Saturday, July 13, 2024

Thoughts before "Life is Strange: Double Exposure"

It's been rumoured for years now that a fourth main Life is Strange game was in development, and that it would feature as its playable character Max Caulfield, the protagonist of the original. With the announcement of Life is Strange: Double Exposure, we now know that these rumours were true. As is to be expected, Deck Nine Games, who developed the prequel Life is Strange: Before the Storm and the sequel Life is Strange: True Colors, are the team behind Double Exposure.

Life is Strange is one of my favourite games of the last ten years. For those who don't know or who have forgotten, is a choice-based adventure game perhaps more accurately described as interactive fiction. Heavily inspired by Twin Peaks and Donny Darko (among other things), it's about a young woman named Max Caulfield who discovers that she can "rewind" time for herself, allowing her to change her decisions if things don't go the way she thinks is best. She reunites with her former best friend Chloe Price after years away from their hometown of Arcadia Bay, Oregon. Probably the thing people remember the most about the original Life is Strange, beyond the companionship, be it platonic or romantic, of Max and Chloe, is the choice at the end: with a catastrophic tornado approaching Arcadia Bay, implicitly caused by Max's time travel, the player has the choice to either go back in time and let Chloe die, preventing the storm from happening, or let Chloe live and allow the town to be destroyed.

I've always been of the view that it makes more sense and provides a more complete character arc to save Chloe and sacrifice the town, because that means Max accepting the consequences of her actions and Chloe finally recognising her own selfishness and her need to grow up and stop blaming other people for her misfortunes. If you sacrifice Chloe then Max certainly completes a traditional bildungsroman narrative, learning to put the good of society ahead of her own needs, but to me this is not the best or most interesting trajectory for her as a person. To me, it's far more interesting to think about how Max and Chloe would live with the consequences of messing with time: instead of using her powers on one final occasion to try to put things right, but lose Chloe, Max had to voluntarily stop using her powers and accept that she'd messed everything up, and Chloe had to accept that she'd been given a second chance and thus an opportunity to make something of her life, but at a terrible cost.

This all raises a problem when it comes to making a sequel. In the wake of the announcement, plenty of people argued that making another game about Max was a cash grab, an effort for Square Enix to try to generate some easy investment in a new instalment after the controversial Life is Strange 2 and the safe but middling True Colors. Deck Nine have stated that the new game will follow from both of the endings of the original and allow the player to choose Max's situation based on an initial conversation with her new friend Safi. Chloe might be dead, or the town might be destroyed. Whether or not, if Chloe is still alive, Max can still be in some kind of close relationship with her is as yet unknown.

The thing that naturally strikes me as rather silly about all this is that the likelihood of Max's life being so similar ten years later on regardless of which of the two massive events had occurred in her life would surely be incredibly slim. If Chloe died then Max presumably stayed at school, the culprits of the first game's crime were caught, and she was on her way to a new career. If the town was destroyed then, as Life is Strange 2 indicates when that choice is made, she and Chloe would have lives that were completely disrupted by the destruction of Max's school and Chloe's home, and the deaths of many people they knew and loved. It's hard to imagine that the massive disaster of the town's destruction would still lead to Max being in the same place she is in the timeline in which her best friend was murdered but her career was open to her. Of course, it doesn't really matter, I suppose; either way, as the game puts it, she's ended up working at this Vermont university. It just all seems a bit implausible, at least in the scenario in which the town was destroyed.

Nonetheless I do want to play Double Exposure. I quite liked parts of True Colors, especially its DLC Wavelengths, and as flawed as it is I have a lot of fondness for Before the Storm, so I don't mind that Deck Nine is making a sequel to Max's story even if the team at that studio have nothing to do with the people who made the first game. I still want to play Double Exposure and, as much as it might be a cheap gimmick, I'm glad that Max is back; she's always been my favourite character of the series. If anything the person for whom I probably feel most glad is Max's voice actor, Hannah Telle, who seems to have always loved the character and wanted to reprise her. This was the main thing I was concerned about as far as reprising the character was concerned, and if she's back I think it's worth it. As for Chloe, well, I've no doubt that she'll make an appearance, if only via text or something. I doubt she'll be a major part of the story even if she's chosen to be alive and close to Max. I would honestly like to see her but I think realistically her role just can't be that significant; I'm mostly curious to see if it's going to be possible for her and Max to still be together if the player chooses it to be so.

Much else has been said about the questionable "Ultimate Edition" which is both expensive and allows players early access to the first two parts of the game seemingly in an effort to drive up sales by people desperate to avoid spoilers. I'm certainly not averse to calling out the scummy tactics of Square Enix but I'm so out of touch with the mainstream video game scene that I have no idea what's normal and what's not anymore. It seems to me that this is probably the kind of thing that you could wait twelve months for and get the full game and all the supposedly "exclusive" downloadable content in one go. With those things in mind it isn't hard to find myself thinking that even with Max back something's been lost along the way, because of course it has. I myself am in a very different place in my life now than I was in 2020 when I played the original. I don't like to consume something just because it has a title or character corresponding to something I enjoyed before despite no other creative similarities, yet I want to play this. I've always said that Life is Strange has a strange effect on people, appropriately enough, that it makes people aspire to some kind of feeling that they're not getting outside of fiction. I guess in that case it's still working its odd power on me.

Friday, December 29, 2023

Hindsight: A 2022 Cinematic Retrospective

Everything Everywhere All At Once

This is one of those ones where I recognise why people liked it without fully connecting with it myself. I didn't quite engage with the film's message, for whatever reason, as much as I enjoyed the jumping between different realities and the general engagement with the idea of hopelessness. Michelle Yeoh, Stephanie Hsu and Ke Huy Quan are all great in it, though.

Glass Onion

I recommended Knives Out back in 2019, and it's reasonable to say that Glass Onion also gets a review of "It was good and I enjoyed it." It's not as good as the previous, and at times it feels a bit like Rian Johnson was on autopilot making a Rian Johnson film, but the performances, especially Daniel Craig's, carry it. It's just at the point now where Johnson would be more subversive by not subverting our expectations — but maybe that would in itself be too predictable.

