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Bob Mann (459 KP) rated First Man (2018) in Movies
Sep 28, 2021
He captured a feeling. Sky with no ceiling.
A memorable event
I am a child of the 60’s, born in 1961. The “Space Race” for me was not some historical concept but a pervasive backdrop to my childhood. I still recall, at the age of 8, being marched into my junior school’s assembly hall. We all peered at the grainy black-and-white pictures of Neil Armstrong as he spoke his famously fluffed line before stepping onto the lunar surface. The event happened at 3:54am UK time, so clearly my recollection of “seeing it live” is bogus. (I read that the BBC stayed on air until 10:30 in the morning, so it was probably a ‘final review’ of the night’s events I saw). It is probably lodged in my memory less for the historical event and more due to the fact that there was TELEVISION ON IN THE MORNING! (Kids, ask your grandparents!)
A very personal connection. My personal copy of Waddington’s “Blast Off” board game, briefly shown in the film.
The plot
But back to Damien Chazelle‘s film. We start early in the 60’s with America getting well and truly kicked up the proberbial by the Russians in the space race: they fail to get the first man in space; they fail to carry out the first spacewalk. So the Americans, following the famous JFK speech, set their sights on the moon. It’s the equivalent of making a mess of cutting your toenails but then deciding to have a go at brain surgery. NASA develop the Gemini programme to practice the essential docking manoevers required as a precursor for the seemingly impossible (‘two blackboard’) mission that is Apollo.
But the price paid for such ambition is high.
Ryan Gosling plays Neil Armstrong as a dedicated, prickly, professional; altogether not a terribly likeable individual. Claire Foy plays his long-suffering wife Janet, putting her support for her husband’s dangerous profession ahead of her natural fears of becoming a single mother.
Review
There is obviously little tension to be mined from a film that has such a well-known historical context. Those with even a subliminal knowledge of the subject will be aware of the key triumphs and tragedies along the way. The script (by Josh Singer, “The Post“; “Spotlight“) is very well done in developing a creeping dread of knowing what is shortly to come.
Even with these inherent spoilers, Chazelle still manages to evoke armrest-squeezing tension into the space flight sequences. A lot of this is achieved through disorientating camera movements and flashing images that may irritate some but I found to be highly effective. (Did anyone else flash back to that excellent “Mission Space” ride at Epcot during the launch sequences?) This hand-held cinematography by Linus Sandgren (Chazelle’s “La La Land” collaborator) is matched by some utterly drop-dead gorgeous shots – beautifully framed; beautifully lit – that would be worthy of a Kaminski/Spielberg collaboration.
Those expecting a rollercoaster thrill-ride of the likes of “Apollo 13” will be disappointed. The film has more of the slow-and-long-burn feeling of “The Right Stuff” in mood and, at 141 minutes, some might even find it quite boring. There is significant time, for example, spent within the family home. These scenes include turbulent events of which I wasn’t previously aware: events that form the cornerstone of the film’s drama. For me, the balance of the personal and the historical background was perfectly done. I found it curious though that with such a family-oriented drama Chazelle chose to ditch completely any cuts away to the earthbound onlookers during the tense lunar landing sequence. (Compare and contrast with Ron Howard‘s masterly inter-cutting in the re-entry scene of “Apollo 13”). With the outcome foretold, perhaps such tension building was considered unnecessary? I’m not suggesting it was wrong to ‘stay in the moment’ with the astronauts, but it’s a bold directorial move.
Overall, the foolhardiness of NASA trying to do what they did with the 60’s technology at their disposal is well-portrayed. If you’ve been lucky enough, as I have, to view the Apollo 11 capsule in the National Air and Space museum in Washington you can’t help but be impressed by the bravery of Armstong, Aldrin and Collins in getting in that bucket of bolts and putting their lives on the line. True American heroes.
On that topic, the “flag issue” has generated much self-righteous heat within the US media; that is regarding Chazelle not showing the American flag being planted. This seems fatuous to me. Not only is the flag shown on the moon, but the film ably demonstrates the American know-how and bravery behind the mission. If Clint Eastwood had been directing he would have probably gone there: but for me it certainly didn’t need any further patriotism rubbed in the viewer’s face.
The turns
Are Oscar nominations on the cards for Ryan Gosling and Claire Foy? For me, it would be staggering if they are not: this film has “Oscar nomination” written all over it. I’d also certainly not bet against Foy winning for Best Actress: her portrayal of a wife on the edge is nothing short of brilliant. And perhaps, just perhaps, this might be Gosling’s year too.
Elsewhere there are strong supporting performances from Kyle Chandler (as Deke Slayton), Corey Stoll (as the ‘tell it how it is’ Buzz Aldrin) and Jason Clarke (as Ed White). It’s also great to see Belfast-born Ciarán Hinds in another mainstream Hollywood release.
For me, another dead cert Oscar nomination will be Justin Hurwitz for the score which is breathtakingly brilliant, not just in its compelling themes but also in its orchestration: the use of the eerie theremin and melodic harp are just brilliant together. I haven’t heard a score this year that’s more fitting to the visuals: although it’s early in the Oscar season to be calling it, I’d be very surprised if this didn’t walk away with the statuette.
Summary
Loved this. Damien Chazelle – with “Whiplash“, “La La Land” and now “First Man” – has hit all of three out of the park in my book. It’s not really a film for thrill-seekers, who might get bored, but anyone, like me, with an interest in the history of space exploration will I think lap it up: for this was surely the most memorable decade in space history… so far.
On leaving the cinema I looked up at the rising moon and marvelled once more at the audacity of man. My eyes then drifted across to the red dot that was Mars. How long I wonder? And how many dramatic film biographies still to come?
I am a child of the 60’s, born in 1961. The “Space Race” for me was not some historical concept but a pervasive backdrop to my childhood. I still recall, at the age of 8, being marched into my junior school’s assembly hall. We all peered at the grainy black-and-white pictures of Neil Armstrong as he spoke his famously fluffed line before stepping onto the lunar surface. The event happened at 3:54am UK time, so clearly my recollection of “seeing it live” is bogus. (I read that the BBC stayed on air until 10:30 in the morning, so it was probably a ‘final review’ of the night’s events I saw). It is probably lodged in my memory less for the historical event and more due to the fact that there was TELEVISION ON IN THE MORNING! (Kids, ask your grandparents!)
A very personal connection. My personal copy of Waddington’s “Blast Off” board game, briefly shown in the film.
The plot
But back to Damien Chazelle‘s film. We start early in the 60’s with America getting well and truly kicked up the proberbial by the Russians in the space race: they fail to get the first man in space; they fail to carry out the first spacewalk. So the Americans, following the famous JFK speech, set their sights on the moon. It’s the equivalent of making a mess of cutting your toenails but then deciding to have a go at brain surgery. NASA develop the Gemini programme to practice the essential docking manoevers required as a precursor for the seemingly impossible (‘two blackboard’) mission that is Apollo.
But the price paid for such ambition is high.
Ryan Gosling plays Neil Armstrong as a dedicated, prickly, professional; altogether not a terribly likeable individual. Claire Foy plays his long-suffering wife Janet, putting her support for her husband’s dangerous profession ahead of her natural fears of becoming a single mother.
Review
There is obviously little tension to be mined from a film that has such a well-known historical context. Those with even a subliminal knowledge of the subject will be aware of the key triumphs and tragedies along the way. The script (by Josh Singer, “The Post“; “Spotlight“) is very well done in developing a creeping dread of knowing what is shortly to come.
