Moving House!

Geek-Gasm has moved cyber premises to: http://geekgasm.webs.com/
It's now a pseudo reviews/features site doubling as a freelance writing portfolio for yours truly. It may, MAY, also be starting up a new wing for more creative projects! Le GASP!

Check it out. Leave thoughts. Buy articles. Pay me to advertise your creations. Spread the word. Donate.

I have no immediate intention to update this blog any further. That may change in the future but I wouldn't hold your breath.

Sayoonara.

Antonio Inoki #2

Lately I've been exploring Antonio Inoki's body-of-work from the 1970s to try and understand how he relates to the growing emergence of a 'shoot-style'. Is there a notable shift in his approach to performing post-Gotch? Or, again, does Inoki change up his style during the period of his pseudo-MMA series with the likes of Ali and co.? The reviews that have, and will, be posted here are attempts to document my thoughts and gradually construct an interpretation of what is generally meant by 'Inoki-ism'...

Antonio Inoki vs. Kintarō Ōki - NJPW 10.10.1974


Inoki/Ōki isn't really a match that aids my project. It's more of a brawl than anything else leaving realistic catch-inspired wrestling behind. The strikes Inoki deploys don't seem indicative of any specific martial art either. He's just throwing punches. Ōki does something to piss off Inoki before the match (refusing to take off his robe? talking trash? I couldn't really tell...) and that creates tension between the two. On a side note: Ōki's robe has a mushroom cloud on the back with cityscape either side... Hiroshima bombing? Am I too readily linking explosion motifs in Japan to that terrible event? Judge for yourself:


Anyway: Ōki has some subtle heel antics going on - grabbing fists full of Inoki's hair, small jabs, keeping the referee planted between him and Inoki - and this isn't amusing Antonio. At one point we see Inoki grind his forearm into Ōki's face. They aren't friends. The match has some bombs before Ōki's headbutts take centre-stage. They seem to be an ongoing concern during the match as the commentators keep saying 'headbutts'. Also the crowd gets excited when Ōki starts whipping them out, so it must've been a significant plot point. Inoki eats a lot of them before daring Ōki to keep going, busting Inoki's forehead in the process. Then Ōki is blown away with a quick bomb-sequence. The holds and slams throughout have clean execution, with very little instances of struggle in either.

Fun match, but not particularly helpful. Inoki's MMA fascination begins in 1976 so this is still a little too early to make any grand claims. Interestingly Kintarō Ōki and Antonio Inoki were supposedly a part of the same rookie trio in the Japanese Wrestling Association in the late '50s. And both were trained under Rikidōzan. That may be an added dimension to the match-up but, as I can't comprehend Japanese, I can't really tell for sure.

MOTY 2010: January (WWE - TV)

Christian vs. William Regal - WWE 01.19.2010


This wasn't as exciting as I remember. Regal's five minute matches with Bourne and Goldust later in the year are much better. It's as though he turns it up a notch in those smaller matches, ramping up the intensity and stiffness to pack as much in as possible. Matches like this lose out in comparison, which isn't fair to either performer, but it can't be helped. That said, Regal's attention to detail (here: bending fingers in wrist holds; elbow tie-up struggling; twisting Christian's wrist and chin during different holds etc.) makes almost any performance worth watching. He slows down the pace whilst Christian injects faster bursts with his turnbuckle shenanigans and sudden slaps. Jackson's presence at ringside is highlighted at points, impacting on the match, but moments like the staredown leading us into the commercial break weren't particularly compelling. Then again, we get Regal using a northern lights suplex as a cut-off which heads straight into a cool spot as Regal kicks Christian's skull into the post (pictured above) which was very compelling. Fun match. Won't last long but it lingers for now.

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OVERALL TOP TEN
1. Rey Mysterio vs. Undertaker - WWE 01.31.2010
2. Christian vs. Ezekiel Jackson - WWE 01.31.2010
3. Christian vs. William Regal - WWE 01.19.2010
4.

US TOP FIFTEEN
1. Rey Mysterio vs. Undertaker - WWE 01.31.2010
2. Christian vs. Ezekiel Jackson - WWE 01.31.2010
3. Christian vs. William Regal - WWE 01.19.2010
4.

MEXICO TOP FIFTEEN
1.

JAPAN TOP FIFTEEN
1.

Antonio Inoki vs. Lou Thesz - NJPW 10.09.1975

This got off to an explosive start with the first exchange witnessing Thesz dropping Inoki on his head with a sudden German suplex. Managing to counter Thesz' pin attempt with a body-scissors, Inoki displays the effects of such an unexpected beginning by holding his head before ditching the hold altogether and rolling out of the ring to gather his bearings. This really teased a tantalising direction (Inoki having to fight on rattled and hurt by the shocking start) but it deviated elsewhere and, although what we do receive is still good, I can't help but feel disappointed.

The main body sees each wrestler frustrate the other with successive holds. There's evidence of good struggle invested into the execution and maintenance of holds which is always nice. Clean execution and counters are yucky. As we move on Thesz ramps up the heel shenanigans, but in a subtle way, with little cheap jabs and hints of choking. Tensions gradually rise until we have moments threatening to break the match down into a fist fight. This keeps things interesting whilst we view the slower-paced matwork. The end features a small bombs-away sequence that ties in with the beginning in a way, bookending the performance with an entertaining (and surprising) start and finish.

MOTY 2010: January (WWE - PPV)

I'm restarting my 2010 MOTY list. Again.

This time I'm doing so with the intention of typing up reviews for the matches. That way a) I won't forget why I like certain matches (believe me, it happens...) and b) the blog remains active as I head into this semester's final assignments. Yay!

Power v. Agility would have to be the most entertaining dynamic in professional wrestling. The smaller guy, who's hopefully adept at bumping, brings the excitement and desperation whilst the opposing behemoth cuts them off with impact, slowing down the tempo. Dominate with more impactful stuff, teasing further comebacks, taunting the audience, before it eventually does happen leading into the finish... When done well it's a really, really fun structure and at WWE's Royal Rumble this year we got two examples of it.

Christian vs. Ezekiel Jackson - WWE 01.31.2010


Christian / Jackson was probably the lesser of the two. That said, it was still a fun opening bout. A great aspect to Christian's game is how he anchors offense on agility and veteran savvy; it's mostly counters, agile dodges and reactionary offense. That works extremely well when partnered with a big dude like Ezekiel. What makes this even better is how well Christian stays on the right side of selling. Working the grounded role in these kinds of matches, it's easy for the worker to compromise selling during their bursts of momentum. Even fellows like John Cena and Rey Mysterio, who are great, sometimes fall into this trap. Christian, however, maintains an impression of fatigue in his performance later in the match and builds his offense around the guy standing in the ring. His comeback sequences don't actually necessitate running about the ring as much. In fact, it generally requires the opponent to do the running for him. Christian achieves this without greatly undermining the 'rush' these comeback sequences evoke.

On the other side of things is 'Big Zeke' Jackson. His job is to drag the pace down in-between Christian surges whilst being interesting. He utilises a number of fun strength-based spots both within his control segments and as cut-off spots. It's not as compelling as, say, Umaga's was but what we get is perfectly fine. I really dig the swinging clothesline to the back of Christian's skull. As I do the few simple slams, which accrue some nice impact, originating from Jackson basically lifting Christian off the mat and dropping him (with force). We receive a trading bombs finishing stretch which caps it off nicely. A good match between an accomplished worker and a promising heavyweight.

Rey Mysterio vs. Undertaker - 01.31.2010


I don't think these two milked the comeback sequences particularly well. There was a long stretch in the middle where Mysterio was dominated with very little teasing of momentum shifts, which only served to make Undertaker's time spent walking around in the gap between moves feel aimless. I don't want to say 'looked lost' as it's Undertaker we're talking about here but nevertheless it didn't allow for a good ebb-and-flow to the match.

