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Paul Chesworth (3 KP) created a post
Feb 20, 2018
Kirk Bage (1775 KP) rated Tales from the Loop in TV
Jan 22, 2021
Such is the competition for our attention on the major streaming services, and such is the daunting depth of choice, that sometimes something of real quality can slip through the net for a while. I like to think that eventually, everything gets the audience it deserves, because eventually enough people that appreciated it will find it and pass it on. But it is apparent that good things can go under the radar very easily for one reason or another.
Everything about the production and presentation of Amazon’s Tales From the Loop suggests they thought it might be a bigger hit, or at least they had enough faith in it to let it be different from the mass appeal conventions that apply to sci-fi shows. They have proved this many times in recent years, with shows like The Man In the High Castle and The Expanse favouring patient and mature story-telling over interminable flashbangs and whizzpops usually found in the more action based sci-fi on Netflix and others (The Handmaid’s Tale being another notable exception).
Having raised myself auto-didactically on the oldest traditions of science fiction writing in novel and short story form since my teenage years, I can say with some amateur authority that the point of using sci-fi ideas was always about the people and the parallels to social reality and politics that could be highlighted by putting them in a “what-if” situation. The lazer guns and spaceships and evil aliens were much more a product of Hollywood, and still are. Great science fiction writing can and usually does revolve around a very simple change to the world we know, an inversion or a convention or a technology that turns how we live on its head. At its best it is philosophical and moral poetry.
Tales From the Loop, inspired by the beguiling paintings of Swedish Artist Simon Stålenhag aspires to return to these principles, eschewing breakneck pace and unnecessary exposition at every turn – it is entirely content to confuse and sometimes even bore you with its patient, melancholy approach, testing almost if you are worthy to reach the prize of deeper meaning buried away in the final few episodes.
The idea of Stålenhag’s work is to juxtapose a familiar and mundane landscape with a detail of technology that does not exist in our reality. Often it is something broken, run-down or neglected, leaving a strange sadness and beauty behind that has you wondering who once made this and what was it for, and why is it no longer loved? The untold stories objects and hidden lives, secrets and desires that have been lost, is what this sensitive and delicate show is about. It is about the interconnection of lives caught in time, and the sci-fi / tech conceit is only the hanger that coat is put on. Which… I love.
The surface idea is that we are looking at the inhabitants of a small American town that once relied on farming and community, but now has been changed by the presence of an underground facility that deals with experimental physics and finding ways to make impossible things possible. They call it The Loop. It is never fully explained where it came from, or why, or what it is truly capable of – the mystery is always allowed to remain mostly a mystery – which, again, I love!
Many people in the town work at The Loop and rely on it for their livelihoods and collective economy, including Jonathon Pryce and Rebecca Hall, who are ostensibly the show’s main characters. But most folk have no idea what is really going on. Each episode focuses on one or two members of the community that interweave with one another; several important people begin as background dressing and become more prevalent as the full story of their lives and connections unfolds. But no one character is in every episode… which, you know, I love.
Their lives, that seem simple at first glance, are revealed to be complex tapestries of emotion and personal history, revolving around how The Loop has affected them and the things they love. The progression and unfolding of the detail is so deliberate and usually under-explained that very often you don’t realise the effect the full image will have. And when it does catch up with you it becomes a very moving and meaningful experience. Characters that you don’t understand or even like at first come into sharper focus as we reach the climax of the season and grow to learn why they are the way they are. The story arcs of Pryce and Hall in particular are very satisfying, tragic yet utterly beautiful to comprehend.
A lot of the criticism you will see about the show will concentrate on how slow it all is. I am totally convinced this is a deliberate artistic choice to weed out the thrill junkies. They are very welcome to go elsewhere, and it sounds as if many of them did, basing their reviews on one or two half watched episodes they couldn’t be bothered to engage with or wonder at. Which is why I think in time the respect for this as a work of art will come back around.
