Halloween (2018) Review – 8.5/10

I saw the original Halloween (1978) in 2008. I watched it for a class I took on horror films. Even 30 years later, it still stood up as an excellent slasher film. What I like about it is that unlike many other slasher films of that era, it actually looks good as far as conventional film making practices. Many horror films, both in and out of the slasher genre, aren’t shot particularly well. They often have a very low budget look to them which in many ways became the standard and has since the early 80’s been done intentionally, which I personally think is a stupid genre trope. The original Halloween is responsible for creating and/or normalizing many of the slasher/horror tropes we are used to today and it’s within that context that one should watch Halloween (2018), the direct sequel to the original film.

*Please note that from here on whenever I say Halloween I’m referring to the 2018 film unless otherwise stated.

The first thing that needs to be noted about Halloween is the attention to detail and consistency within the timeline of the franchise/story. The original film takes place on Halloween 1978 in Haddonfield, IL. In the original film, it’s stated that the villain, Michael Myers, murdered his sister when he was six years old on Halloween 1963 in Haddonfield, IL. Halloween takes place on Halloween 2018, exactly 40 years to the day later, with Laurie Strode (Jamie Lee Curtis in both films) facing off against Michael Myers in Haddonfield, IL again. It’s a beautiful coupling of history, canon, and aesthetic that many horror franchises have never and will never get to accomplish. And it makes the film way better. I assume this is even more the case if you watched the original in theaters 40 years ago. Note that this film acts as a direct sequel to the original and disregards all the various nonsense shown in the countless campy Halloween sequels and remakes that have been made over the years.

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Halloween is effective in its storytelling because it builds off of the original film’s ideas but modernizes them both in aesthetic and plot. It’s still Haddonfield, IL. It’s still a nice, presumably safe suburb full of happy families, friendly neighbors, and angsty but ultimately harmless teenagers. Though it’s set in 2018, a world full of various issues political, cultural, and otherwise, that’s not part of the film. Though it is commented on near the beginning in a single short conversation, the rest of the world doesn’t really matter here. This isn’t a story about the world or society at large. This is simply the story of maybe 100 people being affected by the actions of one man. You don’t have to read more into it and you shouldn’t. Whether it’s 1978 or 2018, teenagers still go to school, fool around when adults aren’t looking, and live mostly inconsequential, carefree lives. And that’s how it should be. Really that’s what Halloween, in the modern American context, is supposed to be about.

The Haddonfield of today may have some of the modern conveniences that weren’t present in 1978 like cell phones, but really little has changed. It still has a sheriff’s department instead of a police department. People still leave their back doors open. Most people don’t have security systems. It might not be how America is often depicted today in news media, but it’s the America people like to pretend still exists. And in many ways that makes it scarier. The most noticeable change in this film compared to the original and really most horror films of the 70’s and 80’s is that now there are considerably more Black people, with speaking parts, and none of them were the first one to die. #Progress!

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The film recreates a similar story where Michael has once again escaped custody the day before Halloween and has decided to return to his hometown to murder people at seemingly random for no explained reason. Really that’s my biggest beef with this and the original film. Michael simply is evil. We never get any insight into why he kills people and why he does it on Halloween. He just does. This movie takes the time to argue that some people just are pure evil. That there’s no explanation or justification for it. Michael Myers simply kills. While I may not like this explanation, it does accomplish two things rather well. First, it removes the need for a legitimate backstory and/or explanation. Often these come off cheesy and don’t necessarily make the film any better. I appreciate their presence in movies, but can admit that most of them don’t make any sense. How did the boy who drowned in the lake come back to life? How did the man become an evil spirit that hunts teens down in their dreams? Explanations justify the plot of the current story, but they often also leave the viewer with more questions than answers by the end of the movie.

The second thing a lack of justification accomplishes is that it makes the story even scarier. Films like I Know What You Did Last Summer (1997) give you a justification for the actions shown. The victims did something wrong and they are punished for it. Many slasher films work this way. Teenagers get killed because of bad behavior. This allows the viewer to not feel as bad for the victims when they get offed and allows them to remove themselves from the story, ultimately reducing the fear factor. It’s really easy to walk out of a theater after seeing a bunch of kids get murdered for covering up a manslaughter charge. You don’t even necessarily feel sorry for them at the end of the day. But if there is no reason for the violence and no specific justification for the victims chosen then that means everyone is a potential target. There’s nothing the characters and more importantly the viewer(s) can do to avoid being murdered. It’s simply a random case of bad luck where you happen to be in the wrong place at the wrong time. It’s a case of weaker writing to achieve a stronger overall experience.

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In the case of specifically Laurie, it’s not even fully apparent that Michael had planned to go after her in this film. What it more seems to be is that he was just on a random killing spree and was maneuvered towards going after her again. Multiple characters go out of their way to try to put the two back together in order to see what will happen. This worked well here because it justified the story focusing on Laurie without giving up the original randomness of Michael’s victims. He kills almost indiscriminately based on who’s in his vicinity when no witnesses are present. By the end of the film a great many people had been killed by Michael, but only two of the murders shown on screen happened with other people present. There are a number of little details like this that make Halloween so much more than the original. Almost to the point where I’d be willing to believe that people had really spent the last 40 years planning this almost perfect sequel. I don’t want to go into too much specific detail about the main plot because it’s so tightly written that mentioning most things directly related to Laurie will spoil her story arc. Suffice it to say that they did a story that I didn’t expect but that I really liked. I found it to be a perfect ending to a 40 year struggle that was true to both the main characters.