With that said lets talk about the good here, which there's a lot of. Some of Taker's cut-off spots were great: stopping Mysterio's opening flurry by simply tossing him out of the ring; punching Mysterio mid-top rope leap to send him crashing back out; the big boot to a springboarding Mysterio; the one-handed shove sending Rey hard into the ringside barricade etc. Basic offense used in a thrilling way. This is why power v. agility is usually awesome: no need for complex offense to create a sense of impact. Just have a guy leap into an uppercut. I know I said the comebacks weren't milked very well, which may cause one to wonder how I can like the subsequent cut-off spots. It's more that the comeback sequences weren't drawn out a little longer before the jarring stop. The cut-offs themselves were still very good. As was the ending, again highlighting how simple offense is transformed into something very significant within the structure of this match: has the Last Ride ever looked better? What has been a standard bomb in Taker's arsenal for the last five years once again looks like a bonafide finisher.

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OVERALL TOP TEN
1. Rey Mysterio vs. Undertaker - WWE 01.31.2010
2. Christian vs. Ezekiel Jackson - WWE 01.31.2010
3.

US TOP FIFTEEN
1. Rey Mysterio vs. Undertaker - WWE 01.31.2010
2. Christian vs. Ezekiel Jackson - WWE 01.31.2010
3.

MEXICO TOP FIFTEEN
1.

JAPAN TOP FIFTEEN
1.

Black Terry / Doctor Cerebro vs. El Hijo del Diablo / Gringo Loco - IWRG 01.24.2010

As the image reveals this isn't your usual IWRG match of competitive mat-work, fast-paced exchanges and aerial assaults. This is a simple, bloody brawl featuring a back-and-forth war between the two teams. Diablo and Gringo Loco gain the upperhand early, outsmarting Terry and Cerebro whom storm the aisle before the bell only to be ambushed from behind. Blood flows quickly with the rudos dominating for five minutes until momentum shifts. The carnage is all strikes and weapons to begin with, which is great as it allows the heat to sink in, before the bombs and dives cap it all off.

As the brawl splits apart whilst it's taped by the one person you're bound to miss parts. As such, it would've been nice if Black Terry Jr. had followed Doctor Cerebro around a bit more. That's my only criticism though, easily forgotten when you see how good what you do see is. Like Diablo shoving Terry's mangled face into front row spectators. And a wonderful close-up of Terry (again) having a cactus leaf grinded into his forehead. Sure, that sounds ludicrous. But within the context of this match it comes across as nasty. A very, very fun brawl.

Negro Navarro vs. Angelico - IWRG 01.21.2010

What I liked about this is the 'expressiveness' on display. It's more of a subtle thing in Negro Navarro's performance but it absolutely contributes to the match. After each hold both performers take time to 'react' to what they just endured. Angelico's is more of an explicit depiction of pain and admiration; Negro's a stoic hinting at underlying frustration and surprise. It adds another dimension to the taking-turns-to-prove-who-can-bend-the-other-into-a-better-pretzel convention that seems to open most IWRG contests. It also creates a slow burn through each caida building to a nice finishing stretch.

Another welcome touch in the mat-work is the twisting / bending of limbs in some holds. Most IWRG matches I've seen are usually content with the complex sequence of locking in holds which, once latched on, is enough. That's fine but here we have small moments within post-hold execution - Angelico twisting Navarro's arm between his knees, for example - which makes it look slightly more painful. It's not something I demand in these matches (the victim's selling under duress is generally enough) but it's appreciated.

Angelico and Negro Navarro stick with the mat-work mostly, allowing the emotion they portray boil over into a finish less about them taking turns to lock on holds, with one emerging on top, than two guys competing for the win simultaneously. I liked it. In place of aerial spots and brawling it did well to remain entertaining. A nod to Black Terry Jr.'s camera work: He doesn't end the footage immediately after each fall, but shows a minute or so afterwards focusing on the loser selling pain. It allows the impression that the move they eventually submitted to was on another level to all else endured. Nice.

Locas - The Maggie and Hopey Stories

Lately I’ve been reading Jaime Hernandez’ Locas – The Maggie and Hopey Stories. It's a gigantic collection (700+ pages!) consisting of Jaime's "Locas" stories featured in the initial 50-issue run of "Love and Rockets" during the 1980s, a joint effort with his brothers Gilbert and Mario. The "Locas" stories are superb, exhibiting the most accomplished example of character development I've encountered in the medium. It centres on the community of Latin Californian neighbourhood 'Hoppers', specifically 'Maggie' Chascarrillo and 'Hopey' Glass. The former is a skilled mechanic who shifts between various love interests and weight classes (without over-stepping into hysterics). The latter is a tomboyish, punk rocker lesbian. They are best friends. They also encounter female professional wrestlers, latino gangsters and the odd robot and dinosaur. Great fun!

This image here, taken (by camera ... sorry) from the short comic "Boxer, Bikini or Brief", exemplifies the skill in constructing body language and 'real' depth behind the characters that Jaime Hernandez is capable of:


Maggie, still weight conscious, is having her portrait painted by new boyfriend Ray (who’s not the most successful of artists). Immediately beforehand we witness another example of Maggie being down on her figure – “Couldn’t you wait until I lost a few more pounds? Like maybe twenty years?” What follows, I feel, captures everything that makes the "Locas" stories and Jaime Hernandez' artwork so compelling.

The top three panels exhibit Maggie running through various amusing poses for Ray to paint, highlighting her fun nature. She isn’t a sob story. Meanwhile the expressions themselves are wonderfully realised on paper; they are funny without looking too cartoony. They don't seem out of place. Each pose requires large change in movement between panels, each contrasting with the last. An interesting point is the background. Hernandez omits extraneous detail to focus on the human aspect at work.

The lower sequence of panels depicts Maggie asking about the other girlfriends Ray has painted. When told she is the first, Maggie exhibits a shift in body language that wonderfully communicates this genuine moment. Action and dialogue progressively lessen in this sequence, setting up a stark contrast to what happens above. There is a more seamless flow in movement between frames, specifically the final two. Maggie’s facial expression and posture settles as she realises (and is a little taken aback) by this understanding. The final panel, without any exaggerated positioning or dialogue, subsequently becomes the most meaningful. It’s subtle storytelling that builds over several panels, without requiring explicit mention nor being telegraphed as the short comic’s main point. The meaning itself (wonder at what this means, but it's also suggested through Maggie's previous concerns over her appearance that this exposes Ray's true feelings towards her) is sweet, pointing at Jaime’s incredible talent for crafting a real humanity for his comic-book characters. The fact that it develops through mostly a shift in body language also highlights his amazing skill as an artist.

It's a small moment, but a touching one. So I'm a sap. Deal with it.

Bret Easton Ellis' "American Psycho"

I have no interest in finishing American Psycho. 237 pages in and that’s enough for me. Before you dismiss this entry as yet another morally-outraged condemnation of Bret Easton Ellis and/or his controversial novel, allow me to declare that I don’t feel either is a blight on humanity. In fact, what I did get through was (morbidly) revealing about aspects of my nature. It was an important read.

What do I mean by this? More so than any other text, in any medium, it has exposed that there is an extent to my tolerance of ‘violence’ as a narrative feature. To be honest it is the only text to have done so. Previously I have been rather liberal with my feelings on violent subject matter proliferating in fiction, written or otherwise. I felt strongly, and still do, that it can be implemented as a strong storytelling technique; American Psycho is actually a perfect example of this. I just derived my version of its meaning early. I have read some harrowing and nauseating tales over time - Cormac McCarthy’s The Road and Christos Tsiolkas’ Dead Europe spring to mind - and came away impressed and willing to re-read them. So why am I shying away here?