The Unbearable Weight of Massive Talent

Perhaps the most amusing idea behind this film is that while it's essentially a film about Nicolas Cage's memelike status in modern internet discourse, Cage himself apparently doesn't really get it and had to be persuaded to do the film. His presentation as a partly absent father is a bit lazy, and I think the ending in which he turns the experience into a film of its own is also a bit lazy, but the chemistry between Cage and Pedro Pascal is consistently entertaining to watch and the film is always at its best when the two of them are simply getting up to mischief. It probably needed less actual plot to drive it than it had.

The Menu

Probably my favourite film of 2022, this was an interesting take on "classy horror" or psychological thriller supported by some strong performances. Anya Taylor-Joy is effortlessly sympathetic and Ralph Fiennes is chilling and tragic. Perhaps its message is a little overblown, but it's one I would easily recommend.

The Banshees of Inisherin

A highlight of 2022, this dark comedy drama about two 1920s Irish friends who have a meaningless and increasingly bleak falling out over nothing significant (one arbitrarily decides one day that the other is too boring and stupid to be his friend) is a memorable reflection of the harm of feuding and pride. Colin Farrell and Brendan Gleeson both give simultaneously amusing and tense performances, and the cinematography of the idyllic landscape against the madness of the feud is striking. It's hard to say anything beyond recommending it, even divorced from any subtext about Irish civil conflict and the extent to which it comments on it.

Halloween Ends

While still not great, this is arguably the best of David Gordon Greene's questionable trilogy of Halloween legacy sequels, perhaps suffering most from the fact that it barely needs to be a Halloween film. Laurie Strode and Michael Myers himself don't really need to be in it; on the other hand, I think it would have been more effective if Corey had been set up earlier in the trilogy. This would have been an ideal role for, say, the character of Allyson's boyfriend or one of her other friends. It does something mildly interesting with Halloween Kills' heavy-handed message about how communities create their own monsters by having Corey channel Michael's murderousness, but it's undermined somewhat by still insisting on a final confrontation between Laurie and Michael at the end. By the low standards of the Halloween sequels, and with some amusing nods to Halloween III being "the one without Michael Myers", it's possibly one of the better instalments.

Weird: The Al Yankovic Story

As a big fan of Weird Al and a reasonable enthusiast for Daniel Radcliffe I was looking forward to this, and it's funny and at times clever if not as uproarious as it might be. By parodying the spate of rock biopics of the preceding years and twisting the facts so that, for example, Al dates Madonna and Beat it is a parody of Eat It, the film is essentially the film equivalent of a Weird Al song. It obviously suffers from being produced during the pandemic, with a small cast and some awkward editing, but I still found it reasonably entertaining. It's not as good as UHF, but making a Zucker Brothers-esque comedy like that these days is probably practically impossible.

Im Westen nicht Neues

All Quiet on the Western Front is one of my favourite novels, and I also hold the 1930 Hollywood-produced Best Picture winning adaptation in high regard. This new adaptation is perhaps too heightened for my taste, with a flair for the over-dramatic. The majority of the action plays out in the last four days of the war for enhanced tension, rather than over four years, and culminates in a pointless pre-Armistice attack not found in the novel. Nonetheless it is vivid and harrowing, and the friendship between Paul and Kat still grounds a great deal of it. While not, in my opinion, the best adaptation of the novel, being perhaps too concerned with the politics of the Armistice (something entirely absent from the novel), and arguably missing the novel's point, it's still probably one of the best First World War films of recent years, being certainly superior to Sam Mendes' 1917.

Friday, June 30, 2023

"Indiana Jones and the Dial of Destiny"

It's going to be my lifelong curse that whenever I talk to people about Indiana Jones I have to say "but I actually like Kingdom of the Crystal Skull. It's not a good movie, but..." And it's hard, perhaps even impossible, not to talk about Indiana Jones and the Dial of Destiny without talking about Indiana Jones and the Kingdom of the Crystal Skull, especially because, to my surprise, it's perhaps more of a sequel to Kingdom of the Crystal Skull than it is to any of the other films in the series. But Dial of Destiny, as the first (perhaps only) Indiana Jones film to be made after Disney's acquisition of Lucasfilm, feels very much like "the fourth sequel" much as Crystal Skull was "the fourth prequel", i.e. Lucasfilm's return to their secondary property after making a bunch of controversial Star Wars films, with all the associated expectations. And the utter loathing people apparently feel towards the, in my opinion, at times meek but never especially objectionable Kingdom of the Crystal Skull was similarly reflected in the leadup towards Dial of Destiny and all the baggage that Lucasfilm has newly acquired with its 2015-2019 Star Wars project. There's even a similar time gap between the release of Revenge of the Sith (2005) and Kingdom of the Crystal Skull (2008) as there is between those of Rise of Skywalker (2019) and Dial of Destiny (2023), pandemic-related delays notwithstanding. I'm not a fan of the Star Wars prequels, nor of the sequels, despite, controversially, having a soft spot for about half of The Last Jedi. Yet in 2008 I was excited for Kingdom of the Crystal Skull and I enjoyed it, and I still do. On the other hand, I was pretty nonplussed about Dial of Destiny. Despite the fact that I think he lost it a long time ago, not having Spielberg directing was one cause for concern, and I have to admit that the casting of Phoebe Waller-Bridge, who I see as a bit flavour-of-the-month the same way Shia LeBoeuf was in 2008, made me apprehensive. It was hard to get excited when I felt like I was just getting Indiana Jones fan fiction.

This is normally the point at which, unexpectedly, I might announce that, having gone to see Indiana Jones and the Dial of Destiny with m'colleague, I loved it. But I didn't. I thought Dial of Destiny was too long and often boring, with sloppy editing, low-energy direction in a number of moments, and a reluctance to get into its character work until the second half suggestive of Disney lacking confidence in the project and having either done reshoots or filmed additional material to increase the running time.

