12 Minutes - title

It may have taken almost 20 years after Majora's Mask, but it looks like time loop games have suddenly become an emerging fad. Not that it's a bad thing, per se. Outer Wilds has, after all, become one of my favorite games ever. Twelve Minutes is much more scaled-down and far less ambitious than Outer Wilds; it takes place entirely within a small, one-bedroom apartment, and the individual loops average 5-10 minutes instead of the 22-minute loops of Outer Wilds.

12 Minutes has a high-degree of responsiveness to player actions.

12 Minutes is also a much more straight-forward point-and-click puzzle-adventure game in a vein much more reminiscent of classic Lucasarts games. There's only a handful of interactive objects in the apartment, and each one has a variety of different uses. In this way, 12 Minutes rather explicitly telegraphs the solutions to puzzles, since there's only a handful of things that the player can even try. The options available to the player lead the player down the path to progress, and if you ever get stumped, idle conversation will often provide clues as to what you could maybe try next.

Although the seams in the facade do become evident if the player gets stuck repeating a particular loop too many times, I did find myself impressed by just how naturally reactive 12 Minutes is to player interference. The wife and cop will react believably to many things that the player might do, including some off-the-wall things. The wife might comment on weird or rude behavior by me, or the entire time loop may go in a completely unexpected direction because I chose to do something slightly different. It's a surprisingly wide and robust possibility space.

The short duration of time loops, and the relatively small amount of intractable objects really encourages lots of player experimentation. Screwing up any given loop doesn't lose a whole lot of progress, so there's very little penalty for trying some seemingly-crazy solution on a whim, and sometimes, it will even reward the player with some new piece of information that you didn't have before, or a clue to how you might proceed.

12 Minutes provides lots of subtle clues for ways to proceed.

12 Minutes is also quite good about providing clues that are subtle enough to not be obvious spoilers of what to do next, but which might still make you facepalm in retrospect "of course that's what I should have done!" What makes these clues work without feeling like they solve the game for you is that there is often multiple ways to go about testing them. The wife making an off-hand comment about needing to clean the closet is, in retrospect, an obvious clue that the player should check the closet. There is a useful object in there, but its usefulness isn't necessarily immediately obvious. What might also not be immediately obvious is that there's another way that the closet is immediately useful, it just has nothing to do with the object you found there.

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If Infinity War was the Empire Strikes Back of the Marvel Cinematic Universe, then Endgame was poised to be the MCU's Return of the Jedi. RotJ was a "good enough" capstone on a legendary film series, and that's pretty much where my expectations for Endgame sat. Endgame exceeded my expectations. It's far more than just a "good enough" sequel, though it's still not as good as Infinity War.

Endgame could very easily have just been a movie about all the heroes picking themselves back up after being knocked down in Infinity War, coming together, going after Thanos, and beating him up for two hours. Then they get the Infinity Gauntlet and snap all the dead heroes and people back into existence. No harm done, happy ending for everyone.

Not the case.

Several of my friends suspected that Thanos would remain the point-of-view character, and that he, himself, would be overcome with grief and regret over having killed Gamora. That Thanos would actually be the one to undo everything, redeeming himself in a way similar to Darth Vader. That didn't happen either. The point of view has shifted completely back to our heroes -- what's left of them.

Thanos' grief is not the subject of the movie, nor does he spend the movie gloating. Grief is, however, the overarching theme of Endgame, which handles the subject with maturity and nuance -- at least, up until its morally muddled ending (more on that later). The Marvel movies have always included themes of family, and the lengths one would go for family. Endgame explores how we deal with the loss of family, the grief and depression that comes with tragedy, the trauma and guilt of failing to protect those you care about. It's powerful stuff, and it pulls no punches.

The end credits went full-blown Star Trek VI.

And I totally cried when the movie went full-blown Star Trek VI with its end credits. It's too bad they didn't include the Stan Lee marvel logo that was included in Captain Marvel. This being the capstone MCU movie that everyone is going to see, I feel that tribute would have served this movie well. Or maybe put that tribute at the end of the movie, along with the other credits. Ah well.

 

It's hard to talk any more about this movie without going into spoiler territory. So I'm going to start with minor spoilers and work my way up to the more major ones. If you haven't seen the movie yet, then you can close this page now and know that I give it my fullest recommendation. Otherwise, feel free to read on, but know that things are going to get increasingly spoiler-y as I go on. Feel free to stop if you feel like you're about to read something you don't want to hear.

The remaining heroes must deal with the grief and guilt of having failed to stop Thanos.
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A couple weeks ago, I heaped praise upon the Spectacular Spider-Man TV show, saying that it "might be the best media adaptation of Spider-Man, period!". I still believe that holds true, but Sony's Into the Spider-Verse definitely gives Spectacular a run for its money.

Into the Spider-Verse

Spider-Verse isn't really an adaptation of any of the Spider-Man comics. Not the original Amazing comics, or even the more recent Ultimate comics. It's a completely original story featuring the modern Ultimate Spider-Man, Miles Morales, the son of an hispanic nurse and a black cop in New York. So in that sense, Spectacular remains the most faithful adaptation of the original 60's and 70's, Stan Lee and Steve Ditko comics featuring Peter Parker. I was kind of hoping to see a Josh Keaton Spectacular cameo in this film, but no such luck. Damnit, Sony, bring back Spectacular Spider-Man! Make it happen!