Bret Easton Ellis’ work unveils that ‘violence’ itself isn’t the issue so much as the way it is presented. And, I would argue, this ‘issue’ is not to be confused as a flaw in his writing; I daresay it could be an intended point. Foremost the novel kick-starts as a kind of black comedy, underpinned by comments alluding to (protagonist? antagonist?) Patrick Bateman’s depraved activities in complete contradiction to the chapter’s tone. It’s not long, however, before that tone is destroyed by the first-hand knowledge that those comments are very true and are very not funny. Even as black humour. It’s an amazing comparison to make; an offhand sentence referring to committed violence versus the often lengthy and detailed paragraphs describing slabs of heinous conduct. It’s a note on desensitisation. The short, generalised sentences soften the force of what it is referencing; once we get to the real deal in-person it’s a startling, horrifying experience.

The message: distancing sugar-coats violence.

Whilst other works do have shocking situations of graphic violence, nothing I’ve experienced has done so with the same frequency and detail as American Psycho. Two-thirds into the book and I still know of plenty more scenarios to come; including an infamous rape/torture/murder chapter that apparently spans around ten pages. What that last point shows is that Ellis doesn’t refrain from long descriptive accounts of these episodes, which is intensified by a lacking consideration for metaphoric writing. Literary ‘skill’ isn’t invited to undermine the brunt force of Ellis’ simplistic, sprawling accounts. Here’s a quotation elucidating this view although I’d warn against reading it if you are put off but what’s said above:

“I take advantage of her helpless state and, removing my gloves, force her mouth open and with scissors cut out her tongue, which I pull easily from her mouth and hold in the palm of my hand, warm and still bleeding, seeming so much smaller than in her mouth, and throw it against the wall, where it sticks for a moment, leaving a stain, before falling to the floor with a tiny wet slap.” (Ellis 1991: 236)

It’s blunt, unrestrained prose. A style that is compounded by the insistence on first-person; the reader morphs into Patrick and is sucked into his execution of atrocities. There’s no deployment of metaphors or similes; it’s an ongoing account using common words repeatedly, describing it as it is. Violence doesn’t need literary symbolism to be an effective, evocative act.

There are other sides to American Psycho, particularly relating to a critique on consumerism. Ellis’ manner in approaching this – excessive research into fashion brands and styles, electronic specifications, types of meals – is remarkable and has the effect of connoting futility (in relation to the character’s astute knowledge of these things). I could not tell you the difference between Ralph Lauren and Giorgio Armani fashion which consequently amalgamates all these into the one generalised ‘suit’; perhaps Ellis is suggesting through the average reader that differences between these styles are minute or unimportant? A suit is a suit after all. Or maybe I’m just too lazy to find out? The persistent misrecognition of these Wall Street types (regarding each other) is also amusing in its promotion of superficiality. That said, both the stubborn accounting for various products and continued misrecognition does get tired, but having started how could Ellis justify stopping? It’s unavoidable, I’d say.

“...The novelist’s function is to keep a running tag on the progress of the culture; and he’s [Ellis] done it brilliantly...” Fay Weldon, Washington Post

Agreed ... despite the protestation of my stomach that I ultimately gave in to. Bret Easton Ellis’ American Psycho is the only novel I’ve ever encountered that has to be sold in plastic wrapping and with the R18+ classification sticker adorning it (in Australia). Can’t say I disagree. A book to respect but, not completely at least, enjoy.

The Mission Statement

This blog is a' changin'!

Foremost an ambition of mine is to transform "Geek-Gasm" into something other than a 'blog'. What do I mean? Well, for starters, I'm hoping to mould it into a form of news n' views site. I heard that groan.

"Why would we need another news n' views site?!", you might say.
"Because we have a different focus", I respond with a pout and a whine.

We have a broad topic range. Underneath the head banner I mention quite a few mediums that I "feel inexplicably compelled to express my opinions about". That will remain the same, although some moreso than others. Video Games. Films. Professional Wrestling. Graphic Novels ... We will try to cover all these nerdy media. Geeks are a delightfully broad bunch of people; not every geek is a gamerscore whore or comic nerd!

BUT!: What we will focus on is lower-tier and lesser-known, smaller developers/studios/artists, past products that may be fading from memory and individuals looking to break into the industries today. At "Geek-Gasm" you'd be able to read about smaller authors/developers/etc. making progress on their products, ones that you may not have heard about otherwise. It could also be an insight into the creative processes that underpin each medium, for others interested in the field. We intend to help aspiring artists gain coverage and exposure whilst concurrently aiding curious readers to experience corners of their favourite industries that may previously have flown under the radar. There will also be the inevitable reviews, news-articles, reports from event gatherings (conventions, festivals etc.) and feature articles that look at a particular topic in-depth (a la an individual's body-of-work or a stylistic movement etc.).

That's not to say "Geek-Gasm" is anti-mainstream. We just believe if you want to read about Avatar or Halo: Reach you'd find a bazillion sites willing to spew forth information. But, of course, we'll comment on 'blockbuster' releases if the feeling is right. We just won't emphasise them above our main concerns.

This conception of "Geek-Gasm" is a long-term goal. From here on out it'll mostly be a gradual publishing of reviews and the odd extended feature until we gain momentum. I have contacts hoping to make it into most of the fields mentioned but there's nothing to gain if there isn't a large enough readership. Plus I'm only one geek! And I'm not an expert on every topic! You've probably noticed my shift from 'I' to 'we' above; I'm interested in expanding "Geek-Gasm" into a collaborative effort. If you are decent with words (or videos) and have an interest in any of the media discussed I'd be very interested in working out a deal. And, of course, I will try and accomodate you for your efforts financially. I'm also happy to discuss business with those expert in designing web-pages as a meagre blog-site isn't going to draw much attention. And finally, if you are an individual working towards entering one of the covered fields, I would absolutely welcome an email intent on discussing a deal for coverage. Just check my profile for the email address.

We (well ... 'I' for now) at "Geek-Gasm" want to help in any way possible. I welcome any feedback on the proposed thematic change, positive or negative.

Sonic the Hedgehog (16-bit)

Developer: Sonic Team

Publisher: SEGA

Year of Release: 1991

Original Platform: SEGA Mega-Drive/Genesis

You’re probably wondering why I’d bother to review Sonic the Hedgehog. Hasn’t enough been said since 1991? True. But Your Humble Reviewer is fascinated with ‘nostalgia’; the impression it creates and its relationship with reality. A growing interest of mine is exploring older media – whether it is films or video games – and testing out how they hold up today. Are they deserving of the praise they receive? Do they offer an enjoyable experience for a modern audience? These are the questions I consider in the lonely hours of my anti-social existence and I’m happy to declare that Sonic the Hedgehog answers both positively.



What’s remarkable is how preserved the sensation and freshness speed, as the essential gameplay mechanic, seems to be. I can’t recall many (actually... any) titles that have adopted velocity as the focus of their play; yet alone any that have matched what Sonic Team achieved. Resultantly Sonic the Hedgehog still feels different to other side-scrolling platformers, which only helps sustain its appeal now. The impression of extreme pace also lingers on. That’s an amazing achievement considering what technology can produce today; launching miles high provides an impressive scope for the seeming enormity of levels whilst dashing through stretches of loop-de-loops and slopes, slides and tunnels continues to grant an exhilarating experience. The game design masterfully encourages and exploits this gameplay emphasis in its more challenging moments; being used to blasting through ‘acts’ (aided by the layout of previous levels), it becomes difficult to resist the urge to rush through slower-paced sections. It’s a fine balance between unleashing and restraining the ‘need for speed’ as the game exposes depth beyond the central urge to run; in other words, speed in its abundance and absence dominates play.