Indiana Jones and the Dial of Destiny isn't bad, per se. But it's not good. There are the ideas and the potential for a good film here, but it's all too slow and lacking in energy to be anything more than mediocre. Kingdom of the Crystal Skull, whatever its faults, in my opinion doesn't drag. You might find it stupid and annoying, but I never find myself thinking "how long is this going to take?" There are multiple parts in Dial of Destiny when I found myself thinking "I'm bored", "this is taking too long" and "when's Marion going to show up?" (the first two  being much like I felt the first time I saw The Last Jedi, as it happens). If thirty minutes were edited out of this film and a number of shots tightened up to improve their pacing it would make a big difference, but I suspect that the problem is at a production level. At its heart the film should be driven by the relationship between Indy and Helena, but probably because of studio executive insistence on this, that and the other being inserted into the story, it struggles to do this clearly until probably an hour into the film. That doesn't mean they don't have early scenes together, because they do, but in those scenes she's presenting a false face to Indy to try to trick him into giving her what she wants, and thus the real relationship isn't established until significantly later.

This is the first point at which I've mentioned Indy himself, which is possibly because on this point I really don't have anything to complain about. Harrison Ford is (unsurprisingly) the best part of the film. He's obviously always enjoyed playing Indiana Jones - I suspect he brings a good deal of himself to the part, and feels comfortable in the role - and his age is no impediment to the strength of his performance; the screen lights up whenever he appears, which fortunately is most of the time despite what people feared about Helena stealing the show (which she doesn't). Kingdom of the Crystal Skull gave Indy a happy ending, perhaps a schmaltzy one, depending on your perspective. Indy found a son he never knew he had, reunited with Marion, and got married. Now it's 12 years later, Mutt's dead, he and Marion have separated again, and despite clearly not having lost his passion for archaeology Indy's been clearly nudged into retirement. Gone is the cozy post-middle-aged Indy of Kingdom of the Crystal Skull, who lived in the same comfy house upstate as he did in Last Crusade and still worked on an old fashioned sandstone campus. Now he lives in a small apartment, puts whisky in his morning coffee, works at a dreary postmodern 60s Manhattan college and grouses at kids listening to the Beatles early in the morning. How did Indy end up here? It's explicable, of course, but feels very much like Dial of Destiny saying "this is what old man Indy should really have been like": not the leafy tenured existence of Crystal Skull but a man out of time clinging to the past. Crystal Skull certainly made some attempts to address this, particlarly with Indy juxtaposed to a mushroom cloud and being accused by paranoid FBI agents of being a Soviet turncoat, but this is more personal.

The problem with all this is that it all just takes far too long for this stuff to be addressed properly. It isn't until the sequence on the boat before the dive, probably well over an hour into the film, that Indy talks to Helena about Mutt and Marion, Marion herself doesn't show up until the very end, and a subplot about Indy's friendship with Helena's father gets somewhat dropped after a flashback about halfway through the film. Sallah comes back but this mostly feels like a nostalgic nod because he didn't get to appear in Crystal Skull. It all feels messy and competitive with different screenwriters bringing different ideas, or perhaps Disney executives mandating certain things be added. It feels doubly strange because the Mutt and Marion stuff wouldn't exist without Kingdom of the Crystal Skull and yet this almost feels, as I said above, like it's trying to respond to or even provide an alternative to Crystal Skull, to say "this is old man Indy done right". This film wouldn't exist without Kingdom of the Crystal Skull and yet it almost feels, perhaps fittingly given the plot, like it's intended to replace it.

The plot, like everything else, is a decent idea not fully realised by the screenplay, editing, action choreography, or some combination of these things. German physicist Jurgen Voller, played well but with wearying typecasting by the ever-reliable Mads Mikkelsen, wants to find the lost "Archimedes Dial" to identify a time fissure that will allow him to travel from 1969 to 1939 in order to kill Hitler such that a more competent leader might bring Germany to victory in the Second World War. It was very predictable that in an effort to appeal to the nostalgic that Indiana Jones would fight Nazis again, and by having a Werner von Braun type in that role the Moon Landing backdrop makes sense. My one issue with this is that all of the Moon Landing, Operation Paperclip and general Space Race, Cold War and Vietnam War stuff feels so perfunctory that it's almost not worth it being included, almost like the filmmakers wanted to do something with it but were scared of evoking the very overt 1950s dressing of Kingdom of the Crystal Skull; as such, once the film extricates itself from Manhattan, it doesn't particularly feel like it's set in 1969 at all, instead being just another Indiana Jones adventure in which he fights Nazis for a good chunk of it, with Indy just happening to be old. That is, until it isn't, and it again becomes about Indy feeling old and like he screwed up his life, and Helena having to prove to him that he shouldn't just let himself die in 212 BC.

I will admit that the bizarre ending, in which the overconfident Voller brings himself, Indy, Helena and his men not to the eve of the Second World War but the middle of the Second Punic War, and in which Indy meets Archimedes himself, is refreshing for the sheer novelty value of getting to see a period of history very rarely realised in modern blockbuster cinema, even if there's a lot of uninteresting CGI. Voller's plan going disastrously awry and his realisation that he's made a terrible mistake are true to the series and satisfying to watch, and Mikkelsen plays the whole thing very well. I also like that (contrary to how a lot of people seem to be interpreting it online) the Archimedes Dial isn't itself a time machine and doesn't open up time portals or something, it just detects them, with an appealing element of predestination. I similarly appreciated that it wasn't another Biblical artefact, with this being playfully nodded to in the opening when both Indy and the Nazis are initially more concerned with the Spear of Longinus, which turns out to be fake.