There is nothing to fault in the production at all. From the opening credits to the end of each episode, what you get is a very highly polished and considered look and feel, designed to evoke certain feelings over others – a wistfulness, an ennui, a bittersweet smile of knowing, perhaps. It invites you to watch patiently and relate, not to watch eagerly and expect… which, you know, I love.
The photography is crisp and well framed always; the music is subtle but effective; the dialogue is often sparing and well chosen (no detail is merely thrown away); and the direction is of a remarkably uniform vision, considering each episode is a different guest professional, including such prestigious names as Jodie Foster, Mark Romanek and Andrew Stanton.
I absolutely urge anyone that isn’t put off by a little sentiment to give this one a try. Sadness and regret in life is not something to shun and be afraid of, they are parts of human experience, and I love art that explores them as concepts. Put that art in a science fiction context and I am bound to love it even more. Like the final moments of Blade Runner, we know that one day all these moments will be lost in time, like tears in rain. We have to take time to see the beauty while we can, even if that beauty is painful.
It may not be for you – I don’t think it is better or worse than other things, just more… me. There is every chance that if it isn’t you… you will hate it. If you do begin, however, please see it to the finish before casting judgement – the final episode directed by Jodie Foster is truly wonderful: a pay-off of such emotion after your investment of seven previous stories, tying it all together perfectly. Rarely have I felt so stupid for not understanding the point of something sooner, or been more pleased that I hadn’t. The final moment of the season is literally unforgettable, and gets richer in my imagination by the day.
Will there be a second season? There certainly could be. Was it enough of a success to justify the investment? Hmm, not sure. Either way, it either sits as a perfect self contained collection of fine, old-fashioned sci-fi stories, or I’d be happy to see it expand, as long as the temptation isn’t to listen to the negative reviews and pander to the fast-food mentality that has already rejected it without fully understanding it. Because nothing needs to change here. A thing of beauty, recommended to those who like beautiful and delicate things.
Everything about the production and presentation of Amazon’s Tales From the Loop suggests they thought it might be a bigger hit, or at least they had enough faith in it to let it be different from the mass appeal conventions that apply to sci-fi shows. They have proved this many times in recent years, with shows like The Man In the High Castle and The Expanse favouring patient and mature story-telling over interminable flashbangs and whizzpops usually found in the more action based sci-fi on Netflix and others (The Handmaid’s Tale being another notable exception).
Having raised myself auto-didactically on the oldest traditions of science fiction writing in novel and short story form since my teenage years, I can say with some amateur authority that the point of using sci-fi ideas was always about the people and the parallels to social reality and politics that could be highlighted by putting them in a “what-if” situation. The lazer guns and spaceships and evil aliens were much more a product of Hollywood, and still are. Great science fiction writing can and usually does revolve around a very simple change to the world we know, an inversion or a convention or a technology that turns how we live on its head. At its best it is philosophical and moral poetry.
Tales From the Loop, inspired by the beguiling paintings of Swedish Artist Simon Stålenhag aspires to return to these principles, eschewing breakneck pace and unnecessary exposition at every turn – it is entirely content to confuse and sometimes even bore you with its patient, melancholy approach, testing almost if you are worthy to reach the prize of deeper meaning buried away in the final few episodes.
The idea of Stålenhag’s work is to juxtapose a familiar and mundane landscape with a detail of technology that does not exist in our reality. Often it is something broken, run-down or neglected, leaving a strange sadness and beauty behind that has you wondering who once made this and what was it for, and why is it no longer loved? The untold stories objects and hidden lives, secrets and desires that have been lost, is what this sensitive and delicate show is about. It is about the interconnection of lives caught in time, and the sci-fi / tech conceit is only the hanger that coat is put on. Which… I love.
The surface idea is that we are looking at the inhabitants of a small American town that once relied on farming and community, but now has been changed by the presence of an underground facility that deals with experimental physics and finding ways to make impossible things possible. They call it The Loop. It is never fully explained where it came from, or why, or what it is truly capable of – the mystery is always allowed to remain mostly a mystery – which, again, I love!