The cinematography is excellent. It’s a very well shot film that takes advantage of the experience gained over the last four decades of horror films. The lighting, the angles, the cuts, and even the sound all comes together perfectly to create a very stressful yet entirely believable viewing experience. I also really appreciated that there was only one jump scare in the whole movie and it wasn’t done by Michael. It’s expressed intentionally as a Halloween prank within the movie and for me that’s important. Jump scares are the lazy man’s horror technique. I’m glad we’ve pretty much done away with them in horror movies in exchange for psychological terror. One of my favorite shots in the whole movie was when someone, who I won’t name for spoiler reasons, decides to try to turn the fight back on Michael only to get thrown out a window. But at this point the roles have been reversed and the camera expresses this very well. Michael gets distracted and when he looks back at the body lying outside it’s gone. The sequence proceeds to show Michael moving through the house searching for an intruder the way the prey usually is in this genre. It was a phenomenal sequence that humanized Michael. Many other shots and sequences were just as effective in their own ways at telling a great slasher horror story.

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While this is in many ways a higher minded slasher film that isn’t simply using gore to impress the audience, it’s still very graphic. Michael is at peak killing prowess and he’s not just using knives to kill people. Stabbing is just one of many ways he murders his victims this time around, but what’s also well done is the murders they didn’t show on screen. Many sequences cut or angle away from the actual violence and then show you the after math, leaving you to imagine what happened yourself. While this may not be the most visceral way to depict a murder story, it’s much stronger for the overall storytelling. You don’t have to dwell on every murder that takes place which keeps the pacing good. The film never drags on with violence even while showing you a slew of bodies left in Michael’s wake. Again, Halloween really shows itself as a high quality modern movie that just happens to be a slasher film rather than the classic low quality film that stereotypes the genre.

The acting was great. Jamie Lee Curtis’ performance has only gotten better with age. You really believed that she had been struggling with the memories of that night for 40 years. But other actors did a fine job as well. Will Patton as Sheriff Hawkins was exactly what I wanted him to be. This movie actually centers mostly on women of various ages and they all gave great performances. The writing definitely plays a role in this because the story was very realistic, thus making it even more believable. It’s not the cheesy somehow Michael is everywhere scenario. The characters just happen to move into his path and are killed as a consequence of that. There are really only two murders in the whole movie that seem completely intentional as targeted victims and Michael targeting them made perfect sense. I will say though that there are a number of classic dumb horror movie character moments that take place. They’re believable, but they continue the stereotype of people (in this case me) wanting to yell at the screen because why would you run into the woods when a psychopath is trying to murder you when you’re already on a road that cars drive on? The movie isn’t built on these moments, but a number of them occur and as a Black man I had to do everything in my power not to yell at the screen. What was great was that there actually is a Black kid in the movie that basically does this for one sequence. He tells the two older white kids what not to do, they don’t listen, and bad things happen to them. So kudos to you David Gordon Green for acknowledging your audience and for casting a hilarious Black kid.

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I’m not going to say there haven’t been other great pure American slasher films in the last 10 years, but I will say that I can’t recall any. It’s not my favorite genre so I haven’t devoted time to actively seeking them out, but in my opinion horror as a genre has moved away from the slasher idea. Halloween does the genre justice. It’s not just an excellent slasher film. It’s an excellent film that I might even argue is better than the original both in how it presents the genre and circumvents many of the tropes of the genre 40 years later. If you enjoyed the original film, this is a must watch. But even if you didn’t see the original and aren’t a fan of the genre, I still think you’ll enjoy this movie quite a bit.

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Starlink: Battle for Atlas (Nintendo Switch) Early Impressions Review

I was unsure about Starlink: Battle for Atlas going into it. The marketing was good but kind of vague. I was getting some No Man’s Sky vibes from it, which isn’t a compliment, but I was also getting some solid story based gameplay vibes from it as well, which is the greatest of gaming compliments. If I’m honest I have to say that the main selling point for me was that Star Fox is in the Switch version. You have to understand how much I love Star Fox and how long I’ve been waiting for a good Star Fox game. Having played every home console Star Fox game on its original release console, including Star Fox Guard and Star Fox 2, it’s my opinion that a good Star Fox game hasn’t been made since 2005. Star Fox 2 is good, but that was made in 1996. I hated Star Fox Zero. It had some good ideas but the controls were terrible to the point where I struggled just to finish the base game and haven’t played it since. So the prospect of a good Star Fox game was very appealing, but not enough to get me to buy Starlink day one, because this wasn’t made in house by Nintendo. Thankfully I received a review copy and I’m glad I did.

Let me be very clear in saying that I’m only about three hours into Starlink: Battle for Atlas at this point. I plan on playing it a lot more and after the three hours I have played, I can already say that I will absolutely finish this game and possibly go for a 100% completion. But I wanted to write something about it now while it’s new so people who are on the fence can get a better understanding of it so they can make a more informed purchasing decision. That’s why I’m leaving this review unscored and I put “Early Impressions” in the title of the post. I also want to make clear that I haven’t looked at the non-Switch versions of the game at all. I don’t even know how they compare graphically so be aware that this review is only talking about the Switch version unless otherwise stated.

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Before getting into the finer details of the game, there are two main things that need to be said about Starlink before anything else. The first is that this game essentially took all the good ideas from No Man’s Sky, layered them over a The Legend of Zelda: Breath of the Wild foundation, and then decorated it with Star Fox paint. That’s what this game is in a nut shell. They took the No Man’s Sky open world, resource management, space exploration concept, added an actual story, dialed back the map to that of large, but not infinite, and allowed players the ability to play an open galaxy space fighter game as Fox McCloud with his crew along for the ride. In other words, they did what people actually wanted rather than try to be overly experimental for the sake of grandeur.

