrow cards. Shuffle the Burrow cards to form a draw deck, and shuffle the gold-backed Obedience cards into their own pile. Each player (or team, but for this preview I will be reviewing from a two-player game perspective) will choose a dog breed card to use and place it in front of themselves. The icon on the bottom right hand side of the dog card signifies Moxie and an amount of Moxie tokens (bones) will be collected for use by the player. Reveal and place in an offer 12 Obedience cards to be drafted by the players. During the first round of play one player will be the builder and the other will be the first runner. Each player will draw five Burrow cards to begin and the game may now commence!
Dirt Dog will last three or more rounds (depending on what the players decide) and each round will have the roles of first builder and runner reversed. The builder will assemble an obstacle course of Burrow cards from their hand along with an Entrance to get in and a Quarry at the end. The cards are multipurpose in that the right side of the card lists obstacle tests the dogs will need to meet or surpass in order to clear it, and the left side includes icons that can be used by the runner player to assist their dog in a successful run. Similarly, Obedience cards may be played during the run to help overcome a particularly difficult obstacle, but then it will be unavailable for use to build the subsequent Burrow course.
Once a course has been decided and placed before the runner, they will analyze the tests on each card encountered and use their dog stats in addition to any cards they would like to play from hand. Should a runner successfully complete a course and capture the Quarry at the end they will collect the Quarry card and immediately add Dachshund tokens (weineeples?) to increase their stats per the card for the rest of the game.
Players then switch roles and whichever player ends the round with the most remaining Moxie will win the round and collect the Round Winner token (black animeeple because I can’t make out which breed it might be) notating such. The winner is the player who collected the most Round Winner tokens at the end of the three (or more) rounds!
Components. Again, this is a prototype copy of the game, and as such the components will not be exactly as shown in these photos. That said, for a prototype copy, the components are pretty decent! The cards are all nice, and the art on them is suuuuper cute. The layout of the cards is ok, and the iconography is easy to understand. The tokens and different -eeples are wonderful, though those may be different in the final version. It all depends on Kickstarter success though, folks, so you know the drill with backing games.
Dirt Dog reminds me of a couple games I have played, or at least certain mechanics. The building of the burrow runs reminds me of Boss Monster dungeon building as you are trying to foil the runner’s progress, but they can also use cards from hand to help overcome the obstacles. Also, many games now are including multi-use cards in the design, and I absolutely love it. Having to really determine the best use for a card – now during my run, or later to build a run for my opponent – is a wonderful layer that I enjoy. Of course building up a character’s stats is a mechanic I wish more games used. I mean, what’s the best part about playing RPGs? It’s level-up day!
This one is very cute to play and is quite light. I may have found a winning dog to use every time, but I will not spoil that for you. If it seems to become a problem in your plays, I suggest just removing that dog from those available to help overcome that. Remember – the winner of the round is the dog that ends the round with the most Moxie. That said, I still very much enjoy Dirt Dog. The art is great, features at least one of my previous breeds, and leaves itself open for expansions of new breeds and obstacles to be added later.
If you are looking for a cute dog-themed game with light rules and pretty good replayability, I suggest you check out Dirt Dog. It’s a fun and quick little card game that you can even play with AP-prone gamers as the choices are not necessarily do-or-die. Plus, enjoy the art along the way. It’s very nice. You are invited to back the game on Kickstarter that launches soon! Tell them Purple Phoenix Games sent you or I’ll sick a Jack Russell on your yard to dig dig dig until they wear themselves out. At least, that’s what MY JRT used to do…
Bob Mann (459 KP) rated The Magnificent Seven (2016) in Movies
Sep 29, 2021
A Hornery Exit.
As a big fan of the original – a staple of many Bank Holiday afternoons in my youth – I was prepared to be sniffy about this remake and came to the film on my high-horse (I left that tied to the rail outside the cinema by the way). But I was surprised to have my expectations reset.
Possibly on the basis that Trump has been given the Mexican’s a good bashing lately, the villain of the piece in this film is updated from Mexican bandit Calvera to Sacremento based land-snatcher and all round bad-egg Bartholomew Bogue (an expressionless Peter Sarsgaard). After ripping through some of the inhabitants of Rose Creek in a brutal pre-title sequence, widowed sharp-shooter Emma Cullen (Haley Bennett, “The Equalizer”) heads into the West on a recruiting mission for hired guns. She first recruits the bounty hunter Chisholm (sing “Chisum, John Chisum…”… no, sorry different Western) played by Denzel Washington. Washington matches Yul Brynner’s famous black outfit, and unlike Brynner is obviously able to finish off the ensemble naturally!