Even with these inherent spoilers, Chazelle still manages to evoke armrest-squeezing tension into the space flight sequences. A lot of this is achieved through disorientating camera movements and flashing images that may irritate some but I found to be highly effective. (Did anyone else flash back to that excellent “Mission Space” ride at Epcot during the launch sequences?) This hand-held cinematography by Linus Sandgren (Chazelle’s “La La Land” collaborator) is matched by some utterly drop-dead gorgeous shots – beautifully framed; beautifully lit – that would be worthy of a Kaminski/Spielberg collaboration.
Those expecting a rollercoaster thrill-ride of the likes of “Apollo 13” will be disappointed. The film has more of the slow-and-long-burn feeling of “The Right Stuff” in mood and, at 141 minutes, some might even find it quite boring. There is significant time, for example, spent within the family home. These scenes include turbulent events of which I wasn’t previously aware: events that form the cornerstone of the film’s drama. For me, the balance of the personal and the historical background was perfectly done. I found it curious though that with such a family-oriented drama Chazelle chose to ditch completely any cuts away to the earthbound onlookers during the tense lunar landing sequence. (Compare and contrast with Ron Howard‘s masterly inter-cutting in the re-entry scene of “Apollo 13”). With the outcome foretold, perhaps such tension building was considered unnecessary? I’m not suggesting it was wrong to ‘stay in the moment’ with the astronauts, but it’s a bold directorial move.
Overall, the foolhardiness of NASA trying to do what they did with the 60’s technology at their disposal is well-portrayed. If you’ve been lucky enough, as I have, to view the Apollo 11 capsule in the National Air and Space museum in Washington you can’t help but be impressed by the bravery of Armstong, Aldrin and Collins in getting in that bucket of bolts and putting their lives on the line. True American heroes.
On that topic, the “flag issue” has generated much self-righteous heat within the US media; that is regarding Chazelle not showing the American flag being planted. This seems fatuous to me. Not only is the flag shown on the moon, but the film ably demonstrates the American know-how and bravery behind the mission. If Clint Eastwood had been directing he would have probably gone there: but for me it certainly didn’t need any further patriotism rubbed in the viewer’s face.
The turns
Are Oscar nominations on the cards for Ryan Gosling and Claire Foy? For me, it would be staggering if they are not: this film has “Oscar nomination” written all over it. I’d also certainly not bet against Foy winning for Best Actress: her portrayal of a wife on the edge is nothing short of brilliant. And perhaps, just perhaps, this might be Gosling’s year too.
Elsewhere there are strong supporting performances from Kyle Chandler (as Deke Slayton), Corey Stoll (as the ‘tell it how it is’ Buzz Aldrin) and Jason Clarke (as Ed White). It’s also great to see Belfast-born Ciarán Hinds in another mainstream Hollywood release.
For me, another dead cert Oscar nomination will be Justin Hurwitz for the score which is breathtakingly brilliant, not just in its compelling themes but also in its orchestration: the use of the eerie theremin and melodic harp are just brilliant together. I haven’t heard a score this year that’s more fitting to the visuals: although it’s early in the Oscar season to be calling it, I’d be very surprised if this didn’t walk away with the statuette.
Summary
Loved this. Damien Chazelle – with “Whiplash“, “La La Land” and now “First Man” – has hit all of three out of the park in my book. It’s not really a film for thrill-seekers, who might get bored, but anyone, like me, with an interest in the history of space exploration will I think lap it up: for this was surely the most memorable decade in space history… so far.
On leaving the cinema I looked up at the rising moon and marvelled once more at the audacity of man. My eyes then drifted across to the red dot that was Mars. How long I wonder? And how many dramatic film biographies still to come?
Purple Phoenix Games (2266 KP) rated Tiny Epic Galaxies in Tabletop Games
Jul 16, 2019
When it comes to game themes, I’ve got them all – modern mystery, fantasy, superhero, abstract puzzle, pirates, zombies, and more. But the one theme I never had was space. Which, thinking back on it now, is kind of weird because there are so many space-themed games out there. In my exploration of the Tiny Epic series, I eventually came to the third installment, Tiny Epic Galaxies. And thus, the space-game void I didn’t even know I had was filled. Since then, I’ve played a handful of other space-themed games, but Tiny Epic Galaxies is by far my favorite.
In Tiny Epic Galaxies, you are the leader of a galactic empire looking to expand its borders and influence across space. Unfortunately, you are not the only one vying for power – competing galactic leaders are also gathering resources and sending out scouts to planets in hopes of bringing them into the folds of their own empires. Can you outwit your opponents and stake your claim on these new planets before your rivals do? Or are you doomed to live under someone else’s rule forever?
DISCLAIMER: There are several expansions to this game, but we are not reviewing them at this time. Should we review them in the future we will either update this review or post a link to the new material here. -T
Tiny Epic Galaxies is a game of dice rolling and area control/influence in which players take turns rolling dice and activating powers in order to gather resources and increase their influence on newly-discovered planets. On your turn, you will roll a specified number of dice, and activate them in any order you choose to perform any of the available actions: move a ship, advance your colonization of a planet, acquire resources, or utilize the special power of a planet you control. Gaining control of a planet earns victory points, and the game ends once a player has reached 21 VPs. Sounds simple enough, right? But here’s a twist – when you activate a die on your turn, any other player can spend a resource to follow your action and perform the same action you just did. Make sure you keep an eye on your opponents’ ships and resources – a beneficial action for you could also earn your opponents a planet!
My absolute favorite part of all the Tiny Epic games is that they have so much more to offer than meets the eye, and Tiny Epic Galaxies is no exception. The premise of the game is simple and easy to learn, yet mastering the strategy is what keeps me coming back for more. There is no single strategy for guaranteed success, and the necessity to adapt strategy based upon your dice rolls keeps the game engaging and exciting. You may have a plan in mind, but unless the dice cooperate, you’ll have to adjust that plan on the fly. And you’ve also got to pay attention to your resources and your opponents’ turns, because you might be able to capitalize on their dice if you can afford the cost. It could potentially always be your turn, even if it’s not your official turn, since you have the ability to follow an opponent’s action. You’re coming up with your own strategy, while also trying to decipher your opponents’ strategies so you can outwit them and earn the most VPs the fastest.
Another great part of this game is that there is a good amount of player interaction, but not in a way that feels confrontational. In some situations it may feel like a bit of ‘take that,’ but remember – you’re the one who gave them the opportunity to take that action! Without you taking the action in the first place, your opponent would not have had the chance to follow you! Your strategy must transcend your individual galaxy and also take into account every other galaxy in play. In Tiny Epic Galaxies, you’re constantly interacting – some interactions are just more subtle than others.
Tiny Epic Galaxies is perhaps my favorite Tiny Epic game to date. It’s quick, simple, and yet deceptively strategic. Plus the little spaceships are so cute! If I had to pick one Tiny Epic game to use to introduce someone to the series, I would pick this one. Purple Phoenix Games gives Tiny Epic Galaxies an out-of-this-world 17 / 18.
In Tiny Epic Galaxies, you are the leader of a galactic empire looking to expand its borders and influence across space. Unfortunately, you are not the only one vying for power – competing galactic leaders are also gathering resources and sending out scouts to planets in hopes of bringing them into the folds of their own empires. Can you outwit your opponents and stake your claim on these new planets before your rivals do? Or are you doomed to live under someone else’s rule forever?