But it all just takes so long, becomes so repetitive, especially with Indy and Helena twice having to steal a comically small vehicle to pursue or outrun Voller, and at times feels like it is taking place in indistinct CGI world, that I found myself never being effortlessly entertained. The opening de-aged sequence, which is about twenty minutes too long, seems to very much take place in the same video-game state as the much-disliked Jungle Cutter sequence from Kingdom of the Crystal Skull. Waller-Bridge is perfectly fine as Helena but it just takes too long for us to really get to know her and for her relationship with Indy to properly develop, and that's what it all comes back to. For a film that's all about moving forward, not getting lost in the past, not giving up and letting obsession or regret consume your life, it takes a hell of a long time to get there. And that's frustrating because, a bit like (some of) the Star Wars sequels, it feels like it could have so easily been better but that Disney, somewhat paradoxically, didn't have the confidence to make a good film and opted to make a mediocre one instead.
 
I'm prepared to change my mind upon rewatch, and rewatch I will, because this is, after all, an Indiana Jones film starring Harrison Ford, even if it is glorified fan fiction. But I'm almost inclined to say that "mediocre" is in some respects too high in terms of praise and that the film's editing and pacing issues are so egregious as to quite possibly ruin what could have otherwise been a perfectly good sequel. I was fine with Kingdom of the Crystal Skull being the last one. If you weren't, maybe this will be a more satisfying conclusion. If only it could have concluded about half an hour earlier.

Saturday, April 22, 2023

"Coffee Talk 2": First Impressions

It's a clear sign that I'm getting soft in my old age (or, rather, my thirties) that Opinions Can Be Wrong has become a place where I'm not using my increasingly infrequent posts ranting about how my favourite childhood TV shows have been revived badly or how stupid people on the internet are and am instead waxing sentimental about characters in an Indonesian visual novel. Coffee Talk, by Toge Productions, which released in 2020 and which I played in early 2021, is one of my favourite games of the last couple of years. That's probably for two reasons; one was that it was a game about going out and meeting people that I, like lot of people, first played during the isolation periods of the Covid-19 pandemic. The other is probably that a number of the characters were regulars, and one was a writer who came to the titular coffee shop to write fiction, just like I used to when I was a regular at a Sydney bar that closed when the pandemic began. Coffee Talk is a visual novel about making drinks for the customers in an urban fantasy Seattle that come to your late-night café, chatting to them and listening as they chat to each other. You have no control over what your character says: this isn't an adventure game or an RPG. You only have control over what drinks you serve them. Serve the right drinks and you might make their lives a little better and make it easier for them to communicate with each other. Throw in pleasing pixel art, ear-catching lo-fi music and a generally relaxing tone and, while the writing occasionally came across as a little naïve, the atmosphere was practically perfect for what it was trying to be.
 
It felt natural that there should be a sequel to Coffee Talk. It's the kind of premise that could be continued more or less indefinitely, with characters coming and going. I think for a long time there'll be places where people looking for good drinks and good conversation will go to spend a little while. Thus it wasn't too much of a surprise when Toge announced in mid-2021 that the game would have a sequel. Since then I was waiting patiently but with fairly constant anticipation, as the game was delayed from a 2022 release to 2023 and the Indonesian game development scene was shaken by the untimely death of Mohammad Fahmi, the first game's creator. I played the Coffee Talk 2 demo when it came out, searched in vain for whether anyone had uploaded the trailer and demo's lo-fi rendition of a classic Erik Satie piece anywhere, and wishlisted the game when its "Coming Soon" page went up on Steam. When the day finally arrived, after initially thinking "I'm not sure I'm actually excited", I found myself counting down the hours for it to release.

So far I'm four hours into Coffee Talk Episode 2: Hibiscus and Butterfly, and I think I'm about halfway through the game. However, I don't want to wait until I've finished the game to get some thoughts down, and I don't want to rush through it. One thing I noticed fairly early on is that while the visuals are still of the same style, and the music is by the same artist, and still excellent, something felt a little different. Coffee Talk 2 doesn't have the same writing team as the first game; this is, apparently, unrelated to the passing of the original creator, who from what I've read had not been closely involved in the sequel's development. While many of the characters' voices are brought over very well, and largely feel like an evolution of who they were before, it does feel different. The barista player character, in particular, feels a lot more bubbly and a lot less uptight than in the first game, and there's a rather more frequent use of exclamation marks in the dialogue which, for a game without voice acting, rather affects the tone.

This, as it turns out, isn't a bad thing. I have to admit that there was a point on one of the game's early days, the third I think, in which the game came close to losing me, when it was focused on the new character Amanda, the extraterrestrial sibling of the fan-favourite alien character Neil from the first game, who now calls himself Silver. This almost seemed too much like fan fiction of the first game to me, too much of a "wouldn't it be funny if this happened next." However, the game quickly won me back when on the next day it drew a little attention to the slight change in the characters' voices, intentionally or otherwise, and generally I think it feels as if the characters' continuation makes sense from where they were at the end of the first game, and that the new writers cared about the first game's characters (if, sometimes, a little too much, throwing in a few too many nods to continuity).
 
The one thing that really stands out is the absence of Freya, the main regular from the first game, who is said at the start of this sequel to be out of town. Freya was by far my favourite character in the first game, probably because she reminded me a bit of myself. I know from the trailers that she shows up at some point (I'm guessing she'll come back from her trip on the final day), and she's still the first character to appear when you start up "Endless Mode" to experiment with making drinks, so I recognise her absence, as conspicuous as it is, to be an intentional device, and one that was probably necessary to give this game a bit of a different feeling. As such, ultimately I think this was an effective choice on the part of the writers. Freya was such a major presence in the first game that she almost had to be moved to the peripheries here in order to create space for some new stories. In this regard, however, it's worth noting that the game will probably make a lot more sense to people who have played the first game, as almost every character from the original shows up in the sequel and there are actually only a few new faces.