They recruit another six (who’d have thought it?) including wise-guy gambler Faraday (Chris “Guardians of the Galaxy” Pratt); famed confederate sniper Goodnight Robicheaux (Ethan Hawke); his nifty knife throwing Asian sidekick (but good for the Far East box office) Billy Rocks (Bjung-hun Lee, from Terminator: Genisys); and religious bear-of-a-man Indian-hunter Jack Horne (Vincent D’Onofrio, “Jurassic World”). After trying to whip the incompetent townsfolk into shape, and setting some Home-Alone style surprises, the stage is set for a showdown as Bogue whips up an army to re-take “his” town.
I like classic Westerns, with John Ford’s Rio Bravo being a particular favourite. In my view the problem with many modern Westerns is that they try too hard to shock (Tarentino’s recent “Hateful 8” was a case in point: a promising start ruined by gratuitous over-the-top violence). “The Magnificent Seven” doesn’t make that mistake, and while the squib-master and blood-bag boy are heavily employed throughout, nothing is too excessive: in fact, my view – and I don’t often tend in this direction – is that the censors rather over-egged the UK 12A rating on this one and could have gone with a 12. Director Antoine Fuqua has produced a film that is highly respectful of its heritage: perhaps to the point where many scenes might be deemed to be clichéd. But I personally warmed to that.
Denzel Washington was born to be in a Western like this and the emerging Chris Pratt does his star potential no harm by turning in a stellar performance adding both levity – with some whip-sharp lines – and screen presence in the role made famous by Steve McQueen. (Although no one comes close to the screen presence of McQueen…. Look up “real man” in the dictionary and his picture is there!) Also effective is Ethan Hawke in the nearest thing to the Robert Vaughan character in this film.
Where the adapted script by Richard Wenk and Nik Pizzolatto falters somewhat is in the motivations of the characters, which come across as superficial and unconvincing. (Perhaps “selling” was a whole lot easier in the Old West?) It is even unclear at the end of the film whether the survivors (and I hate to be the bearer of bad news, but the seven don’t all make it!) actually take their payment, or even a “share of the gold” that the town is sitting on. It makes for an unsatisfactory closure. The degree of racial harmony present in the film is also difficult to buy into, and the script could have made something more of this.
The film soundtrack marks the swan-song of the late James Horner, so tragically killed in a plane crash last year at the age of just 61. As the natural successor to the great John Williams and the late Jerry Goldsmith, Horner’s loss was a terrible one. The film is dedicated to him. Although the soundtrack was completed by Simon Franglen, there are flourishes of classic Horner, most notably in the first Rose Creek showdown scene. There is also a treat to the ears over the closing credits which is very welcome.
Although the film draws natural comparison with its 5* classic predecessor, this is a good film in its own right – a genuinely pleasant surprise. Perhaps its done well enough that we might get to now see a remake of “The Return of the Seven”. I hope so… “the Western is dead… long live the Western”!
Possibly on the basis that Trump has been given the Mexican’s a good bashing lately, the villain of the piece in this film is updated from Mexican bandit Calvera to Sacremento based land-snatcher and all round bad-egg Bartholomew Bogue (an expressionless Peter Sarsgaard). After ripping through some of the inhabitants of Rose Creek in a brutal pre-title sequence, widowed sharp-shooter Emma Cullen (Haley Bennett, “The Equalizer”) heads into the West on a recruiting mission for hired guns. She first recruits the bounty hunter Chisholm (sing “Chisum, John Chisum…”… no, sorry different Western) played by Denzel Washington. Washington matches Yul Brynner’s famous black outfit, and unlike Brynner is obviously able to finish off the ensemble naturally!
They recruit another six (who’d have thought it?) including wise-guy gambler Faraday (Chris “Guardians of the Galaxy” Pratt); famed confederate sniper Goodnight Robicheaux (Ethan Hawke); his nifty knife throwing Asian sidekick (but good for the Far East box office) Billy Rocks (Bjung-hun Lee, from Terminator: Genisys); and religious bear-of-a-man Indian-hunter Jack Horne (Vincent D’Onofrio, “Jurassic World”). After trying to whip the incompetent townsfolk into shape, and setting some Home-Alone style surprises, the stage is set for a showdown as Bogue whips up an army to re-take “his” town.