DISCLAIMER: There are several expansions to this game, but we are not reviewing them at this time. Should we review them in the future we will either update this review or post a link to the new material here. -T
Tiny Epic Galaxies is a game of dice rolling and area control/influence in which players take turns rolling dice and activating powers in order to gather resources and increase their influence on newly-discovered planets. On your turn, you will roll a specified number of dice, and activate them in any order you choose to perform any of the available actions: move a ship, advance your colonization of a planet, acquire resources, or utilize the special power of a planet you control. Gaining control of a planet earns victory points, and the game ends once a player has reached 21 VPs. Sounds simple enough, right? But here’s a twist – when you activate a die on your turn, any other player can spend a resource to follow your action and perform the same action you just did. Make sure you keep an eye on your opponents’ ships and resources – a beneficial action for you could also earn your opponents a planet!
My absolute favorite part of all the Tiny Epic games is that they have so much more to offer than meets the eye, and Tiny Epic Galaxies is no exception. The premise of the game is simple and easy to learn, yet mastering the strategy is what keeps me coming back for more. There is no single strategy for guaranteed success, and the necessity to adapt strategy based upon your dice rolls keeps the game engaging and exciting. You may have a plan in mind, but unless the dice cooperate, you’ll have to adjust that plan on the fly. And you’ve also got to pay attention to your resources and your opponents’ turns, because you might be able to capitalize on their dice if you can afford the cost. It could potentially always be your turn, even if it’s not your official turn, since you have the ability to follow an opponent’s action. You’re coming up with your own strategy, while also trying to decipher your opponents’ strategies so you can outwit them and earn the most VPs the fastest.
Another great part of this game is that there is a good amount of player interaction, but not in a way that feels confrontational. In some situations it may feel like a bit of ‘take that,’ but remember – you’re the one who gave them the opportunity to take that action! Without you taking the action in the first place, your opponent would not have had the chance to follow you! Your strategy must transcend your individual galaxy and also take into account every other galaxy in play. In Tiny Epic Galaxies, you’re constantly interacting – some interactions are just more subtle than others.
Tiny Epic Galaxies is perhaps my favorite Tiny Epic game to date. It’s quick, simple, and yet deceptively strategic. Plus the little spaceships are so cute! If I had to pick one Tiny Epic game to use to introduce someone to the series, I would pick this one. Purple Phoenix Games gives Tiny Epic Galaxies an out-of-this-world 17 / 18.
Jordan Binkerd (567 KP) rated Ad Astra (2019) in Movies
Sep 27, 2019
The cast (3 more)
The score
Realistic science
Beautiful VFX
Anticlimactic/possibly unreliable ending (3 more)
Awkward voiceover
Pacing? Some would disagree....
Action scenes are kind of shoehorned in
Beautiful and haunting
First off, you've got to see this in the theater if you're going to see it. The sparse lunar and Martian vistas, not to mention the star-strewn expanses of space, will be so much less impressive on your living room television. The cast is amazing, though there's not nearly enough Tommy Lee Jones or Donald Sutherland. The tone is haunting and uncomfortable, aided by a subdued score that at times seems to pay tribute to the soundless vacuum in which parts of the film are set. The science is up to date, in that it accurately reflects the fact that after getting sidetracked for a decade or four, we're back to using rockets to explore the solar system. The plot is at heart an exploration of humanity, our needs, drives, relationships and obsessive stubbornness, and dips somewhat into questions of sanity and mental health, again sometimes uncomfortably, though the slow-burn pacing is not for everyone. There are occasional action sequences, but they often feel disconnected and shoehorned in. The ending was a little anti-climactic, and I'm not entirely sure it actually happened - it's barely a spoiler to suggest that the protagonist is in danger as the ending nears, and everything that follows his return to Earth could easily be a dream or dying hallucination (and in fact if argue that this would be a stronger ending). The voiceover was a bit awkward, and would have benefitted from an in-story justification such as the character journalling or leaving a sealed log of some sort. Basically, I think it was worth seeing, but it's not going to be for everyone.
Purple Phoenix Games (2266 KP) rated Abyss in Tabletop Games
Aug 5, 2021
I am not a great swimmer. For several years of my life I would avoid water at all costs. I have since grown to love it, but would still freak out a bit if a crab came towards me. I’m kind of a baby like that. I do so love underwater scenes and the wildlife, so I was bound to enjoy Abyss. Throw in some of the most amazing artwork in all of gaming and you have a hit, right?
Abyss is a push your luck, set collection, hand management, fantasy card drafting game for two to four players. In it players are attempting to gain the most Influence Points to rule the underwater kingdom by recruiting allies and Lords, and controlling locations. The game ends once a player recruits their seventh Lord or if the Lords cards run out before the Court can be refilled.
To setup, lay out the board, shuffle the Exploration cards (starfish backs) and place in the upper left corner. Shuffle the Lord cards (trident backs) and place the deck in the lower left corner. Reveal Lords to each of the spaces drawn to the right of the deck. This is the Court. Shuffle the Monster tokens and place in a messy pile near the board. Next to these place all the Key tokens. Display the Threat Tracker board with the Threat token on the first space. Shuffle the Location tiles into a stack and reveal the first one. Give each player a pearl in a shell cup and the game is ready to begin!
On a player’s turn they will follow the basic structure of Plotting at Court (by spending pearls to reveal more Lords), Taking One Action (by Exploring the Depths, Requesting Support from the Council, or Recruiting a Lord), and Controlling a Location.
Plotting at Court is simply paying pearls to reveal more Lords at Court.
The action choices begin with Exploring the Depths. This is the push your luck portion of the game where players will reveal cards from the top of the Exploration deck one by one, offer the card to their opponents for purchase (payable to the active player in pearls), and then deciding to continue or take into hand. These cards include members of five allied races of underwater species numbered in strength from one to five and monsters. Fighting monsters is an auto-win and the spoils are what is reflected on the Threat Tracker. If players decide to pass, they will move the Threat token down by one level and improve the treasure won when destroying a monster. Any allies that are undrafted will be sorted by family and placed on the appropriate space on the board.
To Request Support from the Council players will take the entire stack from one family on the board. Again, these are made up of the cards that were undrafted from previous Exploring the Depths actions.
Finally, Recruiting a Lord players will be spending their Exploration cards to combine strength values and family types to appease the Lords they wish to recruit. Players will analyze the strength needed on the bottom left of the Lord card along with the number and color of bubbles above the strength number to determine from which families cards will need to be paid. Lords will have special powers that can be used throughout the game until you use them to Control Locations.
Lords and monster tokens afford players keys, and once players accumulate three keys they MUST Control a Location. To Control a Location players will draft a face-up Location tile or draw one to four tiles and draft one of them. Also, players will sacrifice their Lords (and their special powers) to, well, lord over Locations as super powerful property managers. This is done by covering up the special Lord powers with the Location tiles.
Play continues in this fashion of quick turns until a player recruits their seventh Lord or if the Lords cards run out before the Court can be refilled during a Plot at Court action.
Components. As I mentioned in my open, Abyss boasts some of the most magnificent art ever to grace a board game. The aesthetic coupled with the theme makes for a gorgeous game on the table. The cardboard is all good quality and thick, the cards are good quality as well. The black plastic shells and pearls they hold are so nice to play with and I find myself rolling those pearls as fast as I can within the shells and inevitably spilling them everywhere.