The second thing that needs to be said is that this is not a Star Fox game. The PS4 and XB1 versions of the game don’t contain the Star Fox team. They were added into the Switch version similarly to how Link was added into Soul Calibur II (2002) on the Gamecube version of the game. The difference though is that Fox and crew have been added into Starlink with great care and effort. It’s not lazily done last minute. It’s not a few added cutscenes and no direct interactions. From what I’ve seen so far, Ubisoft took the time to weave Fox, Peppy, Slippy, Falco, and it seems Wolf directly into the plot of the story. There are cutscenes where the Starlink regular characters and the Star Fox team interact directly. Fox and crew enter the Starlink team’s ship during cutscenes and interact with them in dialog during normal gameplay. The point is that while this is not a Star Fox game, you’re able to play the Switch version like it is one, and that’s intentionally how I’ve been playing it so far. In a lot of ways, that might be the future of Nintendo games and if so, I’m looking forward to it.

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Visually speaking, Starlink is very good, but it’s still a Nintendo game. I do believe it could look better on a more powerful machine. That being said, in true Nintendo style they’ve crafted a game that isn’t trying to look realistic so it’s fine that it doesn’t have super PC Master Race 4K graphics. The graphics are by no means bad though. The landscapes are beautiful and fairly well detailed. Fox and crew look great as far as finer details go, but they don’t really fit into the art style of the rest of the game. And the game runs very smoothly. The cutscenes look surprisingly good. Or at least the present day ones do. There are also some flash back cutscenes that are hand drawn comic strip style art. They look good for what they are, but they don’t match the rest of the game, that I’ve seen so far, in tone. Mostly though it’s one of the better looking games I’ve seen on Switch. It’s up there with Xenoblade Chronicles games. There are definitely some things that I believe are scaled down from what they would look like in the PS4 version, but not so much so that I feel like I’m being cheated playing on this platform.

What’s nice about this galaxy is that it’s both diverse and lived in. There are a lot of different settings and landscapes, even on individual planets. It’s not just dessert planet, lava planet, water planet. One planet, of which there are several, has multiple habitats. Wild life is native to certain regions and not others on any given planet. There are abandoned cities, skeletons littered across deserts, active settlements, roving bands of outlaws, and ancient ruins. It’s not a world(s) that exists for you. They just exist and you happen to be there.

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There’s a lot going on in the full HUD. I haven’t turned anything off yet, but I’ve already considered it. It’s all useful information, but it just takes up so much of the screen. Depending on what’s happening, there are times when like 50% or more of the screen is covered in HUD data. Thankfully, you have the ability to toggle off and on each individual part of the HUD and two of the options can be set to appear only at specific times. I like the menus. They’re very simple and easy to understand. They have a very space age tone to them but they still come off very Nintendo. Smooth edges, interactive pictures, and easy to read text. I also really appreciated that you can set the subtitle text size, language, and backing opacity. You can even set the temperature readout to Celsius, Fahrenheit, or Kelvin. I don’t know if I’ve played any other games that have Kelvin as an option. Enemies, target objects, and bases all have floating life bars as well, so you can always see the status of things. This is really helpful and I’m glad it’s there, but it also adds even more HUD to the screen. I guess the best way to describe Starlink overall is that it looks the way it’s supposed to. I don’t think I’d change anything about it visually other than giving it more power so the details could be even crisper in the landscapes.

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The sound is solid. The effects are limited to user interactions, which is a bit of a disappointment, but you don’t usually notice it during normal gameplay. What I mean is everything you do has a sound effect, but only certain things you do things to have a reaction sound. For example, if you shoot a canister that’s meant to be shot, you will hear your weapons fire and you will hear the canister explode. But if you shoot a wall, that’s not meant to be shot, you will hear your weapons fire, but the wall won’t make a sound. Essentially there are a limited number of sound profiles and interactions in the game. But again, most of the time you won’t notice this unless you’re actively shooting things you aren’t meant to shoot. Your ship has sounds for everything from boosting and jumping to changing out weapons. And the things you’re supposed to interact with all make sounds as well. The quality is clean and mostly clear, but it can get drowned out by your weapons fire. You do have the ability to set separate volume levels 1 – 100 for speech, SFX, music, and ambient sounds as well as change the audio mix between three sound profile options.

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The dialog audio is good. There are many different characters that speak in this game and they all have their own voices. That includes NPCs like shop keepers and outlaws. All speaking characters, including outlaws, have individual names and their talking avatar shows up on your screen during dialog. You will never see any characters walking around though. Every sentient being is in a ship at all times. Only wildlife and enemies are just walking around the landscapes. The wildlife have their own sound profiles as well, which is always a nice touch.

The gameplay takes some getting used to. It’s essentially an all-range mode fighter plane game that takes place both in space and on the ground. You have the option to free fly between space, the sky within a planet’s atmosphere, and at ground level. You are always in your ship, but the way you move is determined by the flight mode/space you’re in. In general, the controls are fairly straight forward. You have up to two weapons mounted at any time, which you control with the triggers. You can boost, shield, jump, and interact with the four buttons (A,B,X,Y) on the right joy-con and you use the shoulders and arrow buttons for special commands. When in ground flight mode, you have a lot more control and don’t have to worry about altitude. But you also have limits to how high up you can jump. What is interesting though is that the game seems to have dynamic jumping, meaning it tends to make you jump as high as you need to go rather than having a limited jump height. There is a max limit though before you have to change to flight mode, which you do by holding the right shoulder. My biggest complaint is that the buttons aren’t customizable. I wish I could swap the boost and jump buttons and make the shield a different button as well. I pretty much never shield during combat because of where the button is placed.