I like classic Westerns, with John Ford’s Rio Bravo being a particular favourite. In my view the problem with many modern Westerns is that they try too hard to shock (Tarentino’s recent “Hateful 8” was a case in point: a promising start ruined by gratuitous over-the-top violence). “The Magnificent Seven” doesn’t make that mistake, and while the squib-master and blood-bag boy are heavily employed throughout, nothing is too excessive: in fact, my view – and I don’t often tend in this direction – is that the censors rather over-egged the UK 12A rating on this one and could have gone with a 12. Director Antoine Fuqua has produced a film that is highly respectful of its heritage: perhaps to the point where many scenes might be deemed to be clichéd. But I personally warmed to that.
Denzel Washington was born to be in a Western like this and the emerging Chris Pratt does his star potential no harm by turning in a stellar performance adding both levity – with some whip-sharp lines – and screen presence in the role made famous by Steve McQueen. (Although no one comes close to the screen presence of McQueen…. Look up “real man” in the dictionary and his picture is there!) Also effective is Ethan Hawke in the nearest thing to the Robert Vaughan character in this film.
Where the adapted script by Richard Wenk and Nik Pizzolatto falters somewhat is in the motivations of the characters, which come across as superficial and unconvincing. (Perhaps “selling” was a whole lot easier in the Old West?) It is even unclear at the end of the film whether the survivors (and I hate to be the bearer of bad news, but the seven don’t all make it!) actually take their payment, or even a “share of the gold” that the town is sitting on. It makes for an unsatisfactory closure. The degree of racial harmony present in the film is also difficult to buy into, and the script could have made something more of this.
The film soundtrack marks the swan-song of the late James Horner, so tragically killed in a plane crash last year at the age of just 61. As the natural successor to the great John Williams and the late Jerry Goldsmith, Horner’s loss was a terrible one. The film is dedicated to him. Although the soundtrack was completed by Simon Franglen, there are flourishes of classic Horner, most notably in the first Rose Creek showdown scene. There is also a treat to the ears over the closing credits which is very welcome.
Although the film draws natural comparison with its 5* classic predecessor, this is a good film in its own right – a genuinely pleasant surprise. Perhaps its done well enough that we might get to now see a remake of “The Return of the Seven”. I hope so… “the Western is dead… long live the Western”!
Bob Mann (459 KP) rated Mank (2020) in Movies
Dec 10, 2020
Cinematography - glorious to look at (1 more)
A fabulous ensemble cast, with Oldham, Seyfried, Arliss and Dance excelling
"Mank" is a biopic slice of the career of Herman Jacob Mankiewicz (Gary Oldman), the Hollywood screenwriter who was the pen behind what is regularly voted by critics as being the greatest movie of all time - "Citizen Kane". "Citizen Kane" was written in 1940 (and released the following year) and much of the action in "Mank" takes place in a retreat in the Mojave desert when Mank, crippled by a full-cast on the leg, has been 'sent' by Orson Welles (Tom Burke) to complete the screenplay without alcohol and other worldly distractions. Helping administer to his writing and care needs are English typist Rita Alexander (Lily Collins) and carer Fraulein Freda (Monika Gossmann). However, although Mank produces brilliant stuff, his speed of progress exasperates his 'minder' and editor John Houseman (Sam Troughton). (Yes, THAT John Houseman, the actor.)
In developing the story, we continuously flash-back six years - - nicely indicated by typed 'script notes' - - to 1934 where Mank is working at MGM studios for Louis B. Mayer (Arliss Howard) and mixing in the circles of millionaire publisher William Randolph Hearst (Charles Dance) and his glamorous young wife, actress Marion Davies (Amanda Seyfried). Allegedly, the "Citizen Kane" script was based on Hearst. But what souring of the relationship could have led to such a stinging betrayal during those six years?
Mank has an embarrassment of acting riches. Mankiewicz is a fascinating character: charismatic, reckless, passionate and the definition of a loose cannon. Basically, a dream for a great actor to portray. And Gary Oldham IS a great actor. After doing Churchill in "Darkest Hour", he here turns in a magnificent performance as the alcoholic writer. Never more so than in a furious tirade at a dinner table late in the film, which will likely be the equivalent to the Churchill "tiger" speech come Oscar time. Surely, there's a Best Actor nomination there?