The game play is also quite solid. I like drafting games quite a bit and this delivers a lot of drafting in different locations. You draft Exploration cards and Location tiles to beef up your mini empire. Using the Lords as special power cards but having to cover them up to help control a Location is a clever mechanic and helps with any sort of runaway leader issue. I did not touch on a couple rules because they can be a little confusing to new players (ie the affiliation of allies), but even new gamers can appreciate what Abyss does and how beautifully it accomplishes its task.
I cannot overstate how gorgeous this game is and how much I enjoy being able to pull it off the shelf and set it up to people who have never seen it. I mean, even just the box cover, which is a giant face and no text, is very impressive and helps set the tone for the dark but interesting experiences held within. Purple Phoenix Games gives Abyss a boding 14 / 18. Pick it up, post a picture of which box cover you received, and tag us in the post so we can compare.
Abyss is a push your luck, set collection, hand management, fantasy card drafting game for two to four players. In it players are attempting to gain the most Influence Points to rule the underwater kingdom by recruiting allies and Lords, and controlling locations. The game ends once a player recruits their seventh Lord or if the Lords cards run out before the Court can be refilled.
To setup, lay out the board, shuffle the Exploration cards (starfish backs) and place in the upper left corner. Shuffle the Lord cards (trident backs) and place the deck in the lower left corner. Reveal Lords to each of the spaces drawn to the right of the deck. This is the Court. Shuffle the Monster tokens and place in a messy pile near the board. Next to these place all the Key tokens. Display the Threat Tracker board with the Threat token on the first space. Shuffle the Location tiles into a stack and reveal the first one. Give each player a pearl in a shell cup and the game is ready to begin!
On a player’s turn they will follow the basic structure of Plotting at Court (by spending pearls to reveal more Lords), Taking One Action (by Exploring the Depths, Requesting Support from the Council, or Recruiting a Lord), and Controlling a Location.
Plotting at Court is simply paying pearls to reveal more Lords at Court.
The action choices begin with Exploring the Depths. This is the push your luck portion of the game where players will reveal cards from the top of the Exploration deck one by one, offer the card to their opponents for purchase (payable to the active player in pearls), and then deciding to continue or take into hand. These cards include members of five allied races of underwater species numbered in strength from one to five and monsters. Fighting monsters is an auto-win and the spoils are what is reflected on the Threat Tracker. If players decide to pass, they will move the Threat token down by one level and improve the treasure won when destroying a monster. Any allies that are undrafted will be sorted by family and placed on the appropriate space on the board.
To Request Support from the Council players will take the entire stack from one family on the board. Again, these are made up of the cards that were undrafted from previous Exploring the Depths actions.
Finally, Recruiting a Lord players will be spending their Exploration cards to combine strength values and family types to appease the Lords they wish to recruit. Players will analyze the strength needed on the bottom left of the Lord card along with the number and color of bubbles above the strength number to determine from which families cards will need to be paid. Lords will have special powers that can be used throughout the game until you use them to Control Locations.
Lords and monster tokens afford players keys, and once players accumulate three keys they MUST Control a Location. To Control a Location players will draft a face-up Location tile or draw one to four tiles and draft one of them. Also, players will sacrifice their Lords (and their special powers) to, well, lord over Locations as super powerful property managers. This is done by covering up the special Lord powers with the Location tiles.
Play continues in this fashion of quick turns until a player recruits their seventh Lord or if the Lords cards run out before the Court can be refilled during a Plot at Court action.
Components. As I mentioned in my open, Abyss boasts some of the most magnificent art ever to grace a board game. The aesthetic coupled with the theme makes for a gorgeous game on the table. The cardboard is all good quality and thick, the cards are good quality as well. The black plastic shells and pearls they hold are so nice to play with and I find myself rolling those pearls as fast as I can within the shells and inevitably spilling them everywhere.
The game play is also quite solid. I like drafting games quite a bit and this delivers a lot of drafting in different locations. You draft Exploration cards and Location tiles to beef up your mini empire. Using the Lords as special power cards but having to cover them up to help control a Location is a clever mechanic and helps with any sort of runaway leader issue. I did not touch on a couple rules because they can be a little confusing to new players (ie the affiliation of allies), but even new gamers can appreciate what Abyss does and how beautifully it accomplishes its task.
I cannot overstate how gorgeous this game is and how much I enjoy being able to pull it off the shelf and set it up to people who have never seen it. I mean, even just the box cover, which is a giant face and no text, is very impressive and helps set the tone for the dark but interesting experiences held within. Purple Phoenix Games gives Abyss a boding 14 / 18. Pick it up, post a picture of which box cover you received, and tag us in the post so we can compare.
Phil Leader (619 KP) rated Explorations: First Contact (Explorations #2) in Books
Nov 13, 2019
Science Fiction has always been at home with the short story. The science fiction magazines from the mid 20th Century onwards was frequently the only way of writers to get their work published. As a bonus the concept of science fiction - taking an idea and seeing where it goes - is a really nice fit for short stories.
This collection is more than just a selection of tales from up and coming science fiction writers; all the stories are set in the same universe and are in some way on the theme of first contact. The introduction sets this up, with a damaged alien ship discovered on the moon. It is able to transmit details of nearby inhabited star systems - and a terrible warning about a dangerous foe - before it shuts down. Mankind learns all it can from the message and the wreckage before setting out for the stars.
Each story then follows the fate of the mission to one of the star systems. This is the point where any similarity in stories ends as each writer brings their own style and ideas for their contribution (although there are some neat nods to the other stories now and again). The result is a satisfying mix of different ideas but all within a consistant whole.
That's not to say that every story hit the spot for me, but that's inevitable given the range of authors here, but every story was interesting to read. There are also the occasional one that felt a little rushed, the idea either too big for a short story, or too many ideas vying for the limited word count. But these are minor niggles and the standard of all the stories is very high.
Overall a really good collection showcasing the talents of current science fiction writers. If you like interesting ideas and gripping stories about aliens and space exploration you won't be disappointed.
This collection is more than just a selection of tales from up and coming science fiction writers; all the stories are set in the same universe and are in some way on the theme of first contact. The introduction sets this up, with a damaged alien ship discovered on the moon. It is able to transmit details of nearby inhabited star systems - and a terrible warning about a dangerous foe - before it shuts down. Mankind learns all it can from the message and the wreckage before setting out for the stars.
Each story then follows the fate of the mission to one of the star systems. This is the point where any similarity in stories ends as each writer brings their own style and ideas for their contribution (although there are some neat nods to the other stories now and again). The result is a satisfying mix of different ideas but all within a consistant whole.
That's not to say that every story hit the spot for me, but that's inevitable given the range of authors here, but every story was interesting to read. There are also the occasional one that felt a little rushed, the idea either too big for a short story, or too many ideas vying for the limited word count. But these are minor niggles and the standard of all the stories is very high.
Overall a really good collection showcasing the talents of current science fiction writers. If you like interesting ideas and gripping stories about aliens and space exploration you won't be disappointed.
Phil Leader (619 KP) rated Universe: Awakening (Terra Nova #1) in Books
Nov 27, 2019
In the far future an advanced society of post-humans launch an audacious exploration project - DEUS - to probe the edges of the universe. The mission is a success but one of the two pilots involved fails to return and the other - his brother Ja'el - retreats into a self-induced coma to avoid facing up to what happened. Despite this the mission is regarded as a success and propels Science Minister Odessa to the pinnacle of political power.
Fast forward 100 years. The probes sent out by DEUS have gone dark one by one, sending potentially troubling data before they do so. Ja'el is showing signs of improvement to his counsellor Auberon. With the real danger that the perceived success of DEUS - the basis of her power - may unravel Odessa brings Auberon under her control to manage Ja'el's recovery.