So far I think Coffee Talk 2 is a decent sequel. By its nature it can't be as fresh as the first, and at times the writing isn't always entirely a natural continuation of the original game, but it's doing a pretty good job so far. Back in 2021 I tried to write a review of the first game that I never published because I felt like I was unable to say anything that other reviews hadn't already said. Perhaps after this I'll see if it's worth doing any kind of holistic retrospective on the two games and the general idea of a sequel written by new authors. In the meantime, I think I have a good few hours of Coffee Talk 2 to go, and I have to say if anything it's just nice where I don't feel like I have to force myself to pace myself but nor do I feel unmotivated to play a little more each day. So far it's all pouring out quite smoothly.

Friday, December 30, 2022

Hindsight: A 2021 Cinematic Retrospective

Due to a combination of lockdowns and apathy I barely watched any new films in 2021, so perhaps for the first time ever for that year the list of films I didn't see vastly outnumbers the list of films I did.

Didn't see:

Willy's Wonderland

I think I wanted to see this initially because the premise (despite being based on the ongoing popularity of Five Nights at Freddy's with kids) isn't terrible and Nic Cage has done some good weird films in the last few years like Mandy and Color Out of Space but apparently this isn't much cop.

I Care A Lot (technically 2020)

This is technically a 2020 film but I don't think it got a release out here until 2021. Rosamund Pike is usually good value so I wouldn't mind giving it a go.

Zack Snyder's Justice League

I don't care if it's better than the theatrical release of Justice League; I still don't care.

A Quiet Place Part II

I also didn't love the original A Quiet Place enough to bother seeing this one.

Black Widow

If this had been released before Avengers Endgame I might have cared but I'm only going to watch this if I feel some desperate need to catch up on Marvel films before, I don't know, the Fantastic Four film they say they're gonna make.

The Suicide Squad

I actually do want to see this since I've heard it's quite decent.

Don't Breathe 2

Same with A Quiet Place Part II, I didn't need to see a sequel to this film about being silent either.

Shang-Chi and the Legend of the Ten Rings

I should really watch this because a friend of mine did stuntwork in it. I'll get around to it eventually.

No Time to Die

More like "no time to waste on another James Bond film I already know I won't enjoy."

Eternals

What's this Marvel instalment even about? I once considered myself reasonably knowledgeable about superhero comic books but these characters are too obscure even for me.

Ghostbusters Afterlife

I don't want to watch a serious tribute to an Eighties comedy film. Why has Ghostbusters become so sacrosanct?

Spider-Man: No Way Home

I've heard this is good but seriously, didn't the previous Spider-Man film only come out about a year before? Too much Spider-Man for me. I don't care enough about the Raimi films to be excited about Maguire and his enemies coming back either.

The Matrix Resurrections

There's only one good Matrix film and it came out in 1999. Not remotely interested.

Films I actually saw:

The Conjuring: The Devil Made Me Do It

I knew this was going to be bad. James Wan didn't direct it and, like so many of the awful "Conjuring Universe" spinoff films, it was directed by a nobody whose only other noteworthy work was on another shitty Conjuring spinoff. I think the bits where Ed and Lorraine are in the woods investigating the case are the only decent bit in this piece of garbage that completely fails to have any of the tension or dread of the first two films. It's an absolute farce.

The French Dispatch

Wes Anderson does his Wes Anderson routine. Visually engaging, stylish and at times amusing, but sexist and oddly repugnant in its advocacy of the prescriptive and the doctrinaire, the celebratory nature of the concept at times strikes rather as fearful and conformist.

Munich — The Path to War

Based on one of Robert Harris's (in my head) endless stream of World War Two thrillers, this is a relatively well-made period piece with a decent bit of tension for the fictional protagonists, but I thought the pacing was weak; it goes for two hours but felt to me like it went for about four. The highlight is Jeremy Irons as Neville Chamberlain and the film probably would have been a good deal more interesting if it was just about the 1938 Munich conference, Chamberlain's rationale, Hitler's psychology and the betrayal of Czechoslovakia without the go-nowhere spy thriller stuff added on. I didn't actually watch this until late 2022.

Halloween Kills

After the mildly decent 2018 continuity reset, the Halloween franchise immediately reverts back to being about Michael Myers killing stupid people in ridiculous ways. Full review here.

Titane

By default my "best film of 2021", this Palme d'Or winner about a disturbed young woman who has sex with cars, murders people and impersonates a desperate man's missing-presumed-dead son was a visually engaging if at times slightly obvious portrayal of frustration, alienation and grief. Not for everyone, but I liked it.

Saturday, October 8, 2022

"The Excavation of Hob's Barrow"

Full spoilers for The Excavation of Hob's Barrow within.
 
For some reason it's taken me a while to warm up to the idea of playing adventure games made in Adventure Game Studio (AGS). I don't really have a good justification for that beyond perhaps having played Yahtzee Croshaw's Chzo Mythos games too many times as a kid and not being terribly interested in the urban fantasy or cyberpunk genres, which seem to be a recurrent setting for a lot of commercially released AGS games such as those developed and/or published by Wadjet Eye Games. Regardless, the itch to play some more point and click adventures struck me this year and on recommendation I initially played Clifftop Games' Kathy Rain, followed by Wadjet Eye's Shardlight and, most recently, Cloak and Dagger Games' The Excavation of Hob's Barrow (published by Wadjet Eye), and while none of these games are quite the sprawling puzzle-driven experience of, say, a classic LucasArts title, they've all shared strong atmosphere and decent if not always massively original approaches to story and characters.

I was actually reminded of the approach of The Excavation of Hob's Barrow when some promotional material for it was shared by Airdorf Games, developer of FAITH, on Twitter, and given that Return to Monkey Island had put me in the point-and-click mood it was more or less an instant purchase. I like stories set in Victorian England and I also enjoy weird fiction and folk horror, so everything I saw made me think that Hob's Barrow would probably appeal to my sensibilities.

And indeed I spent a good part of a recent long weekend playing Hob's Barrow and I found myself coming back to it each day wanting more, which I think is about the strongest recommendation I can give. It's far from perfect, but given that it was apparently developed in the developer's spare time I think it's an admirable achievement. It took me about eight hours to play through, and that was with a fair bit of wandering around following the game's various objectives, but I wouldn't be surprised if it took less time for an experienced player. Regardless, I think it was worth the twenty-ish bucks Australian that I paid for it.