There’s certainly a strong element of challenge to this game. The version I played was in the SEGA Mega Drive Ultimate Collection for Xbox 360. Introduced in this (fantastic) compilation is a forgiving save feature – you can save at any time. With six ‘zones’, comprising three ‘acts’ and a potential bonus level depending on the amount of rings collected, and only three lives (to begin with)... Well the truth is Your Humble Reviewer probably would never have finished it. There’s a trial-and-error aspect to the game; an aspect that’d be increasingly tough (and frustrating) were I not able to reload the level’s start continuously. Sure, there are checkpoints in some ‘acts’ but lose all your lives and it’s back to the first ‘act’ of the first ‘zone’ for you! Alleviating the stress here is the unique health system regarding the collection of rings; so long as you have one ring you won’t be killed (unless you fall into space/get squashed). Surprisingly not many games have ripped that feature off since. Even with my advantage the boss battles grow in difficulty as you progress, changing their pattern each encounter, leading to a satisfying sense of victory when you topple Dr. Robotnik (who, by the way, has a godly moustache). Sonic the Hedgehog took under two hours to complete. Add on my multiple save reloads, a desire to conquer every bonus level (beating all six and collecting their chaos emerald gives the player a different ending) and the allure of high-scores and suddenly it doesn’t seem so short. Also clearly it’d take longer if you didn’t have my cheap saving ability. What?! It was for review purposes!



I’m an absolute sucker for accomplished 16-bit graphics, almost to the point where I prefer them over today's best. The opening ‘zone’ – Green Hill Zone – especially is stunningly vibrant and beautiful. The character designs are brilliant and cartoony, with a variety of funny robots to pounce on (no idea why, but the cute little animals that emerge from them always make me laugh). Each ‘zone’ has a different ‘look’ and ‘feel’, visually and gameplay-wise, which is great. For example: Labyrinth Zone, an ancient temple, has regenerating maps that need to be altered (otherwise you’ll keep sliding for eternity/the game crashes) and rising/falling water levels (which requires the gamer to play wisely with air); Spring Yard Zone has a pinball machine inspiration that demands the player to control jumps; Marble Zone introduces lava and moving blocks; Green Hill Zone has your standard emphasis on running and jumping in a bright, green locale etc. Moreover it’s apparent that there are multiple routes through each ‘act’, establishing room for exploration and highlighting the technical expertise of Sonic Team; these levels are big.



Everybody knows about Sonic the Hedgehog. If you don’t: WOW. If you haven’t played it: What the bloody hell is wrong with you. This review can be summed up as thus: Sonic the Hedgehog is still a freaking good game. There’s a stupid amount of versions floating around: Xbox Live Arcade, PSN, Steam, Wii’s Virtual Console, various compilations on all platforms... Really, there’s no excuse for not having it (unless you don’t like the genre or can’t be arsed; in which case, you may leave). That is all.

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Like this video game review? Then I'd suggest heading over to Zero Cause and joining. All my reviews and features concerning video games will be posted there first. So if you want to get a dose of ScToTeE as early as possible, there's the place to do so.

Zero Cause is an Australian gaming community looking to expand its ranks. Want to win free games in tournaments or LANs? Meet new friends and game? Discuss an assortment of geeky stuff and participate in our community vid-reviews? Hit us up! The site is still in alpha stage development so the more feedback the site owner receives the better the place will end up.

Gish

Developer: Cryptic Sea

Publisher: Chronic Logic

Year of Release: 2004

Platform: PC

Gish takes a time-tested format – the side-scrolling platformer – and injects it with a fresh approach centring around a gameplay emphasis on physics. Six years on and it’s still a unique spin on a beloved genre. Of course, we have all the cherished conventions of the side-scroller intact: time and high-scores; collectable coins and secrets; extra lives; enemies that need to be squashed; and the prototypical plot-line of guy-chasing-kidnapped-girl. Gish does not revolutionise the genre; it refreshes it. It grants it a creative spark.

The protagonist is a blob of tar. From the beginning you have three powers: stickiness; slipperiness; and heaviness. The first allows you to fasten to most surfaces, climb against gravity, hang upside down or cling to moving objects so to avoid being flung off by inertia. The second enables the gamer to slide down narrow passages and decreases friction when attempting to gather up speed/momentum to reach new heights. The final ability is the most prominent weapon against enemies (via crushing them). It’s also essential for breaking through blocks and shifting the balance of precarious ledges. Momentum is a strong thematic in the gameplay: jumping requires the gamer to time button presses when Gish is most compressed to achieve higher leaps; movement is necessary to break through obstacles and enemies are mostly only killed when the player smacks them from a height or with speed behind them. Physics also comes into play when interacting with the environment: using blocks as weights; maintaining balance on loose platforms or columns (or shifting them to fall a certain way to enable progress); swinging etc. It’s an accomplished focus that evades the nasty stigma of ‘gimmick’.



There are five levels but only four with seven stages – five normal stages; sixth a boss fight; seventh a bonus stage. The fifth level occludes the bonus stage as the boss fight is the game’s climax. Additionally there’s also (apparently) twenty-three hidden collection levels. I did not come across a single one. That’s possibly because I’m terrible at the game and/or they are bloody well hidden. Most likely the former. In all the game took me six hours to play through on the easiest difficulty, without discovering all the secrets and aforementioned collection stages. Even then I got stuck several times. ‘Stuck’ as in kept screwing up tricky combinations of abilities. At points Gish really does become a new synonym for RAGE!!! I can only imagine how that must intensify with the normal and hard difficulties. But when you do finally progress, having nailed the right combination, you will feel godly. As such Gish acquires that rare sensation of achievement when you beat that goddamn tough level. It’s a great feeling. Challenging game design should not be construed as negative. However the difficulty does seem to fluctuate throughout the game. You’ll be punished by one stage, but sometimes fly through the subsequent ones. This is especially true for the boss battles. The first and last bosses were the hardest. The rest I beat in a matter of seconds (and remember: I’m terrible).



Unfortunately ‘variety’ isn’t a quality Cryptic Sea’s little platform/puzzler possesses: the first three levels consist of the same sewer system environment with different coloured lighting, altered music and a slightly varying colouration for the same enemies (of which there are only two kinds in the whole game, excluding bosses). For a while I feared that would apply for the game’s entirety. Thankfully the start of the fourth level revealed that I had inexplicably ended up in an Egyptian-styled environment, complete with sandstone and hieroglyphs. You’re a blob of tar with a human girlfriend! A believable narrative is clearly not a concern here. The stages and levels do change up in terms of puzzles, especially what form of exploited physics is required to complete them, so the gripe here is mainly a cosmetic, superficial one. The characters comprise a crisp cartoony aesthetic that’s appealing in motion. Gish’s animations, in particular, are impressive when compressed, re-shaped and pinched (etc.) by the environment. He reacts to physical contact with surfaces in a completely organic and believable manner.



There’s a multiplayer mode but sadly I’m a socially-retarded monkey and couldn’t find anyone to try it out with. No bots or online support – it has to be played on the same computer – merely added to my woes. With that said, Cryptic Sea’s cool side-scrolling platform/puzzler is exactly what I’d expect from a little, bargain-priced game: inventiveness. It moves the genre forward a few steps, opposed to trying too much to jettison it into orbit. And for a super cheap $9.95USD (on Steam) you’d be an inept buffoon to not give it a go. Wanna fight?

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Like this video game review? Then I'd suggest heading over to Zero Cause and joining. All my reviews and features concerning video games will be posted there first. So if you want to get a dose of ScToTeE as early as possible, there's the place to do so.

Zero Cause is an Australian gaming community looking to expand its ranks. Want to win free games in tournaments or LANs? Meet new friends and game? Discuss an assortment of geeky stuff and participate in our community vid-reviews? Hit us up! The site is still in alpha stage development so the more feedback the site owner receives the better the place will end up.

Level Up! #1 - Mario Kart 64

University and general laziness have proven themselves worthy opponents to activity here. Even this entry doesn't constitute 'activity'; it's a copy-and-paste job of a review I composed in 2008. I'm doing this for two reasons: a) I'm proud of this effort and wanted it kept alive on a site that still has a remote chance of seeing new content, and b) for comparative purposes between my writing style then and now. Adding to that, I'm also considering re-visiting the theme of 'nostalgia' in my entries here... But that's contemplation for another day.

The headings and length are two aspects I'd like to deviate from.

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Level Up! is dedicated to video games of the past, and aims to discover whether they are deserving of nostalgic appreciation, or if time indeed has had the last laugh. Should the modern gamer seek out these supposed 'classics' in an attempt to extend their gaming experience, or should these games to be left on the dusty shelf?