The rest of the book follows Auberon's (and his assigned Guardians, Mich'ael and Gab'riel) as they realise that there may be a personal motive in Odessa's desire to see Ja'el rehabilited, and that they may be 'surplus to requirements' once he is.
Overttun aims high with this book; there are a lot of concepts around not only technology but future society and political attitudes. There is also a subplot around the more advanced ruling class and the far more numerous worker humans which is used to good effect to highlight social injustices of all kinds. On whole the premise is delivered well, although there are a few lengthy exposition passages, particularly early in the book, which do spoil the flow and are probably not actually required.
What is striking is the character development. All the main characters learn some lessons along the way, Auberon in particular discovering that far from being a meek and unassuming mid-rank civil servant is capable of far more, both mentally and physically, than he ever thought possible. His metaphorical awakening mirrors nicely Ja'el's rather more literal awakening.
As the first part of an intended series of books, this volume necessarily does a lot of work setting up the characters and situations and leaves a lot of threads hanging to be picked up later but there is closure around the main plots and character arcs within this part of the story.
Although this is going to be labelled as a science fiction novel because of the post-human, technological and space exploration aspects at its heart it is a political thriller. Given this and that it is chock full of interesting ideas it bears careful reading without any preconceived expectations. But above all this is an interesting read following a set of well-designed characters in a fully developed world.
With its length and depth this is not a light read but the writing style is straighforward and clear whilst still being fully descriptive and immersive which makes it a pleasure to pick it up and see what Auberon and associates will do next.
The characters and the world they inhabit are something the author is clearly proud of - and he is right to be. This first instalment bodes well for the rest of the series.
Fast forward 100 years. The probes sent out by DEUS have gone dark one by one, sending potentially troubling data before they do so. Ja'el is showing signs of improvement to his counsellor Auberon. With the real danger that the perceived success of DEUS - the basis of her power - may unravel Odessa brings Auberon under her control to manage Ja'el's recovery.
The rest of the book follows Auberon's (and his assigned Guardians, Mich'ael and Gab'riel) as they realise that there may be a personal motive in Odessa's desire to see Ja'el rehabilited, and that they may be 'surplus to requirements' once he is.
Overttun aims high with this book; there are a lot of concepts around not only technology but future society and political attitudes. There is also a subplot around the more advanced ruling class and the far more numerous worker humans which is used to good effect to highlight social injustices of all kinds. On whole the premise is delivered well, although there are a few lengthy exposition passages, particularly early in the book, which do spoil the flow and are probably not actually required.
What is striking is the character development. All the main characters learn some lessons along the way, Auberon in particular discovering that far from being a meek and unassuming mid-rank civil servant is capable of far more, both mentally and physically, than he ever thought possible. His metaphorical awakening mirrors nicely Ja'el's rather more literal awakening.
As the first part of an intended series of books, this volume necessarily does a lot of work setting up the characters and situations and leaves a lot of threads hanging to be picked up later but there is closure around the main plots and character arcs within this part of the story.
Although this is going to be labelled as a science fiction novel because of the post-human, technological and space exploration aspects at its heart it is a political thriller. Given this and that it is chock full of interesting ideas it bears careful reading without any preconceived expectations. But above all this is an interesting read following a set of well-designed characters in a fully developed world.
With its length and depth this is not a light read but the writing style is straighforward and clear whilst still being fully descriptive and immersive which makes it a pleasure to pick it up and see what Auberon and associates will do next.
The characters and the world they inhabit are something the author is clearly proud of - and he is right to be. This first instalment bodes well for the rest of the series.
Emma @ The Movies (1786 KP) rated Apollo 11 (2019) in Movies
Apr 7, 2020
I was sad to miss this one at the cinema, I imagine having it up on the big screen would have been very impressive, but only one of the mainstream cinemas had it on.
Space documentaries are always interesting, to think that all of that technology was really in its infancy and we were making such big strides for humanity is mindblowing... and that's why this felt like a letdown.
It's wonderful that we're getting this unseen footage but they've turned it into a film, it's not really a documentary at all. In a documentary I expect to learn things I didn't know before, but here while I was seeing things I'd never seen it's actually not showing you a new angle on the story. It's great to see everything evolving as it did on the day and through the journey but that isn't new. With such a rich story of science and discovery behind space exploration I am at a loss as to why they would forego having a narrator.
Having a narrator adds an extra layer of information that really does add something and makes the footage accessible to new viewers. I've seen documentaries on things like this before and so some of what I was seeing on screen was recognisable, but there were still some shots where I didn't know what I was looking at. Some prompting would have been useful, it was like walking through a museum where they've taken down the labels on the exhibits.
The footage is generally well edited throughout, and as I said before, the feel is that of a film as opposed to a documentary. They're compiled picture, audio and video images together to follow the crew on and above the Earth and the fact they can line it up so well is impressive. There's a montage as the crew return to Earth and this was particularly good when paired with "Mother Country" by John Stewart.
Putting the footage together can't have been an easy task, but some of it suffered for the sake of a shot. At one point we get a slightly out of place split screen "Go" sequence which showed all the departments calling out. I liked it as an idea but the audio isn't the best quality as it carries through, and after the initial effect it's difficult to understand what's going on and that detracts from some of the impact.
I appreciate the fact they dug into the archives for everything, the studio even used their 1969 logo, and crafting music that would have been possible then was impressive... even if a lot of it wasn't as inspiring as the moments it accompanied.
While Apollo 11 itself is a mindblowing event the way this "documentary" has been produced is not. Well crafted, yes, but its lack of further detail and background had a heavy negative impact for me. If I was rating just for the event then it would absolutely be a 5 star review, as a newly produced bit of work it doesn't bring anything new to the table even with it all being new footage.
Originally posted on: https://emmaatthemovies.blogspot.com/2020/04/apollo-11-movie-review.html
Space documentaries are always interesting, to think that all of that technology was really in its infancy and we were making such big strides for humanity is mindblowing... and that's why this felt like a letdown.
It's wonderful that we're getting this unseen footage but they've turned it into a film, it's not really a documentary at all. In a documentary I expect to learn things I didn't know before, but here while I was seeing things I'd never seen it's actually not showing you a new angle on the story. It's great to see everything evolving as it did on the day and through the journey but that isn't new. With such a rich story of science and discovery behind space exploration I am at a loss as to why they would forego having a narrator.
Having a narrator adds an extra layer of information that really does add something and makes the footage accessible to new viewers. I've seen documentaries on things like this before and so some of what I was seeing on screen was recognisable, but there were still some shots where I didn't know what I was looking at. Some prompting would have been useful, it was like walking through a museum where they've taken down the labels on the exhibits.
The footage is generally well edited throughout, and as I said before, the feel is that of a film as opposed to a documentary. They're compiled picture, audio and video images together to follow the crew on and above the Earth and the fact they can line it up so well is impressive. There's a montage as the crew return to Earth and this was particularly good when paired with "Mother Country" by John Stewart.
Putting the footage together can't have been an easy task, but some of it suffered for the sake of a shot. At one point we get a slightly out of place split screen "Go" sequence which showed all the departments calling out. I liked it as an idea but the audio isn't the best quality as it carries through, and after the initial effect it's difficult to understand what's going on and that detracts from some of the impact.
I appreciate the fact they dug into the archives for everything, the studio even used their 1969 logo, and crafting music that would have been possible then was impressive... even if a lot of it wasn't as inspiring as the moments it accompanied.
