After P.T. took the PlayStation Network by storm two years ago (geez, has it already been that long?), I set up my Google news feed with a subcategory specifically for Silent Hill news. I wanted to keep up with the progress of the game, since it looked like the most promising project the series had seen in a decade. After the traumatic cancellation of Silent Hills, that news feed has been mostly populated with articles mourning the loss, or with conspiracy theories about the game's return. Lately, however, a new story has been repeatedly populating that news feed: reviews and interpretations of the Netflix original series "Stranger Things".
With the internet's insistence that Stranger Things is "the show that Silent Hill fans have been waiting for", and some recommendations from co-workers and friends, I decided to give Netflix's new horror thriller a chance. So while House of Cards and Daredevil still sit unwatched in my Netflix queue, my girlfriend and I powered through all eight episodes of Stranger Things within a week.
Stranger Things reminded me a lot less of Silent Hill, and a lot more of Twin Peaks and E.T., but I loved the series nonetheless. I found myself amazed by just how much the show looks and feels like something from the late eighties or early nineties, and by how well it manages to capture a sense of nostalgia for its sources of inspiration without having to license them outright. Hollywood could learn a thing or two from this show. The insistence on reviving franchises like Star Trek, Star Wars, Ghostbusters, Transformers, Ninja Turtles, Power Rangers, The X-Files, etc., is starting to wear very thin. At best, these films feel like high-budget fan fiction. At worst, they feel like cynical attempts to play off of nostalgia for a quick cash-grab. Very rarely do they feel like genuinely inspired works of creative art. This reliance on adaptation instead of inspiration has created a dearth of creativity that in many cases has tarnished once-venerable intellectual properties.
The internet claims that Stranger Things is "the Silent Hill show that fans have been waiting for".
Stranger Things doesn't stoop so low. It wears its influences proudly on its sleeves, but it also remains, thankfully, it's own entity. It never feels derivative; it never feels stale; and it never feels creatively bankrupt. It's not exactly original (as it blatantly incorporates elements of its inspirations into its plots and characters), but it also manages to occasionally surprise with its clever subversions of genre tropes. It never feels like the shallow fan service that I've gotten so used to seeing from Hollywood blockbusters, and (most importantly) I could enjoy it without the baggage of expectations from a recognized namesake.
Much of this is due to the characters and performances, all of which are great... [More]
After the disappointment that was Cities: Skylines' Snowfall expansion, Colossal Order has tried to renew loyalty in the brand by offering free updates and a whole free DLC. Despite my disappointment with Snowfall, I still love Skylines, and I support its developer Colossal Order. They've shown a great deal of good will towards the consumers by offering their game at a budget price, and by continuing to provide exceptional post-release support, maintenance, and improvements to the core Cities: Skylines gameplay. One of the recent major updates added terraforming tools and the ability to create canals. There's also a free DLC called "Match Day", which adds the ability to build a soccer stadium and maintain your own team.
Its game day in the city!
"Couldn't you already build a soccer stadium?" you may ask. Well, yes you could. But now there's an additional soccer stadium (which is oddly much larger than the original soccer stadium), and you can inspect it in order to customize your team and set a handful of policies regarding them. If you team wins games (which happen annually in the game's calendar), then your city gets a large lump sum of reward money. You can increase the odds of winning by enacting the various policies. They include making public transit free on game day, hiring private security to keep the peace (you know, soccer hooligans), or [the much more expensive] option to enact a youth subsidy that recruits the best players from the community. Ticket prices are also adjustable, and affect both the income you earn from sales and the attendance and support of fans. You'll also need to provide adequate transit to and from the stadium in order to encourage visitors (including tourists) to attend the games.
Your soccer stadium has some limited customization options.
Of course, you won't be getting a full-fledged soccer management game. You won't be managing a roster of players, setting depth charts, recruiting new players, or trading players with other teams. This is a city-building game, not EA Sports! I do wish that the stadium had more secondary color customization option in order to personalize it more. It would also be nice if there were multiple stadium architectures to chose from and multiple sports, but I guess we can leave that to the modders. The stadium that was already in the game is still present, but it does not function like the new stadium. I don't see any reason why they couldn't have moved that stadium into the new "Football" sub-category and make it function the same. Hopefully, it's easy enough to mod, say, a basketball arena that has the same policies attached to it. The Match Day DLC is free, so temper your expectations.
I'm kind of surprised that the devs keep adding stuff that generates more money for the city, since Skylines has always had the problem of money being a bit too easy to come by... [More]
The best strategies for defeating bosses in the Souls games typically involves staying as close as you possibly can to the boss, circling around to their backside, stabbing them in the butt, and rolling under their attacks when necessary. A few bosses in the series will break this convention and force the player to have to find different ways of defeating them. Dark Souls III has one particular boss that makes this go-to strategy almost completely futile. If you're able to circle-strafe around the feet of the King of the Storm boss in Archdragon Peak and then still beat it, then I am impressed.
The Nameless King and his storm drake require a different strategy than the typical Dark Souls boss.