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The fact that you’re always in your ship is a good thing. It makes for a more streamlined experience. You travel around planets and mine for resources, among other tasks, but things don’t require as much nitty gritty work. Boxes are scattered around the worlds that contain Electrum, the equivalent of gold/money, mods, and other useful things. You just have to shoot or blow them up to open them. The items contained within the boxes are automatically collected. This saves you so much time. At first I didn’t realize collecting was automatic so I went up to every box and manually collected things. But once I realized I didn’t have to I started sniping boxes from far away and saving tons of time farming. There are also resources that need to be mined from nature like plants and metal ore. These do need to be picked up manually. They can be sold at outposts for Electrum. NPCs will often task you with collecting things for them as well a number of other types of tasks like deliveries, scouting/exploring missions, and hunts for enemies and objects. You use Electrum and special resources to upgrade the main ship, your general skills/perks, and outposts. Your weapons and fighter ships are upgraded through perks rather than individually. But each weapon, ship, and pilot has their own experience gauge and leveling, so it pays to play with various loadouts so you’re developing your entire crew as opposed to just one set. I will admit though that I haven’t been good about that myself just yet. I’m pretty much only playing as Fox in the Arwing and I tend to use the same two guns a majority of the time. In the long run though I will change them once I max them out, otherwise it’s just a waste of XP.

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The game lets you change your loadouts, including ships and pilots, on command. At any time, including in mid-battle, you can just go to the menu screen and change your load outs. Ships and weapons also have mod slots, which matter a lot. Mods can affect a number of things like base damage, elemental damage, healing speed, movement, and so on. You have a limited number of slots for each piece of gear, but these can be expanded a finite amount with general upgrades. The ability to change loadouts in real time is useful because you can create loadouts for multiple scenarios and hot swap them based on the situation rather than having to re-spec your ship for every encounter. Loadouts matter because different mods and weapons work in tandem for the best results. For example, using fire and ice weapons concurrently results in a “Thermal Shock” damage scenario. You freeze enemies susceptible to ice damage, causing them to literally freeze in place and sometimes fall over. Then you burn them with fire ammo. The resulting reaction between the two types of ammo causes additional damage and effects to enemies. There are several types of weapons combinations that have special effects. This is why preparing multiple layouts is so useful.

The Ubisoft Club rewards for Starlink are some of the most useful I’ve seen in any Ubisoft game. The four rewards give you a collection of strong mods that will greatly enhance your performance. I don’t know if these mods will be that useful down the road once you’ve started finding higher level stuff and creating your own via mod merging/crafting, but early on the rewards mods are extremely valuable. I recommend buying them right off the bat if you have the Ubi coins to spare. And since the game has more coins to earn than to spend, you still make a net gain if you complete all the rewards tasks, many of which are pretty easy.

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The game, at least at this point, is not too difficult. That’s not to say that it’s easy, but more that it’s fair and rewards you for playing both smart and dynamically. If you just sit in one spot and fire away you might win, depending on the difficulty, but chances are you will struggle. To master the game you need to understand how weapons combinations work, which enemies require which weapons, which the game helps you with, which mod combinations work the best for your play style, and you need to master maneuvering. You also need to pick the right pilot for you. Each pilot, of which there are at least 10, some of which I found later in the game, has their own strengths, weaknesses, and special moves. Fox, for example, summons Peppy, Slippy, and/or Falco to battle. They only stay for the duration of the battle, but it’s a useful technique. You can do this at ground level or in space. Once you get the hang of the game, you will push yourself to harder challenges. I started at normal, but after only two hours in I changed it to hard. I haven’t tried very hard yet. You can also turn friendly fire on or off. I keep it off though personally.

Enemies have levels and you aren’t aware of how big a difference those levels can be until you challenge something way out of your league. My Fox is level four and I haven’t struggled much, but I have had a ship blow up a few times in the normal course of play. But when I discovered a level 16 special enemy, it whipped my ass. Something to come back to later. That’s the nice thing about the game. There are things you know you’ll want to come back to later. The death system is interesting in Starlink. I think it works well for the type of game it is. Your ship has a life bar that heals automatically after a certain amount of time without taking damage, but if you take too much damage too quickly your ship will blow up, but this isn’t game over. You have a total of at least six ships. Each one has its own stats as one of four classes that I’ve seen so far. When you lose a ship, you can just swap out another one and use that one for as long as you want or until it also blows up. Then the next time you get to a repair shop you can spend Electrum to repair all your damaged ships. This system is really convenient because it means you rarely have to stop play even if you got a ship blown up. This also means that there is no stoppage in normal play. You can get hit with multiple battles back to back. Outlaws can attack at any time. You can fly into a nest accidentally. When you go to the menu the game is paused so you don’t have to worry about dying while trying to re-spec. But you never truly know what you need to be prepared for.

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There are also a number of mini-game and puzzle mechanics scattered throughout the game. Some are quite simple like pulling/plucking things. When you want to harvest plants or open doors, you have to grab them with your ship’s cable and then pull. But you have to pull the right amount. There’s a meter that you need to fill with enough pull pressure before the object will release. You aren’t allowed to over pull it though. It has to be properly measured or the object will remain attached. It’s hard to explain in text form, but as you find more important items, the pull min-game becomes harder. Some puzzles involve shooting targets with certain types of ammo or in a certain order. There are door puzzles that require you to figure out a sequence of locks in a specific order. I also really enjoy the ways you can interact with wildlife. You have to scan them to add to your database and learn more about them. Scanning one isn’t enough though. You need to find and scan three or four of the same species to get full data about it. You can also help animals, which I really like. Sometimes you find animals that have infections and you can help remove them. This will make that particular animal act friendlier towards you. To be honest I have yet to see any wildlife act with hostility towards me unprovoked, but I have had them show fear. The game is so much more than just flying around, collecting, and shooting.

While Starlink is a story driven game, it’s also an Assassin’s Creed style open world game. There are tons of side activities, special requests, hidden treasures, and random encounters you can seek out. You can spend a seemingly unlimited amount of time developing your team and resources without touching the main quest. It’s like No Man’s Sky with the option of meaningful gameplay. Overall, I’m very happy with the gameplay experience. There are some control issues you have to get used to and as with all resource games, mining will most likely get old. But as a whole, this is a great experience that I’ve only scratched the surface of.