While Apollo 11 itself is a mindblowing event the way this "documentary" has been produced is not. Well crafted, yes, but its lack of further detail and background had a heavy negative impact for me. If I was rating just for the event then it would absolutely be a 5 star review, as a newly produced bit of work it doesn't bring anything new to the table even with it all being new footage.
Originally posted on: https://emmaatthemovies.blogspot.com/2020/04/apollo-11-movie-review.html
Gareth von Kallenbach (971 KP) rated Ad Astra (2019) in Movies
Sep 16, 2019
My first experience in IMAX was at the IMAX theater at the Grand Canyon. This was before IMAX theaters could easily be found within easy driving distance in most large cities. The movie, which interestingly still is showing today from those early years took viewers on the magical journey through the Grand Canyon. Throwing in a bit of history, with incredible visages, viewers could experience the canyon without ever hiking within its depths. It may seem odd to compare a big budget title like Ad Astra written and directed by James Gray (The Immigrant / The Lost City of Z) to a short thirty-minute experience film about the Grand Canyon, but both are equally awe inspiring and beautiful if experienced in the same way.
Ad Astra features Brad Pitt as Astronaut Roy McBride, a film that takes place in the not so distant future where the moon has become a commercialized tourist destination. A place where outside the safe tourist zones corporations fight for control of resources, and convoys are regularly ransacked by pirates looking to make a quick buck off the wares they are able to obtain. Mars has become a staging location for deep exploration ships hoping to discover if intelligent life exists outside our solar system.
Strange power surges begin to emanate deep within the galaxy, threatening to destroy everything in their path (Earth not excluded) and the top scientist are brought together to identify the threat and propose a theory to stop it. Roy McBride after suffering a near fatal fall from aboard a space station is brought into a top-secret meeting to discuss these surges. It is in this meeting that Roy is informed that the surges appear to be manifesting near Neptune and even more interestingly they are identified as anti-matter surges that are being generated from a ship that Roy’s father Clifford (Tommy Lee Jones) was in charge of nearly 29 years ago. The mission was a search for extra terrestrial life that Clifford was overseeing and presumed dead after Earth had lost contact with his ship. Roy must put his personal feelings aside regarding his father and must travel to the outer reaches of our solar system to put a stop to the surges, in any way possible.
Ad Astra is an incredible achievement in cinematography. The visions of the moon, mars and the numerous rockets taken to get there are spectacular. Much like the Grand Canyon film I spoke of earlier, in IMAX Ad Astra gives you a front row seat exploring the solar system as we know it. It takes a realistic approach while not bogging the viewers in all the technical details that would be necessary to achieve this flight. You would be doing yourself a disservice to see this film on any but the largest of movie screens. While it might be an acceptable experience in a normal theater, much of the grandiose vistas and beautiful sets would be wasted. This is not a movie to wait for on Netflix if you have any interest in seeing it at all.
From a story perspective, there isn’t a whole lot to tell. Brad Pitt brings his amazing acting abilities to a film that features more inner dialogue to himself, then to others on the screen. It is reminiscent to the original Dune movie from the 80s combined with 2001: A space odyssey. For a movie that literally is about a voyage to deep space, there are some scenes sprinkled throughout that provide some action and even a bit of suspense. Supporting characters such as Tommy Lee Jones and Donald Sutherland provide outstanding performances, even if their screen time is extremely limited. Liv Tyler once again reprises a role similar to the one from Armageddon as the reluctant wife of a man who is tasked with saving the world.
Ad Astra is a cinematic experience, the story alone is passable if not particularly quick moving and at time rarely engaging. However, when you combine this with the technological wizardry used to bring the Solar System to life it makes for an adventure that certainly lives up to the hype and will delight your visual senses. If you’ve ever dreamed of what it would be like to live on the moon or adventure into the stars, then Ad Astra might just be the closest we ever get in our lifetime. It’s beautiful, deadly and overall an achievement to behold, just make sure you see it on the biggest screen you can.
4 out of 5 stars
Ad Astra features Brad Pitt as Astronaut Roy McBride, a film that takes place in the not so distant future where the moon has become a commercialized tourist destination. A place where outside the safe tourist zones corporations fight for control of resources, and convoys are regularly ransacked by pirates looking to make a quick buck off the wares they are able to obtain. Mars has become a staging location for deep exploration ships hoping to discover if intelligent life exists outside our solar system.
Strange power surges begin to emanate deep within the galaxy, threatening to destroy everything in their path (Earth not excluded) and the top scientist are brought together to identify the threat and propose a theory to stop it. Roy McBride after suffering a near fatal fall from aboard a space station is brought into a top-secret meeting to discuss these surges. It is in this meeting that Roy is informed that the surges appear to be manifesting near Neptune and even more interestingly they are identified as anti-matter surges that are being generated from a ship that Roy’s father Clifford (Tommy Lee Jones) was in charge of nearly 29 years ago. The mission was a search for extra terrestrial life that Clifford was overseeing and presumed dead after Earth had lost contact with his ship. Roy must put his personal feelings aside regarding his father and must travel to the outer reaches of our solar system to put a stop to the surges, in any way possible.
Ad Astra is an incredible achievement in cinematography. The visions of the moon, mars and the numerous rockets taken to get there are spectacular. Much like the Grand Canyon film I spoke of earlier, in IMAX Ad Astra gives you a front row seat exploring the solar system as we know it. It takes a realistic approach while not bogging the viewers in all the technical details that would be necessary to achieve this flight. You would be doing yourself a disservice to see this film on any but the largest of movie screens. While it might be an acceptable experience in a normal theater, much of the grandiose vistas and beautiful sets would be wasted. This is not a movie to wait for on Netflix if you have any interest in seeing it at all.
From a story perspective, there isn’t a whole lot to tell. Brad Pitt brings his amazing acting abilities to a film that features more inner dialogue to himself, then to others on the screen. It is reminiscent to the original Dune movie from the 80s combined with 2001: A space odyssey. For a movie that literally is about a voyage to deep space, there are some scenes sprinkled throughout that provide some action and even a bit of suspense. Supporting characters such as Tommy Lee Jones and Donald Sutherland provide outstanding performances, even if their screen time is extremely limited. Liv Tyler once again reprises a role similar to the one from Armageddon as the reluctant wife of a man who is tasked with saving the world.
Ad Astra is a cinematic experience, the story alone is passable if not particularly quick moving and at time rarely engaging. However, when you combine this with the technological wizardry used to bring the Solar System to life it makes for an adventure that certainly lives up to the hype and will delight your visual senses. If you’ve ever dreamed of what it would be like to live on the moon or adventure into the stars, then Ad Astra might just be the closest we ever get in our lifetime. It’s beautiful, deadly and overall an achievement to behold, just make sure you see it on the biggest screen you can.
4 out of 5 stars
Purple Phoenix Games (2266 KP) rated Small Islands in Tabletop Games
Oct 13, 2021
I have often wished to have been born in a different era of time. For me, I would have loved to have seen the birth of jazz in the US early 20th century. Or to witness the Renaissance first-hand. Another wish of mine was always to somehow discover something amazing. Like an island, or an unknown mountain range, or a new species of animal. That is so exciting to me, and I would have really loved to have just been around during these times. So along comes Small Islands, and my dreams have been woven into a board game about discovering new islands. That means the game is good, right?
Small Islands is a tile placement exploration game for one to four players. In it, players are explorers tasked with discovering resource-rich new islands upon which their clans may either exploit or inhabit. However, it’s each clan for themselves, and the players all need those precious resources. In the solo game, the player’s AI opponent is Alexis Allard, designer of the game. He has goal cards to be used and finishing point totals that the solo player will be attempting to beat during the course of the game.