Why you should keep your distance
The King of the Storm is one of the rare bosses in the series that actually requires the player to keep your distance from the boss and avoid getting in too close. There are actually quite a few reasons for this, but there are two that stand out as making this boss particularly frustrating for any player who tethers themselves to the boss's feet. The first is that you'll end up forcing yourself into battle with the most ever-present of Souls games' most formidable foes: the camera. Locking onto the enemy is impossible when directly below him, and so you won't be able to see any of what he is doing. He also moves very quickly and can cover a lot of space, so you'll end up spending a lot of time having to micro-manage the camera as you try to manually keep it focused on the dragon.
The second reason is that the dragon has a potent defense against this sort of strategy: its fire breath. If you hang around under the dragon's belly, it won't wait too long before flying up into the air and unleashing an area of effect fire breath attack that can often mean certain death if you get caught in it. Even a health bar that stretches most of the way across the screen can be more than halved simply by being hit with this attack. But that isn't the worst of it. The attack will also knock the player prone, but the fire spray also persists long enough that it can frequently trigger a second hit once you stand up. This second hit will almost certainly kill you.
Getting caught in this flying fire breath attack means almost certain death.
These two reasons should be enough to keep you out from under the dragon, but there are other reasons why keeping your distance is the better option.... [More]
Star Trek: Beyond
I didn't really know what to expect from this movie. I was pleased that Abrams wasn't directing anymore, and that Roberto Orci and Alex Kurtzman weren't writing it. Simon Pegg writing seemed like good news. Justin Lin of Fast and Furious fame directing seemed questionable. The casting of a villain was also disappointing, as it seemed to set the stage for yet another dumb action movie. I watched the trailers, but I tried to avoid larger spoilers and speculation. I didn't want to go into the movie with a bias the way I did with Into Darknes because of all the speculation about Benedict Cumberbatch's character (would he be Khan? Would he not be Khan?).
I was really hoping for Simon Pegg to write a more pure science fiction story instead of a schlocky action movie, especially after the success and hype surrounding The Martian. "Beyond" sounds like a good title for a Star Trek movie. Maybe it would feature the crew of the Enterprise dealing with some kind of environmental challenge out in the unexplored frontiers of space? Maybe it would actually be about exploration and discovery? Maybe it would tell some timeless allegory for the human condition? I could only hope. The announcement of a villain sort of shattered that hope.
Yet another vengeful supervillain looking for a McGuffin doomsday weapon.
It doesn't help that the villain is really under-written, and that the plot revolves around the bad guy trying to get a McGuffin in order to activate a doomsday weapon. We've only sat through this plot a hundred times in sci-fi and comic book movies over the past decade. If his plan was to attack the space station anyway, then I don't know why he didn't just do it right from the start, while the Enterprise (and the McGuffin) were docked. Come to think of it, why is the Federation building massive, civilian space stations within eyesight of an ominous, unexplored nebula? Meh, I guess that's better than needing the Enterprise to warp back and forth between Earth and the Klingon homeworld in the span of a couple hours... [More]
There's still a lot that we don't know about CBS's upcoming Star Trek series for its All Access streaming service. Early information and rumor was that the show would be run by Bryan Fuller (who formerly worked on the Deep Space Nine writing staff), that he had hired Nicholas Meyer (former director of The Wrath of Khan and The Undiscovered Country) to be the show's principle writer, and that the show might be a seasonal anthology series that would take place between the events of The Undiscovered Country and The Next Generation At least some of this information may be incorrect.
Earlier this year, the first teaser trailer was released. It also was not very forthcoming with specific information, but there were a few details that could be inferred.
The first teaser showed little detail, but seemed to imply a confirmation of a seasonal anthology.
The trailer begins in space over earth, but then warps away to exotic locations across space before revealing the show's logo and the tagline "New crews. New villains. New heroes. New worlds.". My interpretation of this teaser (assuming that there's an interpretation to be had) is that it is intended to show us that this new series will be shifting its attention away from Earth and out into deep space. That is promising.
The tagline definitely seems to support the idea of a seasonal anthology, since everything is plural. Granted, it could be a single storyline that just focuses on multiple ships' crews in parallel, but I hope that this is intended to verify that the show is a seasonal anthology in which each new season will be a completely independent, self-contained storyline separate from the previous season(s). However, Bryan Fuller himself has gone on the record as saying that the show is not an anthology series. Instead, he says that the show will "tell a Star Trek story in a modern way". By this, he means that each episode in a season will be a chapter of a larger story. This isn't entirely new to Star Trek, since both Deep Space Nine and Enterprise already had season-long arcs. But even then, those shows were still heavily episodic, with most episodes telling self-contained stories that can be enjoyed on their own without relying on having seen the previous episodes. Not so in this new series. Much like Game of Thrones, Walking Dead, Battlestar Galactica, and so forth, this new Star Trek series will likely require that its audience see every episode, in proper order, to be able to understand what's happening.
A few weeks ago, at Comic Con, we got something a little more concrete... [More]
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