In Hob's Barrow you play as Thomasina Bateman, a "barrow digger" or, to put it in more contemporary parlance, a Victorian-era paleontologist-archaeologist who has come to the small town of Bewlay in northern England at the invitation of one of the locals to excavate an ancient grave site. As usual with this kind of folk mystery experience she faces a good deal of obfuscation, superstition and reservation from the locals while getting to know the town and countryside. Over the course of the game her own backstory is revealed, and the mystery of the titular barrow, and her own involvement with it, is uncovered.

The strongest element of Hob's Barrow is the atmosphere. The game is set in a small rural town in the north of England, amid sweeping moorland and beneath overcast skies. Rain and foggy evenings add to the feeling of both quietude and sublimity of such a landscape. The music contributes to this significantly as well, with a strong ambience pervading many of the scenes. The game is also rendered in the kind of engaging pixel art that I personally really love and which has become a convention of these kinds of games. It's only let down on a few occasions when elements are scaled at different resolutions, which creates a visual clash; old LucasArts games would compress sprites when they were intended to appear at a more distant perspective, which looked crunchy, but at least they still fit within the image because a pixel was still a pixel. When you have low-resolution pixel art blown up to a higher scale to fit modern screens, it doesn't work so well when some sprites in the "distance" seem to be at a higher level of detail than the rest of their environment. Nonetheless, the game has a decent amount of sprite animation, and isn't too reliant on the fade-in fade-out technique that a lot of lower-budget adventure games use to avoid having to animate complex actions.

My biggest critique of Hob's Barrow would largely come down to the story and characters. There's a curious recurrence in all the AGS games I've mentioned in this review of having the protagonist be a young woman with an absent father or father-figure, and for her relationship with her father to in some respect drive her motivation or characterisation, and I find it also noteworthy that all three of these games were written, as far as I'm aware, by men. Thomasina's father William was a barrow-digger before her, but has been a silent invalid for decades as a result of an unexplained accident during her childhood. Thus her motivation begins with trying to carry on her father's legacy; it ultimately ends with her trying to cure her father of his ailment. Perhaps it's just me, but I find this parent-driven characterisation, while realistic, a little tired as a character device.

Similarly, the plot is perhaps too conventional for its own good. Thomasina is invited to excavate the barrow by one of the locals, and it's ultimately revealed that not only had her father excavated the same site previously, but it was the cause of his accident. While the discovery is naturally disturbing in-game for the character, it's a little neater than I like in this kind of strange story. Further, it's ultimately revealed that certain locals have brought Thomasina there for the very purpose of uncovering a powerful force that was previously sealed away by her father, in the hope of releasing it so that it will grant them power and plenty. If you've ever seen the original The Wicker Man from 1973, elements of this conspiracy plot aren't too surprising. Further still, while the game spends a good deal of time introducing the town of Bewlay and its inhabitants, the dénouement with the actual barrow excavation and the uncovering of its secrets is rather hastily done and doesn't give itself too much time to build up a sense of dread and inevitability. When friendly local Arthur Tillett reveals to Thomasina that he overheard her two apparent allies discussing the plot to lure her to the town, it gives away a bit too much too unambiguously (and too soon). Similarly, the game builds up and up to the actual excavation, only for the entire process to occur in a narrated cutaway, when having the excavation take several days and have its own complications would probably have heightened the tension. Further, once she enters the barrow itself and comes across strange ruins and eerie purple lights, unfortunately I found it all rather too much in keeping with a typical pastiche of a story by H.P. Lovecraft or one of his imitators. The game's commentary mentions the ghost stories of M.R. James as an inspiration, but I don't quite see it. A clearer inspiration is the point and click horror adventure game series The Last Door.

I also wanted to add that the use of the period setting feels a little inconsistent. At times the characters speak and interact much as I imagine Victorian-era people would, especially with an outsider. However, I can't help but suspect that in reality an unaccompanied young woman arriving in town, asking lots of questions, frequenting the local pub and getting about in breeches would probably have caused a massive stir at the time. I appreciate that this is partly the point of Thomasina's character but sometimes it makes it difficult to take the setting entirely seriously. One thing I noted in particular is that some of the characters are implausibly familiar with Thomasina and vice-versa, using first names and nicknames; it's also not very realistic, I don't think, that Thomasina, as an upper-class or at least upper-middle-class woman of the time, would need (or even think to use) a maid to introduce her to the local aristocracy. These are just nitpicks of course but they stand out when at times the characters do seem to speak mostly in an appropriate idiom and behave as people of the era would.

As far as gameplay is concerned, Hob's Barrow isn't a particularly difficult puzzle game. The puzzles generally require more exploration than lateral thinking, taking the opportunity to re-explore the environment after certain conditions have changed. The town of Bewlay feels large enough and each day there is a list of goals, which helps with keeping track. A seasoned adventure game player won't be slowed down by any of this but it does given the opportunity to let the environments feel well-used, which, given that the game's atmosphere is its strongest feature, makes them complimentary of the broader picture. I should also add that apart from some children's voices which are clearly just adult women adopting squeaky tones the voice acting is strong overall, as is the use of appropriate regional accents and slang.

Overall, despite my view that it's lacking a certain degree of originality in terms of its story and characters, and has some issues with pacing, I enjoyed playing The Excavation of Hob's Barrow. Folk horror is an interesting concept, preferably when it isn't too needlessly Lovecraftian, and this game certainly kept me invested. Further, as I've said above, I have to give the developers credit for making this game as a side project. The main takeaway, I think, with all of these points is that atmosphere can be a huge factor in the success of an adventure game, and creating a world that players want to stick around in goes a long way, even if other elements are very familiar.

Saturday, September 24, 2022

"Return to Monkey Island"

  

Full spoilers for Return to Monkey Island contained within.