Many people in the town work at The Loop and rely on it for their livelihoods and collective economy, including Jonathon Pryce and Rebecca Hall, who are ostensibly the show’s main characters. But most folk have no idea what is really going on. Each episode focuses on one or two members of the community that interweave with one another; several important people begin as background dressing and become more prevalent as the full story of their lives and connections unfolds. But no one character is in every episode… which, you know, I love.
Their lives, that seem simple at first glance, are revealed to be complex tapestries of emotion and personal history, revolving around how The Loop has affected them and the things they love. The progression and unfolding of the detail is so deliberate and usually under-explained that very often you don’t realise the effect the full image will have. And when it does catch up with you it becomes a very moving and meaningful experience. Characters that you don’t understand or even like at first come into sharper focus as we reach the climax of the season and grow to learn why they are the way they are. The story arcs of Pryce and Hall in particular are very satisfying, tragic yet utterly beautiful to comprehend.
A lot of the criticism you will see about the show will concentrate on how slow it all is. I am totally convinced this is a deliberate artistic choice to weed out the thrill junkies. They are very welcome to go elsewhere, and it sounds as if many of them did, basing their reviews on one or two half watched episodes they couldn’t be bothered to engage with or wonder at. Which is why I think in time the respect for this as a work of art will come back around.
There is nothing to fault in the production at all. From the opening credits to the end of each episode, what you get is a very highly polished and considered look and feel, designed to evoke certain feelings over others – a wistfulness, an ennui, a bittersweet smile of knowing, perhaps. It invites you to watch patiently and relate, not to watch eagerly and expect… which, you know, I love.
The photography is crisp and well framed always; the music is subtle but effective; the dialogue is often sparing and well chosen (no detail is merely thrown away); and the direction is of a remarkably uniform vision, considering each episode is a different guest professional, including such prestigious names as Jodie Foster, Mark Romanek and Andrew Stanton.
I absolutely urge anyone that isn’t put off by a little sentiment to give this one a try. Sadness and regret in life is not something to shun and be afraid of, they are parts of human experience, and I love art that explores them as concepts. Put that art in a science fiction context and I am bound to love it even more. Like the final moments of Blade Runner, we know that one day all these moments will be lost in time, like tears in rain. We have to take time to see the beauty while we can, even if that beauty is painful.
It may not be for you – I don’t think it is better or worse than other things, just more… me. There is every chance that if it isn’t you… you will hate it. If you do begin, however, please see it to the finish before casting judgement – the final episode directed by Jodie Foster is truly wonderful: a pay-off of such emotion after your investment of seven previous stories, tying it all together perfectly. Rarely have I felt so stupid for not understanding the point of something sooner, or been more pleased that I hadn’t. The final moment of the season is literally unforgettable, and gets richer in my imagination by the day.
Will there be a second season? There certainly could be. Was it enough of a success to justify the investment? Hmm, not sure. Either way, it either sits as a perfect self contained collection of fine, old-fashioned sci-fi stories, or I’d be happy to see it expand, as long as the temptation isn’t to listen to the negative reviews and pander to the fast-food mentality that has already rejected it without fully understanding it. Because nothing needs to change here. A thing of beauty, recommended to those who like beautiful and delicate things.
Purple Phoenix Games (2266 KP) rated Sheriff of Nottingham in Tabletop Games
Nov 16, 2021
One neat thing about the board gaming hobby is how many new games are designed/created daily. So much innovation, creativity, and hype surrounds new releases and helps keep us gamers hooked! That being said, what happens to older games as time goes on? Can they still hold their own over the years? Do they still feel new and novel to first-time players who are getting to them late? The latter describes me with Sheriff of Nottingham. I only received it for Christmas two years ago, and it has sadly been sitting on my Shelf of Shame until recently. So now that I’ve finally gotten it to the table, how does it hold up? Keep reading to find out!