Our debut candidate is Mario Kart 64, part of a key series of Nintendo racing games that features notable characters from the Mario universe tearing up the tracks. Many people I have spoken to consider this entry in the series to be the pinnacle, whilst others have moved on to more recent versions. Personally, I went into this review thinking Mario Kart DS is currently the one to beat, so this was certainly an interesting venture at the very least.

Enjoy!

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Game Profile: Mario Kart 64
Developer: Nintendo EAD
Publisher: Nintendo
Year of Release: 1997
Original Platform: Nintendo 64

For me, what keeps the Mario Kart franchise relevant is how each addition not only introduces more tracks and characters, but also a new 'step' for the series. Super Mario Kart began it all, and was a revelation in itself, specifically with the implementation of Mode 7 technology. The game became portable with Mario Kart: Super Circuit, whilst the last couple of years have seen Mario Kart: Grand Prix hit the arcades. Mario Kart: Double Dash!! shifted the focus to weapons and teamwork, and in the process increased the level of anarchy at work during the races. The multiplayer component of the franchise has always been strong, but Mario Kart DS brought the game to the online gaming community. Furthermore, only a couple of months ago, Mario Kart Wii was released in Australia, and with it came a whole new motion-sensitive spin on the gameplay. So, where does that leave Mario Kart 64?

It is simple, Mario Kart 64 stabilised what is the core content of the game, and also features possibly the best balance of handling, weapons, difficulty and design that has yet to be surpassed by any version since. Moreover, it was Mario Kart's birth in 3D. That is its legacy, but with so many versions of the game released, how does the decade old game hold up, and does it have anything to offer that the others don't?



Presentation

One key aspect that developers hope will draw positive attention to their games is its presentation, i.e. the quality of the visuals and sound. Video games demand engaged interactivity with the gamer, that of which is best achieved through top quality graphics, and a complementary soundtrack. Not the be all and end all, but a video game does face an uphill battle should its presentation fail to meet average standards. Being a game released in 1997, Mario Kart 64 suffers from that battle, displaying ugly textures and blocky environments. It isn't too distracting, but it can be a nasty shock for someone used to current graphical expectations. Also, some of the tracks present a distinct lack of life or vibrance, unlike most of the tracks in versions like Double Dash!!. In that game, there is always something to look out for, out of interest or caution. The same cannot be said for some of the tracks in the 64 version, causing the likes of Luigi's Raceway, Koopa Troopa Beach and Kalimari Desert (barren despite the train) to became quite the bore.

Visually, what I did like about Mario Kart 64 was the characters, of who are depicted by detailed and layered sprites. They aren't polygonal, and sure, the detail isn't crisp, but they are cute and, in a way, inventive. Probably a good decision by Nintendo at the time, seeing as they would've been very basic if completely processed in 3D. And the audio holds up well, with most of the tracks' tunes being upbeat, and at times catchy. The victory song, played when you receive a Cup, is particularly noteworthy for being a fun, fist-puncher. Another special mention goes to Rainbow Road, which still sounds as epic as it did in 1997. A nice touch sees (or hears? ... ) the tune for each track speed up once the final lap is reached, adding to the suspense felt by the gamer. The sound-bites for each character can get annoying (especially Toad's), but they do serve the purpose of warning you of approaching racers, or when you have successfully hit someone with a weapon. Bearable, at worst. All in all, the game's presentation is rough by today's standards, but not enough to really compromise your enjoyment.



Gameplay

When discussing the Mario Kart franchise earlier, I claimed that Mario Kart 64 cemented the core ingredients that are synonymous with each version. Building upon that, the game also presents a balance between weapons, handling, difficulty and design that is arguably the best of any game in the canon.

Moreso than any other version, Mario Kart 64 places an emphasis on weight and control with the handling of its karts and characters. There are three distinct classes, based upon weight, which can have a consequence on the way the gamer races. The light class, despite having a significant acceleration advantage, can be knocked around easily by the heavier characters, even resulting in spin-outs and lose of position. The medium class is slightly slower than the light, but can, to a degree, withstand the physical onslaught of the heavy class. The heavy characters can throw their bulk around, but they are lacking in a decent acceleration rate. Therefore, choice of character could result in different approaches to races, potentially granting Mario Kart 64 a hidden, tactical dimension that is beyond the newer additions.

The other aspect of the handling is control, which is a tad hit-and-miss in execution. Maintaining control of your vehicle after a jump or collison (only experienced in 150cc Mode) is all well and good, adding a layer of complexity to the dynamic of the race, but often it is compromised by inaccurate controls (i.e. the game pad). Turns are either too sharp or too slow, which has some nasty consequences when attempting to drift around corners. It just is not as effective as some of the newer versions, and could affect some gamers' experience with the product. With that being said, it shouldn't factor in too much during gameplay, and the drifting mechanics still work well enough to be of benefit.

One of the rising concerns for the recent games has been the balance in weapons, with comments often citing the unfair distribution of the more powerful items (i.e. those ranked closer to last have a better chance of attaining them), how common certain items appear, and the sometimes ridiculous nature of their effects. Mario Kart 64 addressed these issues before they hit prominence, which has caused the claim that it has the 'best' balance. Whether this is true or not is arguable, but the balance does provide for a less frustrating experience. Items like the star and lightning bolt are just as likely to appear for a racer coming first, as a racer coming last, which truly leaves the game with a focus on the racing, as opposed to the weapons. Furthermore, the blue shell occurs rarely, as opposed to the relative frequency it appears in Mario Kart: Double Dash!! and Mario Kart DS. As a whole, the roster of weapons is smaller than more recent versions, and consists of the core 'classics' that have appeared is most editions. Depending on tastes, that could be a positive or negative feature, with those preferring more hectic races opting for the more weapon-focused Double Dash!!.

As far as difficulty goes, Mario Kart 64 does not differ too greatly from the other games, providing a similar level of challenge for the 50cc, 100cc and 150cc as those succeeding it. However, there are moments where the AI appears to be unfairly programmed to compete with you, especially on the higher difficulties. There are always two characters that, no matter how well you halt their chances (knocking them off the course etc.), they always seem to catch up, and even move ahead of you with ease. This 'cheating' AI can be quite frustrating, but at the same time, can lead to some great moments in game. One particular moment saw me remain desperately behind these two characters for an entire final lap, only for me to boost straight in between both at the final second to score first place. Despite its unfairness, moments like that can't help but be met with a grin.

When it comes to using weapons, the AI is great at casting banana peels in your path, but that is the only challenge it seems to provide. I don't recall ever being hit by a green or red shell throughout any of the four times I played through each Cup, despite my receiving those weapons more so than any other. Perhaps it is to counteract the 'cheating' AI, but whatever the case, it minimises the challenge of the overall game. Shame ... A point of interest, in regards to difficulty, is the tracks themselves, which actually change, depending on the difficulty. During 150cc, I noticed that Choco Mountain had more boulders bouncing down during one stretch of the course, whilst Bowser's Castle had more blue Thwomps crashing down in your path. It is a great touch, keeping you on your toes despite racing the same course at least two times before, and one that I wish newer versions had kept.

Speaking of the tracks, Mario Kart 64 contains many classics that, even though a decade old, are still fun and challenging. Bowser's Castle, Donkey Kong's Jungle Parkway, Banshee Boardwalk, Royal Raceway, Toad's Turnpike ... etc. There are so many great courses on offer that it took me by genuine surprise. The fact that they hold up now alludes to great design and technical brilliance on the part of Nintendo, who I don't think have repeated such success with any of the newer Kart's. Some are even quite inventive, particularly Yoshi Valley, which has a number of different routes the player can take, resulting in the race positions being a mystery until the end. In that facet of the game, Mario Kart 64 delivers to a great extent.