 

I’m one of those people for whom Ron Gilbert and Dave Grossman coming back to Monkey Island was a big deal. I’ve been a huge enthusiast for these games since I was about four years old, having first played The Secret of Monkey Island in 1993 and LeChuck’s Revenge not long after, and playing each of the subsequent games in the series as they came out. LeChuck's Revenge is my personal favourite, and since I was old enough to understand that the development had changed hands several times over the years I’d been aware of the desire for the original designers to return, and with the announcement of Return to Monkey Island it seemed like that was what was finally going to happen. When it did come out m’colleague and I even did things as we would when we were kids, playing together and passing the mouse back and forth.

Playing Return to Monkey Island was a fairly intense experience for me because of the significance it holds for me, but after replaying it on Switch (my first play-through was on PC), and then again on PC, I think I’ve more or less settled on an opinion: I like this game. I love parts of it. But it’s also an absolute mess, with way too many ideas, uninteresting unfunny secondary characters with too much dialogue who Ron and Dave clearly loved a lot more than I did, plenty of elements that feel out of place even for a concept as ambiguous as Monkey Island, an unnecessarily convoluted plot and an over-reliance on uncompelling MacGuffin-hunting to structure the story.

By the standards of traditional puzzle adventure games, Return to Monkey Island is very easy. It's certainly a good deal easier than Gilbert's previous adventure game, 2017's Thimbleweed Park, some puzzles of which stumped me for quite a while before I figured them out. I played Return on “hard” and didn’t need the game’s built-in hint system whatsoever, although I admittedly solved a couple of puzzles more by accident than because I grasped the logic behind them or found all the necessary clues. As a result it also doesn’t feel terribly long, although the original games weren’t either. It’s probably about the same length as the second game, albeit with easier puzzles.

In terms of presentation, the visuals won’t be to everyone’s taste, as pre-game discourse (and the now seemingly de rigeur online histrionics that accompany any pop culture artefact's fanbase) already established. While I didn’t have much of an issue with the art style I do think some of the character design wasn’t entirely successful and the animations at times lack a bit of weight and momentum, especially compared to the other “2D” entries in the series. The music, however, is as good as ever, with a number of tunes from the earlier games appearing and some memorable new ones; my favourite new composition is the Brrr Muda throne room tune.

As a new entry in the Monkey Island series, Return to Monkey Island at times feels strangely out of place. The unsettling Terror Island and the icy Brrr Muda feel more like elements from a fantasy game than a Monkey Island game, as does the game’s eventual hunt for a set of golden keys. None of these islands are fleshed out; indeed there are rooms on Terror Island that serve no purpose, and it is possible to find a sunken machine-themed island which was otherwise cut from the game due to a lack of time to implement its content. The very piratey world of the first three games in particular is not to be found here, which is a bit of a shame. At the same time, the game reprises locales in the shape of Mêlée Island and Monkey Island, which Escape from Monkey Island already did, albeit many years ago, so the novelty of returning to them is not as fresh. I think the game would have been better served by taking place in entirely new seas, much like LeChuck’s Revenge, Curse and Tales.

Like the worldbuilding, the character work and plot of the middle of the game also aren’t great. A lot of time and attention is devoted to fleshing out new characters, especially the new Pirate Leaders and LeChuck’s crew, but despite the swathes of dialogue devoted to them they’re not terribly interesting and most of them you barely interact with after Part III. Madison, Lila and Flair in particular all feel rather interchangeable, and Trent is pointless. Only aspirational zombie cook/chef Putra and workshy demon lookout Flambe stick much in my memory. Returning characters similarly aren’t amazingly engaging either. LeChuck has neither the menace of LeChuck’s Revenge nor the ebullience of Curse, feeling like a relatively generic villain (although that may be intentional, but given the game's themes almost any criticism could be labelled as intentional or at least explicable). A little drama seems to be building with Elaine and her disapproval of Guybrush’s selfish actions, but this ultimately ends with her just offering him a warning not to get too caught up in his obsessions rather than generating any genuine conflict between the two of them. Indeed Elaine’s writing is so inconsistent that at times I was wondering if it would be revealed that she wasn’t real, wasn’t alive or wasn’t really Guybrush’s wife; in the end, however, it just seems that she's mildly concerned but ultimately not especially bothered by his shenanigans, and it all feels a bit tepid. Guybrush himself seems to be more of the dopey incarnation from Escape and Tales, rarely exhibiting either the wit and dry humour of Secret or Curse or the mischievousness of Revenge. The earlier games, especially the first two, greatly benefited from the brevity of writing necessitated by disc space limitations; this game has a “Writer’s Cut” mode with “more blather, worse pacing”, but it feels like a lot of the blather and pacing problems stayed in regardless. I completed my third playthrough with the voice acting turned off so that I could read the dialogue at my own pace and this improved things quite a bit, and I wonder if part of the issue is with the dialogue not really having been written by Grossman to be performed aloud.

And from the characters I move onto the plot. It’s perhaps intentional, given the framing device, but the plot is also messy, with Guybrush chasing his goal to Mêlée, to Monkey Island, back to Mêlée Island, to a bunch of other islands and then back to Monkey Island again, and with the involvement of an over-large group of new antagonists who aren’t very important and don’t contribute much of significance to the plot besides providing a few narrative explanations for things that were relatively incidental. Unlike the Monkey Island games of old, in which Guybrush generally had a relatively broad general goal to work towards with several sub-goals, much of this game apart from the fourth part and the overall quest for the "Secret" feels very much like a series of small consecutive incidents in the manner of the story pacing of an interactive fiction game, but without the necessary character work that makes this kind of thing compelling in the best examples of the genre. The game opens up in its fourth part with Guybrush searching for five keys, but the very arbitrary-feeling MacGuffin-hunt nature of this is also not massively compelling. Searching for map pieces in Monkey Island 2 at least felt "piratey". While some have complained that the game’s ending feels like a rehash of the second game, it’s probably this part which has the most in common with it.