Disclaimer: I have the first edition of this game, so the pictures below do not reflect the art/component changes brought in the recently released second edition. -L
Sheriff of Nottingham is a party game of bluffing, negotiation, and set collection in which players are trying to earn the most money by bringing their goods (Legal or Contraband!) to market. However, before those goods can get to your merchant stand, they must be cleared to pass by the Sheriff of Nottingham. Are you honest in your declarations, or are you trying to sneak something past the town authority? Bluff, bribe, or negotiate your way to victory and collect the most gold!
To setup for a game of Sheriff of Nottingham, each player receives a merchant stand board and bag in their chosen color, 20 starting gold, and 6 Goods cards. The remaining Goods cards are placed in a draw pile, with 2 adjacent discard piles. Turn over 5 cards to each discard pile, select a starting Sheriff, and the game is ready to begin! Sheriff of Nottingham is played over a series of rounds, and each round is broken down into 5 phases: Market, Load Merchant Bag, Declaration, Inspection, and End of Round. Important note – the player acting as Sheriff for the round will only act in the Inspection phase of a round. During the Market phase, players have the opportunity to discard unwanted Goods from their hand in order to draw cards from the draw pile or either discard pile. New cards are drawn one at a time, and you will draw as many cards as you have chosen to discard. The cards you discard will be placed in either discard pile, in whatever order you choose.
The next phase, Load Merchant Bag, is pretty self-explanatory. All merchant players will select up to 5 cards from their hand to place in their merchant bag. Snap it closed, and place it in front of you for the next phase, Declaration. In this phase, players will take turns declaring what good they are bringing to market. You must say exactly how many cards you are bringing, and you may only declare 1 type of Legal good! Even if your bag has multiple types of goods, you must declare only 1 type. Here is where your bluffing skills come into play! Once all players have made their declarations, the game moves to the Inspection phase, and it is now time for the Sheriff to act! In this phase, the Sheriff will get to decide if they wish to inspect any of the merchant bags, and merchants will have the opportunity to negotiate or bribe the Sheriff to not inspect their bag, or to inspect an opponent’s bag instead. If you make a deal with the Sheriff, you must hold up your end of the agreement!
Once the Sheriff has made their decision, they will either inspect bags or allow them to pass. If you are allowed to pass, you will take back your bag, open it, and add all goods to your merchant stand in their corresponding locations. Legal goods are known to all players, but Contraband goods are kept face-down. If the Sheriff chose to inspect your bag, they will open it and reveal the cards inside. If you were in fact telling the truth, and the cards inside are exactly what you declared, you add them to your merchant stand and the Sheriff will pay you a penalty for each Good card in your bag. If you were lying, a few things happen. First, any goods that were truthfully declared will go to your merchant stand as normal. Any goods that you lied about are confiscated by the Sheriff, and placed onto either discard pile. You then will pay the Sheriff a penalty fee for each confiscated good! The final phase, End of Round, has all players draw back up to 6 cards in hand, and the Sheriff title passes to the next player. The game continues in this fashion until all players have been the Sheriff twice (or three times in a 3-player game). Points are counted up – from your goods in your merchant stand, any gold coins you possess, and any bonus points for majority of Legal goods compared to opponents. Once all points have been tallied, the player with the highest score wins!
I know that I have said before that I generally don’t like bluffing games, but I think that Sheriff of Nottingham might be an exception. Yes, in some cases you will have to bluff about the contents of your merchant bag, but the ability to bribe/negotiate with the Sheriff takes some focus off the actual bluffing part. Can you convince the Sheriff to inspect another player’s bag just because you are trying to hinder that player? Or do you try to get the Sheriff to inspect your own bag, because then they will have to pay you a penalty fee for your honesty (this round, at least). It feels like there is more strategic gameplay here than simple bluffing, and I like the opportunity to strategize instead of relying solely on my (admittedly horrendous) poker-face.