Lastability

There isn't a large amount of content to unlock in Mario Kart 64. Once you have achieved first place in every cup on every difficulty, Extra Mode is unlocked, which sees you compete in the same cups, racing each track in reverse. Beyond that, there is nothing else to achieve, with no new tracks or characters to attain. It took me about three days (three hours a difficulty) to finish the game completely, which doesn't exactly consume much time. Seeing as there are a wealth of characters to unlock in Double Dash!!, Wii and DS (which has a large number of modes to compete in as well), Mario Kart 64 does seem lightweight in comparison.

Time Trial (for the serious racers) and Multiplayer can remedy this, but seeing as both of these feature prominently in the other games, it doesn't create much reason to desperately seek out Mario Kart 64. Therefore, in terms of longevity, I would have to say it fails to deliver ...

Verdict

All things considered, Mario Kart 64 does hold up to an extent against its newer, fresher and prettier competition. With a wealth of great tracks, and at its heart the core elements of the Mario Kart franchise, I would say the game is recommendable as an extension of the experience. What I mean by this is, as a first time hands-on with what the series has to offer, Mario Kart 64 may not be too impressive, but if the current crop of Kart games don't satisfy your urge for the series enough, then it is a justifiable remedy. The game may have aged in terms of control and graphics, and isn't faultless in design, but nonetheless is an encapsulation of what makes the franchise so great.

Tatsumi's "Hell" - A 'Manga' Review

Fiction that posits itself as ‘truth’ has always drawn a strong scepticism from me. How can something that’s not only reliant on authorial interpretation in the first instance but concurrently obliged to uphold storytelling conventions (characters, plot structure etc.) to be appealing assume status as ‘fact’? Don’t get me wrong; I’m sure Dickens’ work has a resonant ‘truthfulness’ that correlates with other representations of the time period. And James Joyce’s Dubliners, a set of short stories that articulate a melancholy permeating daily life in the Irish city, happens to be a favourite of mine. But the point I stress when dealing with fictions that either comprise the ‘realist’ movement of storytelling or function as proposed social commentary is that it is a representation, not the representation. A whole nexus of experience makes up the public consciousness of a place and/or population; not every voice can be accounted for in the one story.

That’s not to suggest that fiction can’t be ‘accurate’ or ‘persuasive’. In the case of Yoshihiro Tatsumi’s “Hell” – a harrowing examination of the Hiroshima bombing in 1945 and its subsequent exploitation across political and professional realms – the question of ‘accuracy’ is impossible for me to answer but the starkly evident research enveloping the narrative hints of an informed perspective; one that troubles the nerves with its drab depictions. Along with the other bleak tales in the collection Good-Bye, which brings together several of Tatsumi’s ‘manga’ short stories dating from 1971 to 1972, “Hell” details an existence that is unrelentingly dreary and doesn’t cater towards readers who stubbornly cling to optimistic ‘happy endings’.


It’s interesting to note an author’s textual strategies in constructing ‘authenticity’. Tatsumi utilises famous landmarks and faces in “Hell” to construe his story as ‘truthful’. The placement of identifiable buildings / locales in his stories is a recurring technique throughout Tatsumi’s Good-Bye; even to the point of becoming central to the plot a la “Just a Man”. In “Hell” the Hiroshima Peace Memorial – pictured in the artwork and the photo above – becomes an overbearing, haunting motif pursuing the protagonist. Its silhouette is always present during Mr. Koyanagi’s darkest moments. In this sense the imagery acquires further meaning: on one hand it consolidates Tatsumi’s attempted ‘realism’; on the other hand the building’s symbolic baggage as a memorial for Hiroshima is drawn upon, suggesting it’s ever-present in the lives of the Japanese. There’s a precision felt in the ‘real’ locations, such as the Hiroshima Peace Memorial, depicted that sticks out from the other scenery. They acquire salience, attracting the eye to them and the meaning(s) they contain. Detail, as emphasis, appears to be a significant tool in Tatsumi’s repertoire, additionally perceived in the contrast between the cartoon-y characters and Prime Minister Sato’s realistic likeness. This helps to highlight one of the concerns underlying “Hell”; the political exploitation of the Hiroshima bombing. It’s very clear who is implicated in it too...


What’s remarkable about Tatsumi’s attempt to document via realism is the research that bolsters such intention. The devastation of Hiroshima is grimly depicted: charred corpses, hideously burnt victims, black rain, shadow burns etc. Tatsumi has investigated the physical effects of the bombing excessively in order to envelop his character’s experience in ‘fact’; another strategy in accruing ‘authenticity’. He even directly references the infamous shadow burn on the steps of Sumitomo Bank (photographed above). Working with shades of grey, black and white he still manages to craft a disturbing, graphic visual account. He even lingers on this subject matter for a few pages, literally having Mr. Koyanagi tour the apocalyptic wreckage, before returning to furthering the plot. This highlights an appreciated dedication to his work, particularly the social commentary, beyond simply telling a great story.


There is a profound ambiguity that penetrates “Hell”. The proliferation of dual meanings, without cementing one or the other as ‘truth’, builds magnificently towards the final, overwhelming moment. At one point, looking over Hiroshima’s rubble at sunset, Mr. Koyanagi expresses this running theme of duality: “The stench of hundreds of thousands of corpses drifted by ... but the sunset was unbelievably beautiful.” The symbol of Hiroshima’s destruction is, paradoxically, rendered both ‘horrid’ and ‘beautiful’. This theme becomes enmeshed in the plot: Mr. Koyanagi, having discovered the remarkable shadow burn of a son giving his mother a backrub, sells its photograph to the media. However the stunning revelation is that this morbid symbol is actually the last evidence of a murder scene. What has been circulated as a symbol of peace, of compassion and devotion now, concurrently, becomes a symbol of murder and greed; a transition further enhanced by Mr Koyanagi’s consequent actions. He murders the only man who knows of its ‘real’ meaning. But it’s never clear whether Koyanagi is motivated by professional greed – to safeguard his reputation and employment – or to keep the public’s faith in the symbol’s positive meaning. At numerous times Koyanagi hints at pride in his newfound status, even to the point of alleviating his guilt at using the death of others for financial gain. Conversely, after finding out the less benign meaning in the photograph, a bunch of citizens approach Koyanagi to thank him for the hope his photograph has brought the Japanese people. At this point he begins to contemplate murder; the greater good seemingly being the driving reason. But, moments before lifting the rock to pummel his enemy, another reference to the professional gain he stands to lose occurs. It’s never truly clear what motivates him in the end. And likewise all the dual meanings filtering through the plot are never confirmed satisfactorily either way. The only certainty to emerge through the dreariness is Mr. Koyanagi’s capacity for murder. What a bleak, bleak tale.


My ambition with this analysis/review of Yoshihiro Tatsumi’s “Hell” is not to encourage scrutiny of it, or any other text, that attempts to contribute understanding to existences and experiences of real places, real people, real events. Whilst I maintain that a degree of scepticism is essential, underpinned by the knowledge that texts are artificial constructions guided by subjective viewpoints and textual obligations to manifest widespread appeal, that doesn’t nullify the compelling and shocking argument that Tatsumi puts forth. In identifying Tatsumi’s techniques in brewing ‘authenticity’ I’m not hoping to undermine the validity of his claims; how can I? Instead I’m hoping to present awareness of those very same masterful techniques that work together to craft a captivating, poignant vision. This is a masterpiece, and one of the best ‘comics’ I’ve ever had the pleasure to read. I enthusiastically encourage others to buy Tatsumi’s Good-Bye collection.

I can't think of a title for this entry so lets just call it WRASSLIN'~!

Rock N Roll Express vs. Dirty White Boys - 05.11.85

Heh. The '80s witnessed some of the silliest names for tag-teams. [Then again: They aren't the ones running around being called the 'Dudebusters' ... yikes ...] Fun tags were as plentiful as seconds in a day back in the territories. So what makes this one remarkable over the others? Well, nothing really. We begin with an amusing stretch of dominance by the Rock N Roll Express, with several spots that make the dastardly heels look like absolute fools. This builds nicely to the sudden switch in momentum, with one of the Dirty White Boys nailing a clothesline, which Ricky Morton sells like a gunshot. The jolt this causes in the feel of the match is impressive; one second everyone is jovial, to next there's a hush. This evolves into a neat FIP middle, with Morton milking comebacks at the right moments to prevent the performance from becoming dull. Then we have the inevitable hot-tag to Robert Gibson leading into the finish. For a match that took place in what appears to be a high school gymnasium, the engrossed crowd and the match they deliver exceeded expectations.