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As I said, I’m not super far into this game yet. Less than four hours total. So my understanding of the story is still very limited, but I can say that unlike with No Man’s Sky, this is a narrative driven open world(s) game. And that includes Star Fox’s role in the game. You are actively pursuing narrative based goals. You meet characters and develop relationships with them. Outlaws have grudges against you and/or members of your team that they’ve had past interactions with. You’re not just flying around space collecting resources so you can build better ships. The game does have lots of mining opportunities and developing/upgrading your ships and other things in the game are a core part of the gameplay, but this is a single player, story driven experience with a finite amount of content. That more than anything is why I like this game and was almost completely disinterested in No Man’s Sky at release. The story is what makes the game worth playing.

The writing works. It’s not Naughty Dog level storytelling, but it’s a fairly large cast of characters, real social interactions between them, developing relationships, villains, heroes, mysteries, and side characters that you grow fond of. Now again, I’m still very early in. It’s quite possible that this is all just strong foundation to hook the player in early and then it will eventually devolve into a boring mining collectathon with little story. But it doesn’t seem to be going in that direction at this point in the game. So far I’m happy with the characters, I’m happy with the plot, and I’m especially happy with the fact that all the Star Fox team members are an active part of the story, even though they were added in later.

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I’m not gonna speak much on the replay value of a game I’m only three hours into of this seemingly high amount of content. What I will say is that there appears to be quite a bit of content and I assume there will be some future DLC as well. Because of the way the game is structured, there are multiple ways to play and approach things, which means there is the potential to want to replay the game using different pilots, load outs, and tactics. You also have four different difficulty levels. But because you can change difficulty, loadout, ship, and even pilot at a whim, I see no reason to replay the entire game at this point. It makes more sense to just change things around as you play your first playthrough fairly often and make the most out of a well-rounded experience. So at this point, I can’t say whether or not the game makes sense to replay, but in general there appears to be a lot of content anyway so that’s fine for me.

I’m really happy that I’m playing Starlink: Battle for Atlas. I’m not far in yet, but I’ve enjoyed it a lot so far. I’ll admit that my bias towards Star Fox plays a factor. It’s the game that I think many people wanted No Man’s Sky to be with the tradeoff of a finite amount of content. Finite doesn’t mean lacking amount though. A game doesn’t have to be infinite and in my opinion shouldn’t be. I enjoy the fact that the game has a lot to do but still has defined end goals. As I said, I’m not going to score this game so early in my experience with it, but I do recommend it for people who like open worlds, space fighters, and customization options in games. You can also check out some gameplay on my YouTube channel. I’ll be streaming the game via Twitch on weekends as well.

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Venom Review – 6.8/10

I went to see Venom because I watch every Marvel and DC movie in theaters. The only one I’ve missed to date since seeing the original Blade (1998) is Fantastic Four (2015) and that was only because I was in the process of moving and literally did not have time to see the movie in theaters before it was removed. So I was always going to see Venom in theaters even though I had low expectations from the very first trailer. The things I’d heard about the movie since it released just a few days prior to me seeing it did not raise my hopes for the movie either. Now that I’ve seen it myself, I can say honestly that Venom is a bad movie. But it might be the best bad comic book movie I’ve ever seen.

There are two types of bad movies. There are those that are bad and shouldn’t have been made the way they were if at all. Suicide Squad (2016), The Spirit (2003), and Superman Returns (2006) are examples of this. They are not only bad movies in terms of plot and often film making conventions, but they also don’t even really entertain past surface level visuals. They simply aren’t even good enough for hate watching. But there’s another type of bad movie. Some movies are bad, but good. Maybe you’d even say they’re so bad that they’re good. R.I.P.D. (2013), Spider-Man 3 (2007), and Batman & Robin (1997) are all great examples of this type of movie. They aren’t good by any conventional stretch of the word. They’re riddled with questionable film making decisions, lackluster writing, often terrible acting, and sometimes dialog so bad that it becomes iconic. This is where I put Venom.

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Let’s first remember the reasons why Venom was made and the space it exists in within the larger Marvel and comic book film landscape. Venom, the character, was originally created in 1988. It came to be after a stint as just “the Symbiote” merged with Peter Parker/Spider-Man. When Parker finally separated from it, the Symbiote found Eddie Brock and became Venom. Venom started out as an arch nemesis of Spider-Man and was only that for many years. Down the road he eventually became an anti-hero similar to Frank Castle/The Punisher but that was way later. Even today, most people still think of Venom, and his host Eddie Brock, as a Spider-Man villain. Many would even say the best Spider-Man villain. That’s the character in the world of comic books but that’s only kind of relevant in the real world of business. Venom was made because of an annoying longstanding contract agreement between Sony and Marvel (now owned by Disney). Sony has to make a new Spider-Man universe film every few years or the Spider-Man IP rights will automatically revert back to Marvel. This pretty much guarantees that Spider-Man themed films from Sony will keep being made rather frequently as long as they make money. And since the original Spider-Man (2002) they have. This is also the reason they rebooted the franchise and did The Amazing Spider-Man (2012) so soon after finishing the Tobey Maquire run. Sony literally had to churn out another Spider-Man movie of they would have lost the IP rights. And those rights matter. Not just for that film money but for everything. Toys based on the movies, cartoons, merchandising. Even the recently released Spider-Man game exclusive to PS4 from Insomniac Games falls under the purview of Sony’s contract with Marvel.