I also said in the Spectacular review that Spider-Man (and perhaps all comic adaptations) are best-suited to television shows in which the long-form, character-driven storytelling of comics can be allowed to play out. Into The Spider-Verse, however, proves that Spider-Man (and perhaps all comic adaptations) also work much better in animation! The animation here is fantastic. The images are crisp and vibrant, and they really "pop" to the point that the movie almost looks 3-D without actually watching it in 3-D. The action is fluid and kinetic. The character designs and costumes are all interesting (especially Spider-Gwen, Doctor Octopus, and Prowler). Kingpin's massive, hunchbacked visage kind of stands out as odd, considering that all the other characters have somewhat realistic body proportions. Everything else, however, looks really good!

Seriously, this movie's visuals will blow you away. I'm talking, like, remember how you felt when Beauty and the Beast, The Lion King, and Toy Story came out. That's how good this movie looks.

Animation if crisp, vibrant, fluid, and kinetic.

Not only is it pretty to look at from a technical level, it's also ingeniously-imaginative. There's some reality-warping, dimension-hopping dreamscapes that put Doctor Strange and Inception to shame. Most of the action is semi-realistically drawn and animated, but certain action scenes go extra comic-bookey with brief still-images of comic-like panels, complete with sound effects and speech bubbles drawn on the screen. Peni Parker, Noir, and Spider-Pig all have their own distinct animation styles that blend in flawlessly with the rest. Peni and her robot mech are from a future Japan, and are drawn and animated in a distinctively anime style. Noir is drawn like penciled-in black-and-white. Spider-Pig is full-blown Merry Melodies cartoon.

...

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Another summer, another onslaught of comic book movies. This year, we're spared the misery of another of Warner's DC Comic movies, so we get two Marvel movies (including the recently-released Infinity War and the soon-to-be-released Ant Man and the Wasp), and we get a sequel to Fox's Deadpool. The first Deadpool was pretty great, even though it wasn't as groundbreaking as it seemed to think it was. Nevertheless, it was thoroughly entertaining, and the sequel follows suit.

I do think that the first movie's humor is executed much better though, as the sequel frequently fell flat for me. That isn't for lack of trying though. Deadpool 2 almost tries too hard. The jokes come fast and relentless. A lot of them fall flat, but the volume of attempts is so high that the audience the audience is chuckling or laughing every couple minutes. It's almost a "Barney Stinson" approach to joke-telling: if you tell enough, at least some of them will work. Then again, it might also be different jokes for different people.

I rarely ever found myself laughing out loud during this movie. I laughed out loud to a few jokes in the first movie, but hardly anything in this one. It was a lot more quietly chuckling to myself or nodding along that "Ah, I get it". At least there weren't quite as many contemporary pop culture references this time around (which means this movie will probably age better than the first one will), as more of the jokes were at the expense of comic book movies and comic books in general. Since I didn't read X-Men too extensively, a lot of it probably just went over my head.

I only found myself laughing at a small fraction of the jokes, including the extended X-Force gag.

Again, Deadpool takes a lot of shots at the studio, complaining once again about the lower budget of the movie and the lack of any recognizable X-Men. He asks if Cable is from the DC Universe because Cable is so dark and brooding, and he takes several other shots at Batman v Superman and Justice League. He also takes a couple shots at Marvel Studios, including referring to Cable as Thanos.

Is the crappy quality of the CGI villain intentional? Is that supposed to be a joke? If so, does that justify the dated CG that was used?

Cable and Deadpool play off each other really well.

It's hard to tell if other signs of uninspired writing are deliberate jokes, or just examples of uninspired writing, especially since Deadpool quips once or twice about the movie's lazy writing. For example, does it really make sense that Deadpool and Cable are trying to stop Firefist from going on a killing spree, even though Deadpool and Cable kill literally everyone in their path to do so? Wouldn't that just reinforce in Firefist's mind that killing is acceptable?

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Arrival movie poster

I did it again. I waited until the last minute to see a hard science fiction film until it was just about to leave theaters, even though I complain about the conventional Hollywood logic that hard science fiction doesn't sell tickets. In my defense though, I was preparing for a trip out of the country when this movie released. So my excuse this time is far better than my excuse for missing opening weekend of The Martian. And once again, this film's 94% on Rotten Tomatoes (as of the time of this writing) and its exceeding box office projections (coming in third behind a Marvel comic book movie and a children's movie) seems to vindicate that Hollywood can still make high-concept, hard science fiction films, that people will go see them, that people will understand them, and that those people will like them.

Arrival is as hard as hard science fiction gets. Think Contact; think 2001: A Space Odyssey; think the Star Trek TNG episode "Darmok". Arrival is all about communication, and it offers an interesting exploration of how language influences the way that we think, and how our thoughts are filtered through the language that we speak. The entire movie is about the efforts to communicate with the aliens, while human beings progressively become incapable of actually communicating with one another. There's no real villain, exactly one explosion, and the threat of China and Russia starting a war with the aliens on the other side of the globe is a distant, but tangible threat. This film is slow and methodical, much like the efforts to teach a new language to someone, and it makes absolutely sure that the audience will be able to follow along with what is going on.

Moreso than our attempts to communicate with aliens, this film is about our ability (or inability) to communicate with each other - at every level of society. From individual relationships, to professional relationships, to political relationships, to international diplomatic relationships, and even the relationship between the media and the public.

Arrival - international communication
Arrival is more about our inability to communicate with each other, than our inability to communicate with aliens.

It's difficult for me to say anything more about this movie without absolutely, completely spoiling everything. Suffice to say, the high-concept science fiction stuff is very well handled. This movie earns some comparisons to Interstellar, but is far more intelligent and manages to not be hokey at all. Read on if you want spoilers...

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Welcome to Mega Bears Fan's blog, and thanks for visiting! This blog is mostly dedicated to game reviews, strategies, and analysis of my favorite games. I also talk about my other interests, like football, science and technology, movies, and so on. Feel free to read more about the blog.

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