DISCLAIMER: We were provided a copy of this game for the purposes of this review. This is a retail copy of the game, so what you see in these photos is exactly what would be received in your box. I do not intend to cover every single rule included in the rulebook, but will describe the overall game flow and major rule set so that our readers may get a sense of how the game plays. For more in depth rules, you may purchase a copy online or from your FLGS. -T
To setup, the player claims their player color and assigns Alexis with his color. They take all the components for each player and places them on the table. The starting tiles (that feature flying seagulls) are placed on the table in any orientation that is legal for play: islands need to connect, and seas need to flow from one tile to the next, as seen below. The Landscape tiles are to be shuffled and placed within reach. The four ship tiles are displayed, with all ships on their gray side, save for the solo player’s chosen color. The Navigation tile is placed below the ship tiles, and the beginning three Landscape tiles are placed in a row beside it. The small stack of Objective cards are shuffled and placed nearby, with the player drawing one to begin. They also draw two Landscape to start. For solo play, one Alexis difficulty card is chosen, and his deck of Explore and Land cards is built accordingly. The Prestige (VP) tokens are (apparently when I play) just thrown on the table and gathered in a loose pile. The game may now begin!
Small Islands is played over four rounds, with several turns being played per round. The solo player begins each round with their turn. A turn is divided into three phases: Preparation, Exploration, Reward. The Preparation phase has the player populating the Navigation Tile with six Landscape tiles face-down as a draw stack. The player then draws two Objective cards to add to their one they are currently holding. From these three cards the player will choose one to become their current objective for the round, one to be saved for a future round, and one to be discarded back to the stack. These Objective cards provide a strategy to guide the player through the current round, and also setup future rounds for scoring purposes. Upon them are icons that will award the player with points for scoring islands containing specific combinations of resources.
During the Exploration phase in the solo game, the player takes their turn first, and then Alexis will take his. A typical Exploration phase has a player deciding if they will Explore a tile or Land a ship. To Explore a tile, the player chooses one of the face-up Landscape tiles from the market/offer row and, along with their two held tiles, choose one to add to the play area. These tiles may be rotated in any fashion, as long as they can be legally placed: island edges are to be extended, sea spaces connected, et al. It is also at this time the player may place one of their Bonus Tokens upon any tile on the play area. These Bonus Tokens are resource icons that cover up existing icons on a tile, or directly over another Bonus Token. A player would do this in order to affect the balance of icons on a given island for scoring purposes.
Should the Navigation tile be empty of Landscape tiles and the player wish, they may instead Land a ship, thus ending the Exploration phase. The player chooses any of the ship tiles, and places it legally on the play area (in a sea space, as shown below). Once the player ends the phase, the game progresses to the Reward phase.
After the player takes their turn during the Exploration phase, Alexis takes his turn. This is done by drawing an Expedition card from his stack and following its instructions. The Expedition card will show whether Alexis would like to Explore or Land, which Landscape tile he would like to draw, and where he would like to place it – in relation to where the last player tile was placed.
During the Reward phase, the player will place any of their clan houseeples they wish on any island upon which they have not placed a houseeple previously. Then, consulting their Objective card, score points for successfully satisfying the card’s requirements. For Alexis, the player will draw a new Expedition card from Alexis’s stack, note the icons present on the Mission area of the card, and place Alexis houseeples upon islands that satisfy its requirements.
The game continues in this fashion until the fourth round is complete. The player totals their Prestige points (VP) and if they score more than Alexis, they win! The player must then take a picture of their archipelago they built and send it to the designer directly and gloat to them about their massive victory. Or simply rest in the satisfaction of having played the game well. Whichever.
Components. This game has a lot of components, and they are mostly cardboard and houseeples. The cardstock and board are good quality, as I have come to expect from Lucky Duck Games, and the houseeples are all different shapes for each clan color. I find that a nice and unnecessary, but very cool, touch. The art in this one is simply amazing. I mean, look at these photos! Everything from the color scheme to the art style all mesh well and give a well-considered polish to a great theme.
Okay, I won’t even hide it – I LOOOOOOVE this game. I never really liked Carcassonne very much, but Small Islands gives a similar feel, but executes everything so much better. Even with the solo rules. There are so many options available at any one time, and having a random Alexis game each time you play is just so satisfying. I feel like I could keep this game forever and not play the same game twice. Ever. And I think that I would WANT to play this one forever. Yes, I think this is a solid fit for my collection indeed, and I can see it working for so many different gamer types.
Having Alexis constantly applying the pressure to maximize and strategize every turn is delicious, and having almost zero conflict with him as we both explore is welcome. You know when you start the game how many points Alexis will score at the end of the game, so having that knowledge really makes you consider all the options available. It just works on so many levels.
If you are looking for a light-hearted, but with some great decisions to be made, then I strongly urge you to check out Small Islands. I knew immediately that this was a game for me. It’s on the lighter side without being too simple, I get to build a thing and admire it at the end of the game, and I have an opponent who just wants to see me win because he designed the game! I’m in and out in less than an hour and feel content that I was able to have a great experience with a well-designed game. I cannot wait to introduce this to all my friends and family gamers so they can fall in love with it as well.
Small Islands is a tile placement exploration game for one to four players. In it, players are explorers tasked with discovering resource-rich new islands upon which their clans may either exploit or inhabit. However, it’s each clan for themselves, and the players all need those precious resources. In the solo game, the player’s AI opponent is Alexis Allard, designer of the game. He has goal cards to be used and finishing point totals that the solo player will be attempting to beat during the course of the game.
DISCLAIMER: We were provided a copy of this game for the purposes of this review. This is a retail copy of the game, so what you see in these photos is exactly what would be received in your box. I do not intend to cover every single rule included in the rulebook, but will describe the overall game flow and major rule set so that our readers may get a sense of how the game plays. For more in depth rules, you may purchase a copy online or from your FLGS. -T
To setup, the player claims their player color and assigns Alexis with his color. They take all the components for each player and places them on the table. The starting tiles (that feature flying seagulls) are placed on the table in any orientation that is legal for play: islands need to connect, and seas need to flow from one tile to the next, as seen below. The Landscape tiles are to be shuffled and placed within reach. The four ship tiles are displayed, with all ships on their gray side, save for the solo player’s chosen color. The Navigation tile is placed below the ship tiles, and the beginning three Landscape tiles are placed in a row beside it. The small stack of Objective cards are shuffled and placed nearby, with the player drawing one to begin. They also draw two Landscape to start. For solo play, one Alexis difficulty card is chosen, and his deck of Explore and Land cards is built accordingly. The Prestige (VP) tokens are (apparently when I play) just thrown on the table and gathered in a loose pile. The game may now begin!
Small Islands is played over four rounds, with several turns being played per round. The solo player begins each round with their turn. A turn is divided into three phases: Preparation, Exploration, Reward. The Preparation phase has the player populating the Navigation Tile with six Landscape tiles face-down as a draw stack. The player then draws two Objective cards to add to their one they are currently holding. From these three cards the player will choose one to become their current objective for the round, one to be saved for a future round, and one to be discarded back to the stack. These Objective cards provide a strategy to guide the player through the current round, and also setup future rounds for scoring purposes. Upon them are icons that will award the player with points for scoring islands containing specific combinations of resources.