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The main problem for Sony now is that they lost the Spider-Man in Spider-Man films. Because Disney really wanted Peter Parker to appear in the MCU, they paid a king’s ransom to get those film rights back “temporally”. But that didn’t actually change the terms of the original contract. This leaves Sony in a very peculiar place. They need to make Spider-Man movies without actually using Spider-Man. And let’s be clear that by without Spider-Man I mean specifically Peter Parker. They could easily put out movies about Miles Morales, Spider-Gwen, or any other Spider-Totem characters. But that’s easier said than done. Making a movie isn’t as simple as writing a script, hiring some actors, and buying a camera. It’s quite expensive and has to be deemed potentially profitable or it could destroy the IP and even the brand. And in the current climate it might not sound like such a great idea to Sony stockholders to put out a movie with a Black or female Spider-Man/Person. Especially when also having to compete with the MCU and the much loved Tom Holland as Peter Parker. And that’s just the stuff we know about. For all we know Disney contracted for control of Miles Morales and Gwen Stacey as well. There are references to Miles Morales in the MCU such as Donald Glover playing a character who is most likely his uncle in Spider-Man: Homecoming (2017).

When understanding all this background information, it becomes clearer why Sony decided to do something that literally no one asked for and made a movie with Venom as not only the main character but not a Spider-Man villain. And when I say not a Spider-Man villain I mean Spider-Man isn’t even mentioned in the movie. Given all that context, now let’s actually discuss how the movie was.

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Venom is not a good movie, but it sure is an entertaining one. It’s cult film good. There are numerous problems with it, but I don’t for a second regret seeing it. My girlfriend, a diehard Marvel movie fan with a less than even casual background in general comic book lore knowledge, laughed for pretty much the entire duration of the movie. And really this might be the best space for Venom, and Sony Marvel films as a whole, to fill. They can’t compete with the MCU. They don’t have the planning, time, or access to characters that the MCU does. They don’t have the available casting choices that the MCU does because of so many roles already taken by phenomenal actors. So in a lot of ways it might actually make more since for Sony to intentionally try to fill the comic relief niche of comic book filmmaking. Because there’s almost no competition for that spot. It’s pretty much just Dead-Pool at this point. And with Disney’s inevitable absorption of the FOX Marvel universe/characters, that leaves pretty much no real competition for the comedy comic book movie throne. Disney isn’t going to let the MCU collapse in tone and style for one character and the brooding DC film universe simply isn’t playing for comedy, granted Shazam seems like they might be trying to break-in to that genre. My point is that in many ways it was logical for Sony to make the film they did with Venom than the film people think they actually wanted to see.

The acting is bad. Specifically Tom Hardy, who I am generally a fan of, gave a really cheesy performance. Think Nicolas Cage in Kick-Ass (2010). That’s not to say that Tom Hardy is a bad actor. More that his depiction of the character was very different from the Eddie Brock I expected. I’d say he came off a bit too geared towards a modern millennial audience. The Eddie Brock I’m used to is brooding, hot tempered, and narcissistic. This Eddie Brock was very whiny and seemed more like a victim of his circumstances than an active player. What I find interesting is that Hardy also voiced Venom, who is a wholly different character than Eddie Brock. His voice and demeanor are considerably altered. I spent the entire movie thinking Venom was being voiced by a different actor. That being said, this Venom is super campy. He’s essentially the douchebag frat boy to Eddie Brock’s whiny loser. The pairing makes for a hilarious on screen dynamic. I will say though that this Venom’s voice was clearly inspired by the 90’s Amazing Spider-Man cartoon. Some of the other actors in the movie gave stronger performances, but nothing to write home about. Riz Ahmed as Carlton Drake was the most noteworthy for me. He was exactly the way I would have wanted that villain to be. He truly believed in his cause and delivered his lines with authenticity and controlled passion.

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The visual aspects of the film aren’t particularly good either. I took the time to go back and look at Venom in Spider-Man 3 and I have to say that it looks better. The symbiote forms, like the voices, come off super campy in Venom. They look like something from Spawn (1997). What I think it’s important to note is that this Venom is super authentic in how it recreates the source materials, both from the comics and 90’s cartoon, in terms of handling the transformation(s). They do it the way it was originally intended with the Symbiote taking over Brock’s body from behind and completely layering over him. That being said, it looks pretty cheesy in real life. It’s the Wolverine problem. Hugh Jackman would look odd actually running around in yellow spandex with that black blue/black mask and eye holes. Having the Venom suit engulf Brock looks odd in real life. The way they handled this in Spider-Man 3 was by going the werewolf route where Brock literally changes into a Symbiote merged form with actual fangs developing from his teeth. They also made it a point of not showing too many direct shots of his face during transformation. This is not authentic and it’s certainly not cool. But it does look better in live action. At the same time though it’s also quite limiting. Venom does some interesting scenes with Brock and Venom that could only work with them being two separate beings inhabiting the same body as opposed to one fully merged being. So I will give them that.

My bigger complaint about the way Venom looks is that he’s way too big. All the Symbiote human merged forms are too tall and too buff. Riz Ahmed goes from Edward Norton’s Bruce Banner to nearly the Hulk in seconds. That’s not authentic to the source material. The Symbiote makes people stronger, not buffer. Part of Eddie Brock’s development as a character is that he goes from being an average sized dude to a bulky muscle head because he wants to improve his physical prowess to be a more effective Venom. In this, Tom Hardy is a normal looking guy and Venom is huge. It might look more epic but if they’re trying to build a franchise, which they absolutely are according to the credits sequence, that aspect removed a key developmental plot point of Eddie Brock as a character. It also doesn’t help that the one time another character becomes Venom they don’t also get super bulky and muscular, so there’s a real lack of consistency there.

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The effects are also noticeably low quality at times. I’ve seen a lot of action movies and I have to say that I rarely spot stunt doubles. In one particular motorcycle scene, I very clearly saw Tom Hardy’s stunt double. It was like that scene in Space Balls. Well maybe not that ridiculous but still quite noticeable. The CGI effects for the unmerged Symbiotes were quite good. They did a fine job of portraying them as living beings even though they were just undulating puddles of goo. Overall the visual quality of the film lands somewhere between Green Lantern (2011) and X2: X-Men United (2003), with the latter of course being the better looking film.

