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Purple Phoenix Games (2266 KP) rated Camping with Sasquatch in Tabletop Games
Jun 18, 2019 (Updated Jun 25, 2019)
You campers like to have fun, right? Well let me warn you of the dangerous Sasquatch in these here woods. You don’t want to get tangled up with him. He will eat your fishy fishies, your s’mores, and your bathing suits. Don’t believe me? Keep reading.
Camping with Sasquatch is a super silly set collection, hand management, card shedding game in the party game genre featuring, well, Bigfoot. You are dealt a hand of cards of various suits (s’mores, hiking, fishy fishy, etc) and from the large draw pile of remaining cards are revealed three cards. On your turn you must draw a card from the draw pile, and play two cards from your hand. You score points by adding cards to the revealed cards on the table to make sets of suits Rummy style. So you can have a set of 3 like-cards, or a run(?) of 3 different cards, with Sasquatch cards in the same suit being wild. When you complete a set of cards on the table, you claim the set and put the cards in your scoring pile. Each card in your scoring pile is worth one victory point. The first player to shed his hand to zero triggers the end game, and the player with the most victory points is the winner. Duh.
Here’s what makes this game a little different and a little more interesting. The Sasquatch cards are wild. They can be used in a set or a run. Easy. However, you can play a Sasquatch card by itself to the table by slapping it down and calling out what suit it is: “Sasquatch Swimming!” When someone does that the other players must frantically slap the Sasquatch with an appropriate suit-matching card from their hand. If they cannot or if they are the last to do so they are awarded with all the cards that had just been played. In a shedding game, adding cards to your hand is always no bueno. This, however, leads to hilarity at the table, but also frustration if you play with bad sports, or uninterested opponents.
Components. This is a card game. The cards are of good quality, and the art is campy and cartoony. I quite like the art style, but some people I played with had mixed opinions on it. What I did appreciate was the one page folded rulesheet with full color Sasquatch poster on the back. I like light games with non-confusing rules. However, on that subject, I couldn’t find anywhere that it stated we could use more than the three slots to play our cards to next to the draw pile, even though there is a graphic that shows more slots in a dashed outline. We initially played the game with just the three slots available and it was a drag, man. Once we allowed some interpretation of the rules to open up more card slots, the game flowed quite a bit more easily and we enjoyed it much more.
Overall, this is just a silly game of shedding with a unique theme that we all liked. The Sasquatch slap aspect of the game gave it a nice little bump in interest for us, but ultimately we agreed that it was light and fun, but not one we will think to bring out very often. I would like to recommend this, but I will do so to a particular situational scenario. If you are ending your game night and just need a super light nightcap to help you tie one on, then pull out the ‘Squatch. He may eat your hot dogs, but he’s just trying to make a living too. Purple Phoenix Games gives this one a hairy 15 / 30.
Camping with Sasquatch is a super silly set collection, hand management, card shedding game in the party game genre featuring, well, Bigfoot. You are dealt a hand of cards of various suits (s’mores, hiking, fishy fishy, etc) and from the large draw pile of remaining cards are revealed three cards. On your turn you must draw a card from the draw pile, and play two cards from your hand. You score points by adding cards to the revealed cards on the table to make sets of suits Rummy style. So you can have a set of 3 like-cards, or a run(?) of 3 different cards, with Sasquatch cards in the same suit being wild. When you complete a set of cards on the table, you claim the set and put the cards in your scoring pile. Each card in your scoring pile is worth one victory point. The first player to shed his hand to zero triggers the end game, and the player with the most victory points is the winner. Duh.
Here’s what makes this game a little different and a little more interesting. The Sasquatch cards are wild. They can be used in a set or a run. Easy. However, you can play a Sasquatch card by itself to the table by slapping it down and calling out what suit it is: “Sasquatch Swimming!” When someone does that the other players must frantically slap the Sasquatch with an appropriate suit-matching card from their hand. If they cannot or if they are the last to do so they are awarded with all the cards that had just been played. In a shedding game, adding cards to your hand is always no bueno. This, however, leads to hilarity at the table, but also frustration if you play with bad sports, or uninterested opponents.