Dolph Ziggler vs. Chris Masters - WWE 05.13.10

Who would've thought we'd have a Full Nelson v. Sleeper Hold story in a contemporary pro-wrestling match? Let alone in the WWE? Ziggler's bumping complements Masters' strike/power-based offense superbly. This creates an entertaining opening stretch that develops gradually to an impressive spot on the outside whereby Masters takes an unguarded fall to the ground back first a la Foley. Like the clothesline in the above review, this moment 'feels' significant. The turn in the match is felt. Once we get to Masters' comeback sequence it's pleasing to see the big guy maintain a sense of 'fatigue' in building momentum. It takes several clotheslines before he's officially in his 'second-wind', moving gradually quicker, fresher with each one. Meanwhile he's making Ziggler do all the running (throwing him to the ropes, for example, and nailing a high-impact move on his return) to prevent any impression of no-selling. Throughout we have running references to both performers' submission finishers, whether it be early attempts to use them or deployed rest-holds that the commentary weave into being important for their future application, keeping alive the battling time-tested submission hold theme. In the end we have a cool interchange of counters to both holds, ending with a surprise Zig-Zag by Dolph for the win. The second best WWE television match I've seen this year.

Red Dead Redemption

[The reader is warned that the following piece makes plot points, particularly the ending, explicit. Don’t read if you wish the avoid spoilers.]

The ‘western’ landscape is a melancholic one. That’s the lingering impression of Rockstar Games’ latest foray in the genre: Red Dead Redemption. As Ashtar Command’s moving track “Dead Man’s Gun” partners the credits one realises they have been taken on an emotional journey; one that only digs deeper the further you progress, that ditches the usual explosiveness of the final missions of Grand Theft Auto IV and San Andreas for one of poignant resonance. Rockstar Games have always been ‘bold’ with their products. But this is a different kind of daring than that exhibited in their biting satire and audacious courting of controversy; this is a daring located in the very process of storytelling. They reveal that beneath the lewd humour, colourful characters and ludicrous situations – all still present – lies the capacity to convey an affecting narrative.

Grand Theft Auto IV indicated that Rockstar Games had a maturity in storytelling, producing the closest thing to a ‘character study’ yet in their body-of-work. Red Dead Redemption offers a worthy, at times superior, continuation. The main narrative is familiar territory for fans of Grand Theft Auto: an ex-criminal attempting to escape from the past only to be drawn back into it involuntarily, inescapably. Obvious from the game’s title is the theme of redemption; what’s not immediately apparent is how that theme actually transplants itself to be felt by the gamer. Like Niko Bellic in Grand Theft Auto IV, Marsten must hunt down figures from his past. Along the way a host of characters manipulate and use Marsten, dangling that carrot in front of him to get what they want without returning the favour. One particular mission struck me; in Mexico, Marsten is enlisted to help quell a rebellion by the government with the promise of aid in his quest resultantly. After completing this mission, having killed all the peasants and burnt their houses (manually), a cut-scene portrays several Mexican soldiers taking away the now widowed wives. Their fate that you, the gamer, cemented is one of rape and probably murder. The sense of outrage at this image rocked me; I hoped against everything that I’d have a chance to make up for this. In a way Red Dead Redemption provoked within me the longing for redemption, crafting empathy for the John Marsten character rarely achieved, for me, in a video game.



This same interactivity that shifts the gamer’s sensibility is repeated in Red Dead Redemption’s conclusion. Without hyperbole, it’s the most evocative stretch of gameplay I’ve encountered. What seemed mere novel distractions during the course of the game (horse-breaking, herding cattle, hunting etc.) transform into powerful storytelling devices once Marsten has fulfilled his enforced obligation in bringing his former gang cronies to justice. With wife and son released safely, the Marsten family return to their ranch. You get to take part in rebuilding the property, the missions concurrently focusing on John forging a bond with his son. This is what you were fighting for throughout the game, to reunite John with his family, and you get to take active part in it. Teaching the son how to hunt and herd cattle; it’s a lovely set of missions. But it’s also unsettling. This can’t be the end of the game; it’s too anti-climatic. It’s not the end of the game and, soon enough, those same government agents that blackmailed Marsten reappear. Storming the Marsten ranch with a ridiculous amount of soldiers, the inevitable fate is overbearing. The tragic ending - I won’t say in what way it’s ‘tragic’ – is becoming of the genre, recalling similar themes in Eastwood’s masterpiece Unforgiven and McCarthy’s equally bleak neo-Western No Country for Old Men. And therein lies Rockstar Games’ ‘boldness’, forgoing the ‘happy ending’ for an end result that’s both moving and faithful to the greatest interpretations of the genre.

The sheer beauty of Red Dead Redemption’s world cannot be left unsaid. Rockstar Games have an impeccable gift in crafting areas rich with character and variation. Grand Theft Auto IV achieved this impression with the cityscape; not a building design seemed copied-and-pasted, each region had a distinct ‘look’ which subsequently fragmented into several recognisable areas or districts. Their attention to detail is amazing and seemingly ushers in a Joycean view wherein certain locations, from mundane street corners to parks and factories, acquire meaning / significance through experiences had in-game. Driving down most streets yield some sort of memory that enhances the distinctiveness of each area. This leaves the empty, mere functionalist design of GTA clones a la Saints Row rather lacklustre in comparison; it’s simply impossible for that same phenomenon to occur in a game where every building, every street, looked the same.



Red Dead Redemption achieves this same effect, despite having less ‘landmarks’ to work with. Unlike Neversoft / Activison’s GUN, which felt unforgivably small in scope and void of life, Red Dead Redemption is expansive and brimming with inhabitants. Randomly generated events appear as you ride around, sustaining contact with humanity in what could’ve been a very lonely existence. Moreover the game offers a fully-fledged ecosystem that dominates the unsettled countryside. The excessive amount of species is astonishing – ranging from rabbits, raccoons and armadillos to bears, cougars and buffalo. Predators hunt smaller prey. Vultures gravitate towards corpses. Coyotes and wolves hunt in packs; cougars and bobcats go it solo. The dedication to research, especially exemplified in their realistic movements, is admirable and allows for a vibrant virtual world. Contributing to this is the variation in appearance each region contains. West Elizabeth has rolling plains, dense woodlands, snow-capped peaks and cobblestone streets; New Austin the standard cactus-riddled desert; Mexico is flatter, redder and dotted with smoother rock formations. With what may have felt a limited design scheme initially, Rockstar Games prove they are just as adept at constructing an interesting countryside as they are cityscapes.

Trialling Kafka

Despite articulating an unnerving account of a bureaucratic system ushering in totalitarianism, what’s initially striking about Kafka’s “The Trial” is just how damn funny it is.

“The woman waved her hand to K. down below and tried to show by shrugging her shoulders that she was an innocent party in the abduction, but there did not seem to be much regret in this gesture.” (Kafka 1994: 47)

The event described is actually rather horrible; a married woman being abducted under the orders of an examining magistrate. It’s one of many warnings Kafka delivers in relation to the abuse of bureaucratic power. However the image is invested with dark humour: a bandy-legged man running off with a woman over his shoulder, the abducted reacting with nothing but a shrug. The frank description, combined with the indifferent body language of both the abducted woman and Joseph K. (the protagonist), transforms something shocking into an unremarkable, even amusing, occurrence.