The sound quality, though less noteworthy, outside of voice acting, than in many other comic book films I’ve seen, was quite good. There wasn’t much noticeable in the way of music though. In fact, I can’t recall a single song from the movie other than in a specific scene that was specifically about the song and the end credits song by Eminem, which I’m sorry to say isn’t great. I do think the general lack of external sound was intentional though because sound plays an important role in the film plot wise as well as making sure you can hear the symbiotes talking to their hosts.

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The writing is probably the most notable part of the movie as well as the hardest to judge. I spent the whole movie teetering back and forth between cringing and being generally impressed. I will say that I laughed pretty much the whole time though. But my laughter was mostly because the dialog is in your face and often terrible. It’s not authentically funny the way Tony Stark is in the MCU. It’s more like Seth Rogan in The Green Hornet (2011) where it’s bad dialog but it makes you laugh in the way Family Guy does. The dynamic between Eddie Brock and Venom is funny. It reminded me of Star Kid (1997) if the kid and the suit had both grown up to be depressed comedians. Even though the dialog wasn’t written particularly well, the relationship and how it develops between Brock and Venom is quite good. I liked the way they actually became friends and grew to understand each other. At first they’re at odds and both seem to be fighting for control but by the end they’re working together with a genuine desire to help each other. I also really liked that the dialog took the time to explain the symbiotic relationship between host and symbiote casually over time as opposed to just spelling it out in one explanatory conversation. At the same time, there are a lot of inconsistencies about what Venom actually knows from the start. Sometimes he asks questions as if he genuinely wants to learn about something he doesn’t know and other times it seems like he automatically has access to Brock’s knowledge because of their merger. A good example of this is how he magically knows how to drive a motorcycle like a badass presumably the first time he rides one.

motorcycle sceneTo say the film is well written would be a gross misrepresentation of what it actually is. But I also wouldn’t say the writing is absolute trash like I would for The Spirit, which I genuinely hope you’ve never seen because it truly is that bad. What isn’t up for debate though is that the writing is entertaining. You laugh for the bulk of the movie. You care enough about the plot not to check out. Even though Venom is a selfish, immature monster that spends most of the movie complaining that he can’t eat people, you still sympathize with him by the end. Even though Eddie Brock, like Venom, puts his own desires and beliefs before those of everyone else, even to the detriment of both his job and his relationship, you still want to see him win in the end. Venom isn’t written to be a high minded quality film that’s going to change the way we view comic book movies. It’s simply a movie to watch and enjoy and it accomplishes that just fine.

Overall I’d say I enjoyed Venom. But I enjoyed it in the way I enjoy bad films like Zombeavers (2014) and The Pink Panther (2006). It’s not a film you watch to be impressed. It’s a film you watch when you just want to be entertained. And if Sony can maintain that tone through an entire franchise of sans Peter Parker Spider-Man films without them becoming stale and unfunny, then I think that’s OK.

 

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Spider-Man (PS4) Platinum Review – 8.4/10

I think this might be the first game I ever reviewed after I had already achieved the platinum trophy. Not the first game where I’ve finished the campaign, but specifically getting the full completion. Certainly the first open world game. For the record, I got the game day one and had acquired the platinum less than two weeks after it released. It just took me an extra week to get the review prepared. That’s short for any platinum. Much less an open world game. But length is not the only important factor when it comes to judging a game so while this is an important detail to consider, there’s a heck of a lot more to say about Marvel’s Spider-Man by Insomniac Games.

I was not actually planning on pre-ordering Spider-Man. I literally made the purchase just two days before it released and the only reason I did was because I happened to roll into some extra money that day and I wanted the collector’s pin for preordering the digital deluxe edition. Otherwise I would have absolutely waited for a price drop. And after having gotten the platinum, I would still recommend waiting for a price drop. Mostly because of how short it is. That being said, it was quite the entertaining experience, short or not.

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Spider-Man is a beautiful game. Not Naughty Dog beautiful, but for a comic book game, it looks very good. What I really liked about it was the character renders. I could see the real actors in the characters and because I recognized a number of them, that impressed me. At the same time, the filler NPCs are kind of low quality. They aren’t generic, which is nice. They do look, dress, and sound different. You can even interact with them on a minor level as individuals. Because it is a comic book game, it looks like what a game based on a comic book should look like rather than actually looking like a comic book or trying too hard to look like real life. It hits that visual balance almost perfectly. The world looks great as well. I’m not from New York, but I have been there and I was very impressed with all the landmarks the game has. I have heard a number of New Yorkers complain that things are missing or flat out removed from the map. But I guess that’s to be expected. What’s really cool is that they’ve also layered in a bunch of Marvel Easter Egg locations. This includes places like the Embassy of Wakanda, the Sanctum Solarium, and the Murdock & Nelson Attorneys at Law Office. If I have to explain to you what any of those are then you’re not a Marvel Fan and it will be lost on you anyway. It is a very nice map, but it’s also very small. The whole thing is made up of only nine Infamous: Second Son style districts, none of which are particularly big.

This is a very fast paced game. Think Arkham City on steroids. You’re moving quickly with just about everything you do. Fighting is fast paced and often includes 15 or more enemies on the screen at one time. Swinging, probably one of the most enjoyable aspects of the game, is extremely fast, free roaming, and variable. By all rights it should be a blur, but no such issues occur. The game truly handles like a dream. Even playing on an original PS4, I experienced no lag or other graphics related performance issues. The loading is a little slow, but not ridiculously so. The menus look really nice as well. They’re very simple. Not overly stylized or extremely detailed. But they present everything you need in a clean and clear manner that’s very accessible at a glance.