Components. This is a card game. The cards are of good quality, and the art is campy and cartoony. I quite like the art style, but some people I played with had mixed opinions on it. What I did appreciate was the one page folded rulesheet with full color Sasquatch poster on the back. I like light games with non-confusing rules. However, on that subject, I couldn’t find anywhere that it stated we could use more than the three slots to play our cards to next to the draw pile, even though there is a graphic that shows more slots in a dashed outline. We initially played the game with just the three slots available and it was a drag, man. Once we allowed some interpretation of the rules to open up more card slots, the game flowed quite a bit more easily and we enjoyed it much more.
Overall, this is just a silly game of shedding with a unique theme that we all liked. The Sasquatch slap aspect of the game gave it a nice little bump in interest for us, but ultimately we agreed that it was light and fun, but not one we will think to bring out very often. I would like to recommend this, but I will do so to a particular situational scenario. If you are ending your game night and just need a super light nightcap to help you tie one on, then pull out the ‘Squatch. He may eat your hot dogs, but he’s just trying to make a living too. Purple Phoenix Games gives this one a hairy 15 / 30.
Gareth von Kallenbach (980 KP) rated Click (2006) in Movies
Aug 14, 2019
Michael Newman (Adam Sandler) is a man in crisis. As a caring a devoted father and husband, Michael is at the end of his rope as his life has become a non-stop series of projects and endless deadlines as he attempts to become a partner in his architecture firm.
His boss, Ammer (David Hasselhoff) is constantly piling work on top of Michael’s already full plate, and promises a pending partnership which only drives Michael even harder at the expense of quality time for himself and his family.
With events such as camping trips, 4th of July family outings and his swim meets being lost to his increasing workload, Michael is in need of help as even his loving wife Donna (Kate Beckinsale), is becoming frustrated with his lack of time for his family and the fact that his family has become a distant second fiddle to his job.
When his frustration point gets the best of him, Michael decides to take a drive one night and locate a universal remote in an effort to clear up the clutter of remotes that inhabit his own.
With only a Bed Bath and Beyond open, Michael finds himself in a remote room of the store where a sympathetic employee named Morty (Christopher Walken), says he has the answer to Michaels situation, a special universal remote that is his free of charge.
Michael is skeptical but when Morty assures him that it is an advanced prototype and that sometimes a good guy need breaks in life, he sets home with the remote.
Eventually Michael realizes that the remote has the power to speed up, freeze, and access various moments of his life. Suddenly menial tasks, work, and other events can be avoided simply by forwarding past those points.
As Michael works with the remote, he is visited from time to time by Morty who shows him features such as a DVD like menu where Michael can look back at everything from past girlfriends to his conception and birth.
After a setback on his career path, Michael decides to fast forward to his promotion and is shocked to discover that not only has more time passed than he expected, but that his relationships at home have been strained in the process.
If this is not enough trouble for Michael, the remote starts to take on a mind of its own, and soon forwards him in time without his approval, forcing Michael to face the changes and repercussions of a life out of control.
Click is easily one of Sandler’s best films since “The Wedding Singer” and “Fifty First Dates”, as it blends the typical Sandler humor with moments of great candor and tenderness.
The supporting work of Walken and Beckinsale is enhanced by the presence of Henry Winkler ads to the enjoyment of the film.
Frank Coraci who previously directed Sandler in (The Wedding Singer), and (The Waterboy), is not afraid to force Sandler to stretch beyond the familiar comedic routines for which he has been known and make him address more serious subject matter.
While some fans may find the blend of comedy and a more mature subject matter difficult to accept, Click is a novel comedy that is filled with laughs and yet takes the time to address important topics without ever being heavy handed.
Some may want to take issues with the crude humor, and raise issues about the remote and why certain things were done or not done. To do this would be in my opinion would be missing the point of the film which is to remind us, that no matter what, take the time out for those that are important in your life.
His boss, Ammer (David Hasselhoff) is constantly piling work on top of Michael’s already full plate, and promises a pending partnership which only drives Michael even harder at the expense of quality time for himself and his family.