In my opinion this dark comedy presents, rather than obstructs, the most important message derived from Kafka’s “The Trial”. By laughing, chuckling or even suppressing a giggle we effectively reveal in ourselves the potential indifference that this bureaucratic totalitarianism instils in its oppressed denizens. I laughed at a woman being forced to submit to a state official’s desires; the capacity to accept bureaucratic dominance is in me. This function performed by the text may be absent for some. But for me it is all too clear what reading “The Trial”, my first encounter with Franz Kafka’s work, has exposed.

Frank Miller's Sin City - The Hard Goodbye

Miller's "Sin City - The Hard Goodbye". A gluttonous indulgance in style over substance. But isn't that the point? Marv, sadistic monstrosity and protagonist, commences a blood-soaked rampage for vengeance in honour of the one woman - a prostitute, naturally - who gave him a night of 'pleasure'. As the brute slaughters toward the horrible truth, we encounter instances of rampid corruption, depravity and lust that characterise the city's populous.

Hardly literature.
Hardly pretending to be.

"I'm staring at a goddess. She's telling me she wants me. She sounds like she means it. I'm not going to waste one more second wondering how it is I've gotten so lucky." (p.10)

A far reach from the rythmic eloquence of Chandler, Frank Miller nevertheless grabs the noir / hard-boiled genre and thrusts it into even grittier, ultraviolent territory. Whilst claims of re-inventing the genre may be exercises in hyperbolic praise "Sin City", at least here, does provide a fresh tangent. For the most part generic staples remain intact: the characteristic interplay between light / shadow; overbearing bleakness in the visualisation of setting and situation; inescapable doom of an ill-fated main character; the femme fatale(s), capable of navigating the darkness with their intellect and body etc. Everything just happens to be bolstered to gruffer, darker proportions. And stamped with liberal doses of blood splatter.


Striking in Miller's artwork is an interesting experimentation with shadows / darkness. His mostly minimalist approach to detail, evidenced above in one of my favourite frames of this or any graphic novel, crafts a mood and look that's both appropriate for the story and surprisingly rich despite the lack of colour. The panel is mainly black, leaving the small details illuminated by Marv's lighter to acquire significance. Why did Miller choose to include them? The bandages, reminding of the violence recently seen. Nancy's barely visible breasts, suggesting lurid meaning. The small cross pendant; perhaps a cheeky stab of Miller's in relation to the hinted violence and sex? Or a small nod at where Marv's quest ultimately lands him?

Obviously such a colour (tone?) scheme would become tired rapidly if not interchanged with brighter, detailed moments. In some instances, Miller inverses what's displayed above. Shadows reveal details, rather than occlude, thusly positioning light in the previous role of dark. In "Sin City", are 'light' and 'shadow' one and the same? Or is Frank Miller just being playful? Who knows, but it's an intriguing visual dynamic than once again exposes space for experiment in a seemingly limited colour/tone scheme. Facial expressions and action present the usual Miller roughness, an aspect of his artwork that neither amazes or annoys yours truly.

Want a gruff, violent story that doesn't attempt to noogie your brain cells? A story where its female characters never seem to wear tops? Something that tries to do something with its noir-ish colour/tone scheme? Get "Sin City - The Hard Goodbye". Who reads Frank Miller for complex, thought-provoking narratives anyway?

Film Review #1: Shutter Island

[If you're anxious about spoilers avoid this piece.]



Rarely do film adaptations eclipse their source material. However it'd be difficult not to here. Not even a quarter into Dennis Lehane's original work I'd figured out two-thirds of the 'twist'. The rest not long after. An unforgivable sin for a 'psychological thriller'.

Telegraphed clues ultimately betrayed Lehane's "Shutter Island". Consequently, I clearly had a different experience viewing Scorsese's adaptation than most. Engaging with Teddy Daniels' plight and the 'twist' was impossible. Furthermore assessing the film's clues becomes extremely hard. I knew what to look for. Would I have even noticed them had I not touched the novel? How revealing were they? I can't confidently answer either.

Despite this both Mark Ruffalo and Ben Kingsley do well to hint, but not over-emphasise, through their portrayals. DiCaprio, almost always reliable, dusts off the Boston accent from "The Departed" delivering a solid, if unremarkable, performance as US Marshal Teddy Daniels. Shutter Island is beautifully, and accurately, realised on screen. Gloomy, foreboding. It isn't hard to imagine someone unfamiliar with the plot being sucked in by the locale, atmosphere and actors. There are moments of inspired direction, as expected from Scorsese. The sliding shot displaying hundreds of Nazi guards being executed stands as one memorable sequences.

Some omissions do stick out uncomfortably. Shame that the cause of Dolores' manic depression isn't communicated. Those flashbacks were some of the more poignant and unsettling parts of Lehane's novel, not to mention contextually relevant. The dream sequences and Daniels' fractured characterisation, also, still feel far too (potentially) obvious. How can a man so blatantly troubled be anything but unstable?

Scorsese's slightly altered conclusion delivers one final 'shock', greater than the novel's. For a film that barely excited due to exterior influences, it still managed to surprise and provoke thought. However, like Lehane's book, it did fail in what it strived for. Like Nolan's amazing "Memento", "Shutter Island" attempts to fabricate the experience of mental disorder - schizophrenia specifically - for the audience. The inability to engage in Daniels' story, and subsequently to 'feel' its jolting upheavel, severely impairs the realisation of this effect. Whether that's a flaw of the film or simply my having read the novel isn't clear. It would be best to try it out for one's self.

Martin Scorsese is a better storyteller than Dennis Lehane. And the story itself is intriguing should you remain ignorant of the telegraphed moments. As such, although critical of his book, full credit absolutely goes to Dennis Lehane for having the initial and ambitious vision.

Boston Legal S2E6 Witches Of Mass Destruction

Trading men-in-tights for men-in-flamingo-suits today. Not sure if that's an improvement. Whatever. Boston Legal. A law court dram-com. Stars William Shatner, best known as Star Trek's Captain Kirk, and James Spader, who has probably starred in something else. It's a demented show; sometimes funny, sometimes serious, sometimes failing at both.

Season 2 has been somewhat disappointing. Utter letdown, actually. So far. With over twenty episodes to go, I'd be naughty to suggest this applies to the season's entirety. And with the sixth episode, things are promising.

For me, Boston Legal is most entertaining when tackling difficult subjects. Yeah the silly get-ups, sexual innuendo, absurd cases ... They are amusing. Occasionally. But the show peaks when it anchors that stupidity with real purpose, a point. Something that makes you tighten those eyebrow muscles. Presumably in thought. Take here: Alan Shore, providing another pendulum swing between seedy sleaze-bag and justice upholder, challenges the controversial 'Stop-Loss' program. This sub-plot becomes an impassioned plea for opening discussion on, to actually allow space to talk about, the military's unaccountability for lost life. A compelling argument made more powerful by Shore's dealings with friends and colleagues.

Brad and Denny Crane, respectively, present discourses of 'pride' and 'nationalism' that stunt conversation about the army's culpability. Watching Shore face vilification, from friends, simply for taking a stand is moving. The writing's quality, however, isn't just its argument but its manner in navigating these sensibilities held by Denny and Brad without condemning them. Because, as the failure of Shore's case shows, the episode's point isn't to demonise the army, its troops or the war effort but to make room for the voicing of concern. And to present the articulation of this concern as not automatically dishonouring the sacrifices of troops or inciting treason. That is the episode's most valuable point. The judge, visibly moved by Shore's persuasive words, blatantly struggling with his ruling in favour of the army's defense highlights how we first need to free ourselves from anxieties of 'honour' and 'nationalism' before we begin to try and shape the nation's legal fabric.

The other case provides comedy to run concurrently with the thought-provoking material. That said, it also has a significant issue at its heart: bringing to attention the sensitivity of minority religious groups (Wiccans) when it comes to popular representations and motifs (the wicked witch and its prominence in Halloween themes). It's tough-in-cheek stuff, but refrains from being insulting or blunt. And, by the case's end, it too manages to place in one's mind a caution towards certain understandings of groups that are incapable of expressing themselves amidst more wide-spread imaginings.