Equally impressive though are some of the supporting cast.
- Tom Burke - so good as TV's "Strike" - gives a fine impersonation of the great Orson Welles: full of confidence and swagger. It's only a cameo role, but he genuinely 'feels' like the young Welles.
- Amanda Seyfried: It took me almost half of the film to recognize her as Marion Davies, and her performance is pitch perfect - the best of her career in my view, and again Oscar-worthy.
- Arliss Howard for me almost steals the show as the megalomaniac Mayer: his introduction to Mank's brother Joe (Tom Pelphrey) has a memorable "walk with me" walkthrough of the studio with Mayer preaching on the real meaning of MGM and the movies in general. Breathtakingly good.
- But - I said "nearly steals the show".... the guy who made off with it in a swag-bag for me was our own Charles Dance as Hearst. Quietly impressive throughout, he just completely nails it with his "organ-grinder's monkey" speech towards the end of the movie. Probably my favourite monologue of 2020. Chilling. I'd really like to see Dance get a Supporting Actor nomination for this.
The screenplay was originally written by director David Fincher's late father Jack. Jack Fincher died in 2002, and this project has literally been decades in the planning. Mankiewicz has a caustic turn of phrase, and there are laugh-out lines of dialogue scattered throughout the script. "Write hard, aim low" implores Houseman at one point. And my personal favourite: Mank's puncturing of the irony that the Screen Writers Guild has been formed without an apostrophe! A huge LOL!
Aside from the witty dialogue, the script has a nuance to the storytelling that continually surprises. A revelation from Freda about Mank's philanthropic tendencies brings you up short in your face-value impression of his character. And the drivers that engineer the rift between Mankiewicz and Hearst - based around the story of the (fictional) director Shelly Metcalf (Jamie McShane) - are not slapped in your face, but elegantly slipped into your subconscious.
In addition, certain aspects are frustratingly withheld from you. Mank's long-suffering wife (a definition of the phrase) Sara (Tuppence Middleton) only occasionally comes into focus. The only reference to his kids are a crash in the background as they "remodel" the family home. Is the charismatic Mank a faithful husband or a philanderer? Is the relationship with Rita Alexander just professional and platonic (you assume so), or is there more going on? There's a tension there in the storytelling that never quite gets resolved: and that's a good thing.
Mank also has an embarrassment of technical riches. Even from the opening titles, you get the impression that this is a work of genius. All in black and white, and with the appearance of 40's titling, they scroll majestically in the sky and then - after "Charles Dance" - effortlessly scroll down to the desert highway. It's evidence of an attention to detail perhaps forced by lockdown. ("MUM - I'm bored". "Go up to your room and do some more work on that movie then".)
It's deliciously modern, yet retro. I love the fact that the cross-reel "circle" cue-marks appear so prominently... the indicators that the projectionist needs to spin up the next reel. I think they are still used in most modern films, but not as noticeably as in the old films... and this one!
A key contributor to the movie is cinematographer Erik Messerschmidt. Everything looks just BEAUTIFUL, and it is now a big regret that I didn't go to watch this on the big screen after all. Surely there will be a cinematography Oscar nomination for this one. Unbelievably, this is Messerschmidt's debut feature as director of cinematography!
Elsewhere, you can imagine multiple other technical Oscar noms. The tight and effective editing is by Kirk Baxter. And the combination of the glorious production design (Donald Graham Burt) and the costume design (Trish Summerville) make the movie emanate the same nostalgia for Hollywood as did last year's "Once Upon a Time... In Hollywood".... albeit set forty years earlier. Even the music (by the regular team of Trent Reznor and Atticus Ross) might get nominated, since I had to go back and check that it actually HAD music at all: it's subtly unobtrusive and effective.
The only area I had any issue with here was the sound mixing, since I had trouble picking up some of the dialogue.
Although I can gush about this movie as a technical work of art, I'm going to hold off a 10* review on this one. For one reason only. I just didn't feel 100% engaged with the story (at least with a first watch). The illustrious Mrs Movie Man summed it up with the phrase "I just didn't care enough what happened to any of the characters". I think though that this one is sufficiently subtle and cerebral that it deserves another watch.