With events such as camping trips, 4th of July family outings and his swim meets being lost to his increasing workload, Michael is in need of help as even his loving wife Donna (Kate Beckinsale), is becoming frustrated with his lack of time for his family and the fact that his family has become a distant second fiddle to his job.
When his frustration point gets the best of him, Michael decides to take a drive one night and locate a universal remote in an effort to clear up the clutter of remotes that inhabit his own.
With only a Bed Bath and Beyond open, Michael finds himself in a remote room of the store where a sympathetic employee named Morty (Christopher Walken), says he has the answer to Michaels situation, a special universal remote that is his free of charge.
Michael is skeptical but when Morty assures him that it is an advanced prototype and that sometimes a good guy need breaks in life, he sets home with the remote.
Eventually Michael realizes that the remote has the power to speed up, freeze, and access various moments of his life. Suddenly menial tasks, work, and other events can be avoided simply by forwarding past those points.
As Michael works with the remote, he is visited from time to time by Morty who shows him features such as a DVD like menu where Michael can look back at everything from past girlfriends to his conception and birth.
After a setback on his career path, Michael decides to fast forward to his promotion and is shocked to discover that not only has more time passed than he expected, but that his relationships at home have been strained in the process.
If this is not enough trouble for Michael, the remote starts to take on a mind of its own, and soon forwards him in time without his approval, forcing Michael to face the changes and repercussions of a life out of control.
Click is easily one of Sandler’s best films since “The Wedding Singer” and “Fifty First Dates”, as it blends the typical Sandler humor with moments of great candor and tenderness.
The supporting work of Walken and Beckinsale is enhanced by the presence of Henry Winkler ads to the enjoyment of the film.
Frank Coraci who previously directed Sandler in (The Wedding Singer), and (The Waterboy), is not afraid to force Sandler to stretch beyond the familiar comedic routines for which he has been known and make him address more serious subject matter.
While some fans may find the blend of comedy and a more mature subject matter difficult to accept, Click is a novel comedy that is filled with laughs and yet takes the time to address important topics without ever being heavy handed.
Some may want to take issues with the crude humor, and raise issues about the remote and why certain things were done or not done. To do this would be in my opinion would be missing the point of the film which is to remind us, that no matter what, take the time out for those that are important in your life.
Gareth von Kallenbach (980 KP) rated 2012 (2009) in Movies
Aug 8, 2019
Disaster films and Hollywood have enjoyed a long and successful partnership over the years as box office gold has been found in fictional disasters. Irwin Allen had a string of hits such as “The Towering Inferno” and “The Poseidon Adventure” which in turn lead to the films such as “Dante’s Peak”, “Volcano”, “Deep Impact”, and “Armageddon” who kept the tried and true formula of relatable, regular people forced to cope with extraordinary situations where they must battle against all odds to survive.
In the new film “2012” director Roland Emmerich follows up his other end-of-the world epics “Independence Day” and “The Day After Tomorrow”, with a story about the total devastation of the earth and all life upon it due to an increase of neutrinos from the sun heating the earth’s core causing the displacement of the Earth’s crust.
Keeping to the established formula of the disaster films, 2012 centers around a struggling writer named Jackson Curtis (John Cusack), who learns of the pending catastrophic events while camping at Yellowstone National Park with his children. The presence of forbidden areas and swarms of soldiers and scientists leads Jackson to believe that the local conspiracy radio host Charlie Frost (Woody Harrelson), might be right in his predictions that we are all on borrowed time, and that the increase in earthquakes and fissures along the fault lines are a very bad omen.
Unbeknownst to Jackson, and the majority of the world’s population, U.S. President Wilson (Danny Glover), and his fellow heads of state, are preparing for the coming tragedy. Carl Anheuser (Oliver Platt) and a team of geologists lead by Adrian Helmsley (Chiwetal Ojiofore) are trying to determine exactly how much time they have to save what they can of humanity. Unaware that the fate of mankind is being decided by the politicians and those with money, Jackson and his children soon find themselves rushing to stay alive, with his ex-wife Kate (Amanda Peet), and her boyfriend in tow. Jackson learns of a plan to save select members of the population and pins their very survival on being able to arrive at what they hope is their salvation before time runs out.