During the Exploration phase in the solo game, the player takes their turn first, and then Alexis will take his. A typical Exploration phase has a player deciding if they will Explore a tile or Land a ship. To Explore a tile, the player chooses one of the face-up Landscape tiles from the market/offer row and, along with their two held tiles, choose one to add to the play area. These tiles may be rotated in any fashion, as long as they can be legally placed: island edges are to be extended, sea spaces connected, et al. It is also at this time the player may place one of their Bonus Tokens upon any tile on the play area. These Bonus Tokens are resource icons that cover up existing icons on a tile, or directly over another Bonus Token. A player would do this in order to affect the balance of icons on a given island for scoring purposes.
Should the Navigation tile be empty of Landscape tiles and the player wish, they may instead Land a ship, thus ending the Exploration phase. The player chooses any of the ship tiles, and places it legally on the play area (in a sea space, as shown below). Once the player ends the phase, the game progresses to the Reward phase.
After the player takes their turn during the Exploration phase, Alexis takes his turn. This is done by drawing an Expedition card from his stack and following its instructions. The Expedition card will show whether Alexis would like to Explore or Land, which Landscape tile he would like to draw, and where he would like to place it – in relation to where the last player tile was placed.
During the Reward phase, the player will place any of their clan houseeples they wish on any island upon which they have not placed a houseeple previously. Then, consulting their Objective card, score points for successfully satisfying the card’s requirements. For Alexis, the player will draw a new Expedition card from Alexis’s stack, note the icons present on the Mission area of the card, and place Alexis houseeples upon islands that satisfy its requirements.
The game continues in this fashion until the fourth round is complete. The player totals their Prestige points (VP) and if they score more than Alexis, they win! The player must then take a picture of their archipelago they built and send it to the designer directly and gloat to them about their massive victory. Or simply rest in the satisfaction of having played the game well. Whichever.
Components. This game has a lot of components, and they are mostly cardboard and houseeples. The cardstock and board are good quality, as I have come to expect from Lucky Duck Games, and the houseeples are all different shapes for each clan color. I find that a nice and unnecessary, but very cool, touch. The art in this one is simply amazing. I mean, look at these photos! Everything from the color scheme to the art style all mesh well and give a well-considered polish to a great theme.
Okay, I won’t even hide it – I LOOOOOOVE this game. I never really liked Carcassonne very much, but Small Islands gives a similar feel, but executes everything so much better. Even with the solo rules. There are so many options available at any one time, and having a random Alexis game each time you play is just so satisfying. I feel like I could keep this game forever and not play the same game twice. Ever. And I think that I would WANT to play this one forever. Yes, I think this is a solid fit for my collection indeed, and I can see it working for so many different gamer types.
Having Alexis constantly applying the pressure to maximize and strategize every turn is delicious, and having almost zero conflict with him as we both explore is welcome. You know when you start the game how many points Alexis will score at the end of the game, so having that knowledge really makes you consider all the options available. It just works on so many levels.
If you are looking for a light-hearted, but with some great decisions to be made, then I strongly urge you to check out Small Islands. I knew immediately that this was a game for me. It’s on the lighter side without being too simple, I get to build a thing and admire it at the end of the game, and I have an opponent who just wants to see me win because he designed the game! I’m in and out in less than an hour and feel content that I was able to have a great experience with a well-designed game. I cannot wait to introduce this to all my friends and family gamers so they can fall in love with it as well.
Gareth von Kallenbach (971 KP) rated Star Trek Bridge Crew VR in Video Games
Jun 19, 2019
Star Trek fans finally get the chance to take command in the new Star Trek: Bridge Crew by Ubisoft. The Virtual Reality game is cross-platform so Playstation VR, Oculus Rift, and HTC Vive owners can all play with one another which greatly enhance the play experience and options.
Matchmaking was easy as once I completed the training sessions, I was ready to go. I had played the game last summer at PAX West on the Oculus and playing on our Playstation VR was very easy to setup and go. I opted to use the Move controllers vs the Gamepad and in no time I was on the bridge of the USS Ageis.
The game is set in the JJ Abrams Universe and tasks players with finding a new home for the Vulcans in a previously unexplored area of space known as “The Trench”
Players can play as Captain, Helm, Tactical, or Engineering and each has their own tasks essential to mission success and survival. Helm has to pilot the ship, Tactical handles the weapons, Engineering keeps things running and distributes power and repairs, as well as the Transporters, and the Captain calls the shots. Naturally there are navigation maps and other flourishes which help with the immersion as well as being part of the fun.
Players who expect run and gun action will be disappointed as this is a game that works more on tactics than twitch as combat and exploration move at a slower and more deliberate pace than action gamers may be expecting. Encountering hostiles is often a delicate dance of exchanging fire, maneuvering, and damage control, while balancing the decision to fight or flee. Players also have to keep an eye on the energy levels as should a retreat be needed, then power has to be moved from one system to the engines to warp to safety unless you want to try to last on Impulse Power.
The game is challenging and graphics are very solid for a VR game. Players looking for even more nostalgic immersion can play on the Enterprise from the Classic Series but this is suggested for experience crews so it helps to play with others that you know or who have completed multiple missions.
The game does allow players more opened ended options than I expected and it is great fun to have a total stranger who you have just been matched with call you “Captain” and await your orders. The game did have a few glitches at launch but they have been quickly fixed via updates, and I have had mostly smooth sailing aside from an occasional dropped connection or a controller going out of range of the camera.
For pure immersive fun and solid co-op play, Star Trek Bridge Crew offers one of the best Star Trek experiences to date and is a must own for anyone who owns a VR system.
http://sknr.net/2017/06/12/star-trek-bridge-crew/
Matchmaking was easy as once I completed the training sessions, I was ready to go. I had played the game last summer at PAX West on the Oculus and playing on our Playstation VR was very easy to setup and go. I opted to use the Move controllers vs the Gamepad and in no time I was on the bridge of the USS Ageis.
The game is set in the JJ Abrams Universe and tasks players with finding a new home for the Vulcans in a previously unexplored area of space known as “The Trench”
Players can play as Captain, Helm, Tactical, or Engineering and each has their own tasks essential to mission success and survival. Helm has to pilot the ship, Tactical handles the weapons, Engineering keeps things running and distributes power and repairs, as well as the Transporters, and the Captain calls the shots. Naturally there are navigation maps and other flourishes which help with the immersion as well as being part of the fun.
Players who expect run and gun action will be disappointed as this is a game that works more on tactics than twitch as combat and exploration move at a slower and more deliberate pace than action gamers may be expecting. Encountering hostiles is often a delicate dance of exchanging fire, maneuvering, and damage control, while balancing the decision to fight or flee. Players also have to keep an eye on the energy levels as should a retreat be needed, then power has to be moved from one system to the engines to warp to safety unless you want to try to last on Impulse Power.
The game is challenging and graphics are very solid for a VR game. Players looking for even more nostalgic immersion can play on the Enterprise from the Classic Series but this is suggested for experience crews so it helps to play with others that you know or who have completed multiple missions.
The game does allow players more opened ended options than I expected and it is great fun to have a total stranger who you have just been matched with call you “Captain” and await your orders. The game did have a few glitches at launch but they have been quickly fixed via updates, and I have had mostly smooth sailing aside from an occasional dropped connection or a controller going out of range of the camera.
For pure immersive fun and solid co-op play, Star Trek Bridge Crew offers one of the best Star Trek experiences to date and is a must own for anyone who owns a VR system.
http://sknr.net/2017/06/12/star-trek-bridge-crew/