Will it win Oscars. Yes, for sure. Hell, I would like to put a bet on that "Mank" will top the list of the "most nominations" when they are announced. (Hollywood likes nothing more than a navel-gazing look at its history of course). And an obvious nomination here will be David Fincher for Best Director. But, for me, this falls into a similar bucket as that other black and white multi-Oscar winner of two year's ago "Roma". It's glorious to look at; brilliantly directed; but not a movie I would choose to readily reach for to repeatedly watch again.
(For the full graphical review, please check out the review here - https://bob-the-movie-man.com/2020/12/10/mank-divines-for-oscar-gold-in-a-sea-of-pyrites/. Thanks.)
In developing the story, we continuously flash-back six years - - nicely indicated by typed 'script notes' - - to 1934 where Mank is working at MGM studios for Louis B. Mayer (Arliss Howard) and mixing in the circles of millionaire publisher William Randolph Hearst (Charles Dance) and his glamorous young wife, actress Marion Davies (Amanda Seyfried). Allegedly, the "Citizen Kane" script was based on Hearst. But what souring of the relationship could have led to such a stinging betrayal during those six years?
Mank has an embarrassment of acting riches. Mankiewicz is a fascinating character: charismatic, reckless, passionate and the definition of a loose cannon. Basically, a dream for a great actor to portray. And Gary Oldham IS a great actor. After doing Churchill in "Darkest Hour", he here turns in a magnificent performance as the alcoholic writer. Never more so than in a furious tirade at a dinner table late in the film, which will likely be the equivalent to the Churchill "tiger" speech come Oscar time. Surely, there's a Best Actor nomination there?
Equally impressive though are some of the supporting cast.
- Tom Burke - so good as TV's "Strike" - gives a fine impersonation of the great Orson Welles: full of confidence and swagger. It's only a cameo role, but he genuinely 'feels' like the young Welles.
- Amanda Seyfried: It took me almost half of the film to recognize her as Marion Davies, and her performance is pitch perfect - the best of her career in my view, and again Oscar-worthy.
- Arliss Howard for me almost steals the show as the megalomaniac Mayer: his introduction to Mank's brother Joe (Tom Pelphrey) has a memorable "walk with me" walkthrough of the studio with Mayer preaching on the real meaning of MGM and the movies in general. Breathtakingly good.
- But - I said "nearly steals the show".... the guy who made off with it in a swag-bag for me was our own Charles Dance as Hearst. Quietly impressive throughout, he just completely nails it with his "organ-grinder's monkey" speech towards the end of the movie. Probably my favourite monologue of 2020. Chilling. I'd really like to see Dance get a Supporting Actor nomination for this.
The screenplay was originally written by director David Fincher's late father Jack. Jack Fincher died in 2002, and this project has literally been decades in the planning. Mankiewicz has a caustic turn of phrase, and there are laugh-out lines of dialogue scattered throughout the script. "Write hard, aim low" implores Houseman at one point. And my personal favourite: Mank's puncturing of the irony that the Screen Writers Guild has been formed without an apostrophe! A huge LOL!
Aside from the witty dialogue, the script has a nuance to the storytelling that continually surprises. A revelation from Freda about Mank's philanthropic tendencies brings you up short in your face-value impression of his character. And the drivers that engineer the rift between Mankiewicz and Hearst - based around the story of the (fictional) director Shelly Metcalf (Jamie McShane) - are not slapped in your face, but elegantly slipped into your subconscious.
In addition, certain aspects are frustratingly withheld from you. Mank's long-suffering wife (a definition of the phrase) Sara (Tuppence Middleton) only occasionally comes into focus. The only reference to his kids are a crash in the background as they "remodel" the family home. Is the charismatic Mank a faithful husband or a philanderer? Is the relationship with Rita Alexander just professional and platonic (you assume so), or is there more going on? There's a tension there in the storytelling that never quite gets resolved: and that's a good thing.
Mank also has an embarrassment of technical riches. Even from the opening titles, you get the impression that this is a work of genius. All in black and white, and with the appearance of 40's titling, they scroll majestically in the sky and then - after "Charles Dance" - effortlessly scroll down to the desert highway. It's evidence of an attention to detail perhaps forced by lockdown. ("MUM - I'm bored". "Go up to your room and do some more work on that movie then".)
It's deliciously modern, yet retro. I love the fact that the cross-reel "circle" cue-marks appear so prominently... the indicators that the projectionist needs to spin up the next reel. I think they are still used in most modern films, but not as noticeably as in the old films... and this one!