Spectacular effects follow as Los Angeles and other cities are swallowed up by massive sinkholes and buried under collapsing bridges and buildings in some of the most amazing sequences of mayhem and destruction ever captured on film. The movie does an amazing job of showing the absolute calamity and chaos and does a passable job with the relationships between the characters. There are some nice supporting performances from Thandie Newton and George Segal. It is just a shame they were not given a bit more to work with. The cookie cutter scenarios that many characters faced seem to have been lifted from the book of disaster film plots.
I did not go into the film expecting realism, as I fully expect the world will go on as normal on December 22, 2012. However, I did have to note some of the absurd developments that strained any semblance of credibility the film may have had. One such scene had the characters being flooded and trapped for an extended period of time by water. Since their locale was near Mt Everest, I had to assume that it was not warm spring water they were submerged in, and had to wonder if hypothermia just went the way of most of the human populace.
Then again, we were dealing with a heated core that was essentially melting the earth’s crust. So maybe the water was warm.
As with all disaster movies, I do have to remember the audience is asked to suspend all disbelief, at least for 160 minutes. While the film does take some vast leaps of logic, there is enough good action, special effects, and strained levity to make this a good distraction, as long as you are willing to check your brain at the door and just enjoy the ride.
In the new film “2012” director Roland Emmerich follows up his other end-of-the world epics “Independence Day” and “The Day After Tomorrow”, with a story about the total devastation of the earth and all life upon it due to an increase of neutrinos from the sun heating the earth’s core causing the displacement of the Earth’s crust.
Keeping to the established formula of the disaster films, 2012 centers around a struggling writer named Jackson Curtis (John Cusack), who learns of the pending catastrophic events while camping at Yellowstone National Park with his children. The presence of forbidden areas and swarms of soldiers and scientists leads Jackson to believe that the local conspiracy radio host Charlie Frost (Woody Harrelson), might be right in his predictions that we are all on borrowed time, and that the increase in earthquakes and fissures along the fault lines are a very bad omen.
Unbeknownst to Jackson, and the majority of the world’s population, U.S. President Wilson (Danny Glover), and his fellow heads of state, are preparing for the coming tragedy. Carl Anheuser (Oliver Platt) and a team of geologists lead by Adrian Helmsley (Chiwetal Ojiofore) are trying to determine exactly how much time they have to save what they can of humanity. Unaware that the fate of mankind is being decided by the politicians and those with money, Jackson and his children soon find themselves rushing to stay alive, with his ex-wife Kate (Amanda Peet), and her boyfriend in tow. Jackson learns of a plan to save select members of the population and pins their very survival on being able to arrive at what they hope is their salvation before time runs out.
Spectacular effects follow as Los Angeles and other cities are swallowed up by massive sinkholes and buried under collapsing bridges and buildings in some of the most amazing sequences of mayhem and destruction ever captured on film. The movie does an amazing job of showing the absolute calamity and chaos and does a passable job with the relationships between the characters. There are some nice supporting performances from Thandie Newton and George Segal. It is just a shame they were not given a bit more to work with. The cookie cutter scenarios that many characters faced seem to have been lifted from the book of disaster film plots.
I did not go into the film expecting realism, as I fully expect the world will go on as normal on December 22, 2012. However, I did have to note some of the absurd developments that strained any semblance of credibility the film may have had. One such scene had the characters being flooded and trapped for an extended period of time by water. Since their locale was near Mt Everest, I had to assume that it was not warm spring water they were submerged in, and had to wonder if hypothermia just went the way of most of the human populace.
Then again, we were dealing with a heated core that was essentially melting the earth’s crust. So maybe the water was warm.
As with all disaster movies, I do have to remember the audience is asked to suspend all disbelief, at least for 160 minutes. While the film does take some vast leaps of logic, there is enough good action, special effects, and strained levity to make this a good distraction, as long as you are willing to check your brain at the door and just enjoy the ride.
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