Another thing that I really like about Sheriff of Nottingham is that it can technically be categorized as a party game, but it doesn’t feel like a typical party game to me. It takes strategy to play, and doesn’t just rely on crude/adult humor for laughs. This game really engages all players at all times, as you’re constantly watching your opponents, keeping track of what goods they seem to be collecting, and trying to catch them in a lie. The gameplay itself is pretty streamlined and straightforward, and that just helps to make it flow naturally and logically. The playing time is listed as 60 minutes, but it doesn’t feel like a long game to me at all. It’s just a light, fun, and entertaining game for really any type of game night.
Let’s talk components for a minute. Again, I have the first edition of the game, so I cannot speak as to any component changes in the second edition. But overall, the quality of the first edition is pretty nice! The merchant stand boards are nice, thick cardboard, and are colorful and clear. Perhaps my favorite part of the boards is they each have a turn order reference on them. Not that the gameplay is that complicated, but it’s nice to just have that quick guide. The Goods cards are good quality and feel nice in hand. The artwork is mostly pretty simple, but I like that, since the crux of the gameplay is in the player interactions. The cardboard coins are chunky, and the insert doubles as a draw/discard pile organizer – which to me is a lifesaver! Nothing bothers me more than unruly stacks of cards. The merchant bags are nice and mostly functional. My biggest issue with them is that sometimes the snaps are a little hard to open, and it feels like you might tear the bag if you pull on them too hard. To alleviate that, I just don’t have players actually close the snap, instead just folding over the flap, and that works just as well! Great production quality in my opinion.
So if I seem to like this game, why did I only give it a 4 out of 6? The simple answer to that is that I do like the game, but I don’t love it. It’s fun and serves its purpose well, but it’s not a game that I am dying to pull out every game night. It’s one that will stay in my collection for sure, because there are some occasions that are just perfect for it. But it’s not one that will ever make its way to my Top 10. All in all, it holds up well for being an ‘older’ game, but it doesn’t exactly have me jumping up and down to play. That’s why Purple Phoenix Games gives this one an 11 / 18.
Disclaimer: I have the first edition of this game, so the pictures below do not reflect the art/component changes brought in the recently released second edition. -L
Sheriff of Nottingham is a party game of bluffing, negotiation, and set collection in which players are trying to earn the most money by bringing their goods (Legal or Contraband!) to market. However, before those goods can get to your merchant stand, they must be cleared to pass by the Sheriff of Nottingham. Are you honest in your declarations, or are you trying to sneak something past the town authority? Bluff, bribe, or negotiate your way to victory and collect the most gold!
To setup for a game of Sheriff of Nottingham, each player receives a merchant stand board and bag in their chosen color, 20 starting gold, and 6 Goods cards. The remaining Goods cards are placed in a draw pile, with 2 adjacent discard piles. Turn over 5 cards to each discard pile, select a starting Sheriff, and the game is ready to begin! Sheriff of Nottingham is played over a series of rounds, and each round is broken down into 5 phases: Market, Load Merchant Bag, Declaration, Inspection, and End of Round. Important note – the player acting as Sheriff for the round will only act in the Inspection phase of a round. During the Market phase, players have the opportunity to discard unwanted Goods from their hand in order to draw cards from the draw pile or either discard pile. New cards are drawn one at a time, and you will draw as many cards as you have chosen to discard. The cards you discard will be placed in either discard pile, in whatever order you choose.
The next phase, Load Merchant Bag, is pretty self-explanatory. All merchant players will select up to 5 cards from their hand to place in their merchant bag. Snap it closed, and place it in front of you for the next phase, Declaration. In this phase, players will take turns declaring what good they are bringing to market. You must say exactly how many cards you are bringing, and you may only declare 1 type of Legal good! Even if your bag has multiple types of goods, you must declare only 1 type. Here is where your bluffing skills come into play! Once all players have made their declarations, the game moves to the Inspection phase, and it is now time for the Sheriff to act! In this phase, the Sheriff will get to decide if they wish to inspect any of the merchant bags, and merchants will have the opportunity to negotiate or bribe the Sheriff to not inspect their bag, or to inspect an opponent’s bag instead. If you make a deal with the Sheriff, you must hold up your end of the agreement!