A key contributor to the movie is cinematographer Erik Messerschmidt. Everything looks just BEAUTIFUL, and it is now a big regret that I didn't go to watch this on the big screen after all. Surely there will be a cinematography Oscar nomination for this one. Unbelievably, this is Messerschmidt's debut feature as director of cinematography!
Elsewhere, you can imagine multiple other technical Oscar noms. The tight and effective editing is by Kirk Baxter. And the combination of the glorious production design (Donald Graham Burt) and the costume design (Trish Summerville) make the movie emanate the same nostalgia for Hollywood as did last year's "Once Upon a Time... In Hollywood".... albeit set forty years earlier. Even the music (by the regular team of Trent Reznor and Atticus Ross) might get nominated, since I had to go back and check that it actually HAD music at all: it's subtly unobtrusive and effective.
The only area I had any issue with here was the sound mixing, since I had trouble picking up some of the dialogue.
Although I can gush about this movie as a technical work of art, I'm going to hold off a 10* review on this one. For one reason only. I just didn't feel 100% engaged with the story (at least with a first watch). The illustrious Mrs Movie Man summed it up with the phrase "I just didn't care enough what happened to any of the characters". I think though that this one is sufficiently subtle and cerebral that it deserves another watch.
Will it win Oscars. Yes, for sure. Hell, I would like to put a bet on that "Mank" will top the list of the "most nominations" when they are announced. (Hollywood likes nothing more than a navel-gazing look at its history of course). And an obvious nomination here will be David Fincher for Best Director. But, for me, this falls into a similar bucket as that other black and white multi-Oscar winner of two year's ago "Roma". It's glorious to look at; brilliantly directed; but not a movie I would choose to readily reach for to repeatedly watch again.
(For the full graphical review, please check out the review here - https://bob-the-movie-man.com/2020/12/10/mank-divines-for-oscar-gold-in-a-sea-of-pyrites/. Thanks.)
Gareth von Kallenbach (971 KP) rated the PC version of Mortal Shell in Video Games
Oct 8, 2020
Beautiful Scenery (1 more)
Hardening Skill can save you when you screw up
Back in 2009 Demon’s Soul, a PlayStation 3 exclusive, made its way into the hands of players around the world. The game was punishingly difficult, and was revered for its no handholding, brutally steep learning curve. A game that harkened back to the days of old, when video games were more about a player spending hour upon hour of mastering its nuances then relying on a never-ending supply of save games. This game, and the even more popular successor Dark Souls, gave way to its own genre defining style, the “souls-like” game. Since those genre defining years, several companies have tried to take inspiration from the originals and craft them into their own unique experiences. Whether that be futuristic takes such as Surge 2, or sticking to a familiar fantasy setting, with mixed results. Enter the latest in this genre, a game developed by the fine folks at Cold Symetry, released on Windows, Xbox and PlayStation.
Mortal Shell is an “souls-like” action role playing game, where you are a creature whose unique ability is to inhabit the bodies of fallen warriors scattered across the realm of Fallgrim. Much like its inspiration, Fallgrim is a land that is bleak and unforgiving. Whether you are traipsing across murky swamps, filled with bear tramps and poisonous frogs, snowy fields or fiery plains, there are always an unending supply of enemies that you must contend with. Each “shell” you inhabit offers up a distinct playstyle and upgrade tree that should appeal to every unique player.
The first shell you inhabit, is what I refer to as the Jack-of-All trades shell, Harros. Harros is a traditional knight like character that has a balance of health, stamina, and resolve (the statistic that allows you to use your special upgrades applied to your weapon of choice). As you progress through the story, you will come across three other shells for you to inhabit, that you can switch between as you wish. This allows you to vary your play style between Eredrim, a tank-architype with lots of health but low stamina, Tiel, the acolyte with less health but is more agile and able to dodge and roll out of the way, or Solomon, who has the most resolve. Each character upgrade requires Tar (the gold of Fallgrim) and Glimpses. These are acquired by defeating enemies, and through gathering various plants throughout your journey.
In addition to the four shells, there are also four upgradable weapons that can be found along your journey. You begin with the Hollow Sword but will come across others to aid you on your quest. There is the Hammer and Chisel, a dual wield, fast attack, but lower damage weapon. The Martyr’s Blade, a heavy two-handed sword that does massive damage but is slow to attack. Lastly, The Smoldering Mace. All of these can be upgrades with special attacks that are initiated by your characters resolve, that can do an incredible amount of damage when initiated.