Perhaps it’s time for me to get to the best part of the game, the framing device and the connections this games makes to the mysteries posited in LeChuck’s Revenge. This game purports initially to resolve the mysterious ending of that game, and in the eyes of many it does; little Guybrush and brother Chuckie emerge from the tunnels of an amusement park — but no, now they’re just pretending that the couple they run into are their parents, and soon enough it’s revealed that these two kids are not Guybrush and child-LeChuck at all, but rather Guybrush’s son and his friend Chuckie playing at “the end of Monkey Island 2”. My interpretation is that this doesn’t affect the ending of LeChuck’s Revenge at all and is rather these two kids re-enacting what they think happened at the end of that game, just like two fans playing that game and then speculating about what it all means or what would happen next — note that they’re not brothers in this game and the Big Whoop amusement park from the end of that game which initially appears here is soon replaced with some run-down beachside facilities that still seem to exist in the pirate world. This opening really leaves the player with multiple interpretations: you can still have the original LeChuck’s Revenge ending standing with all its own ambiguity, and it’s just a coincidence or an extension of fantasy and deliberate ambiguity that friend Chuckie here looks like brother Chuckie from back then, that the couple look like Guybrush’s parents from the second game and so on; it also leaves Curse intact if you want to believe that they’re just re-enacting based on a story they’ve heard and that in reality Guybrush was under a spell in LeChuck’s evil carnival; and then if you want you can imagine (although I entirely doubt this was ever anyone’s original intention) that when we saw those two little kids in the amusement park in the second game it was actually just these same two little kids pretending the whole time. I’ve already seen people saying “this reveals that the ending of Monkey Island 2 was actually Guybrush’s kid son and his friend pretending,” and I don’t think that’s quite what we’re meant to take away from this, but the strength of this device is that it leaves it entirely to the player’s imagination.

And this ultimately extends to the entire story, as Guybrush is telling the tale of how he went looking for the Secret of Monkey Island to his son, and we can choose how much or how little it or any of the other games are true. Guybrush emerges from the tunnels beneath Monkey Island at the end to find himself back once again in the alley of Mêlée Island, much as Dinky Island led to it in Monkey Island 2, and it’s much more explicitly an amusement attraction this time. However, even this is captured in the framing device, and you can choose to believe that Guybrush really was in an amusement park, or that it was just a deliberately weird ending he made up to amuse (or annoy) his son; all that the ending confirms (arguably) is that Elaine and his son exist and seem to in some respect live in a pirate world with galleons and maps to lost treasure, which ultimately suggests an amusing and engaging kind of recursion in which Guybrush is a pirate who goes to an amusement park in which he pretends to be a flooring inspector who pretends to be a pirate who lives in a pirate world which is secretly an amusement park and so on. There’s no beginning or end to what’s “true” and Gilbert and Grossman both give a common but often forgotten insight about storytelling (“what’s true or not doesn’t really matter as long as it’s a good story”) and, I think, display a certain degree of benevolent indulgence of (or perhaps bemusement at) some members of the Monkey Island fan community’s slightly ridiculous obsession with the “canon” and continuity of a series of silly pirate adventure games. And indeed while the framing device reflects a general passing down of stories from one generation to the next, like original fans of the early games who are now old enough to introduce them to kids of their own, in some respects older Guybrush is also like Gilbert and Grossman, and little Boybrush represents the fans, theorising about the mysteries of the game and needing to be nudged toward the idea that maybe said theorising was always the best part of the experience.

Thus while Return is in some respects similar to Revenge, it’s a much less cynical game than that one. Monkey Island 2’s ending could be argued as a rather negative or pessimistic one, cruelly tearing away a comforting fantasy or, if you want to be more metaphysical, implying that, like Guybrush, we are all victims of a vast cosmic hoax with no perpetrator and that everything we think is meaningful is actually a façade maintained by the crude mechanisms of existence hidden behind the scenes. But if Big Whoop was nothing, then the Secret discovered at the end of Return is everything, whatever the player wants it to be, and as the letter from Gilbert and Grossman unlocked after completing the game attests to it’s a viewpoint that, at least in some cases, comes with age. Further, somewhat surprisingly, Return to Monkey Island is quite comparable in its message to another 2022 adventure game I reviewed on this blog, Who’s Lila?, which also argued that the point of a truly great mystery was to be a mystery and not necessarily to really be resolved. Return also re-asserts the message of the first game of the importance of the journey over the destination. But perhaps the most important thing about this device is that Gilbert and Grossman quite generously set the Monkey Island series free from the notion that has plagued it for years that on some level it “belonged” to Gilbert and his original co-creators and that only he could tell the true story. Instead, he and Grossman say that all of the games are true because all of those stories are told. Guybrush might be a guy who loves to have fantasy pirate adventures in an amusement park or he might be a pirate who playfully embellishes the stories he tells his son with out-of-place nods to amusement parks and anachronisms, or both, or something in between. Monkey Island thus isn't any one story and doesn’t “belong” to anyone in particular; it’s been shaped by Gilbert, Grossman, Schafer and their colleagues who made the first two games, but also by the teams who made Curse, Escape and Tales, and it’s been shaped by the fans and indeed anyone who’s played it over the years. The game even offers an out, albeit an amusingly somewhat mocking one, for people who hate the idea that the Monkey Island world might not be real; you can use Stan’s keys to go back into the Monkey tunnels, climb back up to the entrance and, to quote the game’s interface, “deny what I thought I saw downstairs and return to the world I know.” That’s okay too — if a player really needs it to be.

Overall, Return to Monkey Island is a mixed bag. It was never going to be, nor was it ever intended as, the nonexistent “true” third game in contrast to Curse, and to be quite blunt, even if it were intended as such, it wouldn’t have succeeded, because Curse is a better, funnier adventure game than this. But as a commentary on the series, its baggage and what it means to both the many people who have worked on the various instalments over the years as well as its players it succeeds admirably. It’s both less than I hoped for and more than I expected. But it was probably always going to be that way, and the game knows it. Whether that’s enough is up to the player to decide, but the game knows that too.