Once the Sheriff has made their decision, they will either inspect bags or allow them to pass. If you are allowed to pass, you will take back your bag, open it, and add all goods to your merchant stand in their corresponding locations. Legal goods are known to all players, but Contraband goods are kept face-down. If the Sheriff chose to inspect your bag, they will open it and reveal the cards inside. If you were in fact telling the truth, and the cards inside are exactly what you declared, you add them to your merchant stand and the Sheriff will pay you a penalty for each Good card in your bag. If you were lying, a few things happen. First, any goods that were truthfully declared will go to your merchant stand as normal. Any goods that you lied about are confiscated by the Sheriff, and placed onto either discard pile. You then will pay the Sheriff a penalty fee for each confiscated good! The final phase, End of Round, has all players draw back up to 6 cards in hand, and the Sheriff title passes to the next player. The game continues in this fashion until all players have been the Sheriff twice (or three times in a 3-player game). Points are counted up – from your goods in your merchant stand, any gold coins you possess, and any bonus points for majority of Legal goods compared to opponents. Once all points have been tallied, the player with the highest score wins!
I know that I have said before that I generally don’t like bluffing games, but I think that Sheriff of Nottingham might be an exception. Yes, in some cases you will have to bluff about the contents of your merchant bag, but the ability to bribe/negotiate with the Sheriff takes some focus off the actual bluffing part. Can you convince the Sheriff to inspect another player’s bag just because you are trying to hinder that player? Or do you try to get the Sheriff to inspect your own bag, because then they will have to pay you a penalty fee for your honesty (this round, at least). It feels like there is more strategic gameplay here than simple bluffing, and I like the opportunity to strategize instead of relying solely on my (admittedly horrendous) poker-face.
Another thing that I really like about Sheriff of Nottingham is that it can technically be categorized as a party game, but it doesn’t feel like a typical party game to me. It takes strategy to play, and doesn’t just rely on crude/adult humor for laughs. This game really engages all players at all times, as you’re constantly watching your opponents, keeping track of what goods they seem to be collecting, and trying to catch them in a lie. The gameplay itself is pretty streamlined and straightforward, and that just helps to make it flow naturally and logically. The playing time is listed as 60 minutes, but it doesn’t feel like a long game to me at all. It’s just a light, fun, and entertaining game for really any type of game night.
Let’s talk components for a minute. Again, I have the first edition of the game, so I cannot speak as to any component changes in the second edition. But overall, the quality of the first edition is pretty nice! The merchant stand boards are nice, thick cardboard, and are colorful and clear. Perhaps my favorite part of the boards is they each have a turn order reference on them. Not that the gameplay is that complicated, but it’s nice to just have that quick guide. The Goods cards are good quality and feel nice in hand. The artwork is mostly pretty simple, but I like that, since the crux of the gameplay is in the player interactions. The cardboard coins are chunky, and the insert doubles as a draw/discard pile organizer – which to me is a lifesaver! Nothing bothers me more than unruly stacks of cards. The merchant bags are nice and mostly functional. My biggest issue with them is that sometimes the snaps are a little hard to open, and it feels like you might tear the bag if you pull on them too hard. To alleviate that, I just don’t have players actually close the snap, instead just folding over the flap, and that works just as well! Great production quality in my opinion.
So if I seem to like this game, why did I only give it a 4 out of 6? The simple answer to that is that I do like the game, but I don’t love it. It’s fun and serves its purpose well, but it’s not a game that I am dying to pull out every game night. It’s one that will stay in my collection for sure, because there are some occasions that are just perfect for it. But it’s not one that will ever make its way to my Top 10. All in all, it holds up well for being an ‘older’ game, but it doesn’t exactly have me jumping up and down to play. That’s why Purple Phoenix Games gives this one an 11 / 18.