Combat occurs by locking onto your opponent and then utilizing fast and heavy attacks to defeat them. Experimenting with executing fast and heavy in specific sequences will result in numerous combos that do additional damage and stagger your foes. Mortal Shells unique blocking ability is what the game refers to as Hardening. Hardening, does exactly as the name suggests, turning yourself into stone and blocking most incoming attacks. It can be initiated at practically any time, even during the middle of your attack, allowing you to brush off an incoming attack and finish up with an epic strike. Learning the best time and place to use your hardening skill, is the key to overcoming your most difficult opponents, and ultimately slaying them in the process. There is also a parry aspect, which you obtain at the beginning of your quest, that allows you to parry incoming blows, and respond with devastating effect. Be aware that not all attacks can be parried, and your Tarnished Seal Emblem (which enables your skill) will glow red to warn you of this.
During combat, if your health reaches zero, you will be pushed out of your shell (which reminded me of playing a mech game where your mech is destroyed and you are automatically ejected). You are given the chance to climb back into your shell, but if you are hit while outside of your shell you will almost always die quickly. If your health reaches zero again, you die and you return back to Sester Genessa, a shadowy figure who acts like a bonfire from the souls’ games. As with the games before it, dying forces you to drop your tar and re-spawns all enemies that you have killed previously. Returning to your body allows you to retrieve your tar and restores all your health.
One of the more interesting aspects of the game is in the use of items you discover during your adventure. Most items effects will be unknown until you use the item, which forces you to experiment with everything you find. As you use the item more frequently you become more familiar with the item, and as that familiarity grows, the effects grow as well. Some will damage you in the beginning, only to benefit you as you grow more familiar with them, others you will utilize at the wrong time, and not benefit from the effect, but you will still learn from the experience. In this way Mortal Shell rewards you for experimentation, and forces those who like to hoard their findings for “when the right time arrives to use it” to utilize it and learn from it.
Much like the Souls-like games that inspired it, Mortal Shell could almost be mistaken for one of the games it garnered inspiration from. The setting, the characters, even the fonts used, could easily have been taken directly from a Dark Souls game. You’d be forgiven if someone came up to you and asked you which of the Dark Souls games you are playing. That’s not to say that Mortal Shell doesn’t distinguish itself in other ways, but on the surface, it would be easy to mistake it for another clone. The sound design, the graphic design, is all very well done, so at least the inspiration is put to good use in Mortal Shell
While Mortal Shell generally plays fast and well, there are a couple of instances where death seemed to come due to little I had control over. There are various cut scenes where you are crawling through tunnels, and you come out on the other side. Occasionally your character will be attacked immediately follow the cut scene, which gives you little time to react. There are ways to time your crawl, as to not emerge immediately into a group of baddies, but nothing frustrated me more, when I came across these areas. The difficulty and learning curve are about as difficult as one would expect from such a game.
If you are a fan of Dark Souls or Souls-like games, there is a lot to like in Mortal Shell. Most of the gameplay and style will feel immediately familiar, and there is just enough uniqueness in the game to satisfy veterans of the soul’s type games. If you have been put off by the difficulty of souls-like games in the past, Mortal Shell doesn’t differ enough from the formula to likely change your mind. While it’s not as long as the games that inspire it, it’s hard to beat the price ($29.99 on the Epic Store), and it’s refreshing enough to act as a place holder until the Demon’s Soul remake becomes available
What I liked: Beautiful Scenery, Hardening Skill can save you when you screw up
What I liked less: No real direction on where to start
Mortal Shell is an “souls-like” action role playing game, where you are a creature whose unique ability is to inhabit the bodies of fallen warriors scattered across the realm of Fallgrim. Much like its inspiration, Fallgrim is a land that is bleak and unforgiving. Whether you are traipsing across murky swamps, filled with bear tramps and poisonous frogs, snowy fields or fiery plains, there are always an unending supply of enemies that you must contend with. Each “shell” you inhabit offers up a distinct playstyle and upgrade tree that should appeal to every unique player.
The first shell you inhabit, is what I refer to as the Jack-of-All trades shell, Harros. Harros is a traditional knight like character that has a balance of health, stamina, and resolve (the statistic that allows you to use your special upgrades applied to your weapon of choice). As you progress through the story, you will come across three other shells for you to inhabit, that you can switch between as you wish. This allows you to vary your play style between Eredrim, a tank-architype with lots of health but low stamina, Tiel, the acolyte with less health but is more agile and able to dodge and roll out of the way, or Solomon, who has the most resolve. Each character upgrade requires Tar (the gold of Fallgrim) and Glimpses. These are acquired by defeating enemies, and through gathering various plants throughout your journey.
In addition to the four shells, there are also four upgradable weapons that can be found along your journey. You begin with the Hollow Sword but will come across others to aid you on your quest. There is the Hammer and Chisel, a dual wield, fast attack, but lower damage weapon. The Martyr’s Blade, a heavy two-handed sword that does massive damage but is slow to attack. Lastly, The Smoldering Mace. All of these can be upgrades with special attacks that are initiated by your characters resolve, that can do an incredible amount of damage when initiated.
Combat occurs by locking onto your opponent and then utilizing fast and heavy attacks to defeat them. Experimenting with executing fast and heavy in specific sequences will result in numerous combos that do additional damage and stagger your foes. Mortal Shells unique blocking ability is what the game refers to as Hardening. Hardening, does exactly as the name suggests, turning yourself into stone and blocking most incoming attacks. It can be initiated at practically any time, even during the middle of your attack, allowing you to brush off an incoming attack and finish up with an epic strike. Learning the best time and place to use your hardening skill, is the key to overcoming your most difficult opponents, and ultimately slaying them in the process. There is also a parry aspect, which you obtain at the beginning of your quest, that allows you to parry incoming blows, and respond with devastating effect. Be aware that not all attacks can be parried, and your Tarnished Seal Emblem (which enables your skill) will glow red to warn you of this.
During combat, if your health reaches zero, you will be pushed out of your shell (which reminded me of playing a mech game where your mech is destroyed and you are automatically ejected). You are given the chance to climb back into your shell, but if you are hit while outside of your shell you will almost always die quickly. If your health reaches zero again, you die and you return back to Sester Genessa, a shadowy figure who acts like a bonfire from the souls’ games. As with the games before it, dying forces you to drop your tar and re-spawns all enemies that you have killed previously. Returning to your body allows you to retrieve your tar and restores all your health.
One of the more interesting aspects of the game is in the use of items you discover during your adventure. Most items effects will be unknown until you use the item, which forces you to experiment with everything you find. As you use the item more frequently you become more familiar with the item, and as that familiarity grows, the effects grow as well. Some will damage you in the beginning, only to benefit you as you grow more familiar with them, others you will utilize at the wrong time, and not benefit from the effect, but you will still learn from the experience. In this way Mortal Shell rewards you for experimentation, and forces those who like to hoard their findings for “when the right time arrives to use it” to utilize it and learn from it.
Much like the Souls-like games that inspired it, Mortal Shell could almost be mistaken for one of the games it garnered inspiration from. The setting, the characters, even the fonts used, could easily have been taken directly from a Dark Souls game. You’d be forgiven if someone came up to you and asked you which of the Dark Souls games you are playing. That’s not to say that Mortal Shell doesn’t distinguish itself in other ways, but on the surface, it would be easy to mistake it for another clone. The sound design, the graphic design, is all very well done, so at least the inspiration is put to good use in Mortal Shell
While Mortal Shell generally plays fast and well, there are a couple of instances where death seemed to come due to little I had control over. There are various cut scenes where you are crawling through tunnels, and you come out on the other side. Occasionally your character will be attacked immediately follow the cut scene, which gives you little time to react. There are ways to time your crawl, as to not emerge immediately into a group of baddies, but nothing frustrated me more, when I came across these areas. The difficulty and learning curve are about as difficult as one would expect from such a game.
If you are a fan of Dark Souls or Souls-like games, there is a lot to like in Mortal Shell. Most of the gameplay and style will feel immediately familiar, and there is just enough uniqueness in the game to satisfy veterans of the soul’s type games. If you have been put off by the difficulty of souls-like games in the past, Mortal Shell doesn’t differ enough from the formula to likely change your mind. While it’s not as long as the games that inspire it, it’s hard to beat the price ($29.99 on the Epic Store), and it’s refreshing enough to act as a place holder until the Demon’s Soul remake becomes available
What I liked: Beautiful Scenery, Hardening Skill can save you when you screw up
What I liked less: No real direction on where to start
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
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