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The Spidey suits are without a doubt the most impressive visual aspect of the game. The level of detail is unreal for some of the 28 costumes available. The tips of the fingers. The fabric threads. The metal plating. It’s immaculate. The costumes look so good you can almost feel the fabric on some of them. But there are also a number of little things that really bring this game to life. Pedestrians in the streets. Planes flying over the city. The sunlight beaming on the water at dusk. Overall it’s a beautiful looking game.

The sound is expertly done in Spider-Man. It’s cartoony but practical. You hear the whooshes of his webs firing. You hear every punch and kick landed. The only thing that would have made it better was if little comic book style onomatopoeia appeared during fights. The voice acting is quite good. Each character was distinct. Many were played by actors you’re familiar with which really helped bring the audio visual experience to life. The music was good, albeit a bit repetitive, as is the case in most open world games. All in all, I was very happy with how the sound was handled in this game.

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The gameplay excels in a number of places but falls way short in others. The swinging is phenomenal. The best I’ve seen in any Spider-Man game, though I haven’t played them all. What’s good about it, albeit annoying at times, is that Insomniac Games really tried to create a realistic swinging experience. You have to take into account things like distance. You can’t just swing wherever you want. If you’re above the buildings, you have to wait till you fall beneath them so you have something to web to. You can swing upward but your speed will decrease due to drag and loss of momentum. Swinging and traversal is truly an art form. But at the same time they added a number of fail safes to make the experience more manageable for amateurs.   You can move in and out of swinging to parkour and wall running instantly. Spider-Man will automatically pass through, under, or between things like fire escapes and water towers when you swing into such confined spaces. It was made to be fun, not unruly. At the same time, this game sadly has terrible wall crawling mechanics. Wall running outside is great. It’s smooth and easy to control. But climbing around the inside of a room is just trash in this game. Simple maneuvers like crawling from wall to wall or wall to ceiling are so difficult. Spider-Man will do everything in his power to avoid changing between adjacent services. It’s easier just to jump off a wall and climb up the other one than to crawl between them. This was really depressing for me because what’s Spider-Man without wall crawling?

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Fighting is real smooth. The pacing is fast but manageable. You have an arsenal of eight gadgets to choose from by the end of the game and they all do something quite different. What I also really liked was that when you run out of stock of a specific gadget the game will automatically revert back to basic web shooting. This is very crucial for a smooth gameplay experience. Chaining combos is really smooth and easy to do in this game, and that’s what makes it so fun. Combining gadgets in different ways makes it an experience all your own. One thing I really appreciated was that the game never stops moving. If you’re in the middle of a fight and you go to change gadgets, a gadget wheel pops up in true Insomniac Games style. But you can still get hit while it’s up. Time slows down while the wheel is up to give you time to think, but you can’t just stand there indefinitely. This balance between Dark Souls where you have no time and Ratchet & Clank where you have unlimited time worked really well for a Spider-Man game and felt very appropriate. But aiming certain gadgets and special techniques can be a real pain. You have auto aim but it mostly focuses on the nearest enemy in sight. Sometimes that’s not who you want to hit. In general though, the game plays and controls very smoothly.

Probably the worst aspect of the gameplay is its repetitive nature. The gameplay is really solid, but so much of the game is just busy work to level up your stats and gear. The game’s development system is dually based on XP and tokens. XP is gained through basically everything. Fighting, hitting milestones like distance running on walls, completing objectives, and locating special items. You can hit a maximum level of 50 and then continue to level up in a prestige way where you remain at level 50 but your stats continue to go up every time you earn a certain amount of points. Leveling is automatic as far as stats are concerned but you do have to spend skill points to learn new skills and techniques. Some skills are extremely useful and will become the cornerstone of your gameplay style. Others you’ll mostly ignore. By the time you hit max level, you can learn all the skills and still have five points to spare. The other means of development comes from tokens. There are six types you can earn. Tokens try to be more variable than XP but in the long run they just seem more repetitive. Crime tokens are a good example of this.

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In each of the nine districts on the map, random crimes can happen at any time that you’re not in a mission/challenge. Dealing with crimes is optional and successfully stopping them nets you one to three crimes tokens. These tokens, when used in combination with other types, can be used to unlock suits and develop/unlock gadgets. Each district has you stop 20 crimes to get 100% completion. There are only a few types of crimes committed by four separate groups of criminals. You have to stop five of each. Almost all the crimes are the same. You fight a group of enemies without dying and you get your tokens. Occasionally you have to take out some snipers, locate a missing person, or stop runaway vehicles, but mostly it’s just win a fight. That’s nearly 180 random fights to deal with for a full completion. Plus chasing them down when they randomly appear on the map. It gets old. All the types of tokens work similarly. You do the same things over and over in order to unlock gear. There are little bonus objectives in each of these token missions/challenges, most of which you ultimately need to complete to get enough tokens to unlock everything, but after a while it all becomes a grind. It’s artificial additional playtime and many of the challenges aren’t even fun. Especially the challenge token missions. Some of them are just terrible and you’ll replay them over and over to try to get the gold completion for the additional tokens.

The story missions are great. I’d say 90% of the main campaign missions are absolute gold. Sometimes you have to play as people other than Spider-Man or Peter Parker and that can be boring and annoying at times, but all the story Spider-Man stuff was great. The boss fights. The stealth missions. The chase scenes. I was happy with all of it. Even the photography missions were pretty fun once I got used to them. The side missions are pretty good too. Really if the game wasn’t padded so much and was priced around Insomniac Games usual stuff, it would be a shorter but ultimately stronger game overall. The gameplay is great for the most part at a mechanical level, but the full completion gets old. The fact that you can hit level 50 (max level) well before the end of the game without mindlessly grinding says a lot about how much padding is in such a small map.

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This was one the best written comic book games I ever played. The writing is the way a comic book game should be. The villains are justified while also being over the top. There are multiple villains that show up over the course of the story and they all make sense. They aren’t just popping up to give you something to do. The story weaves them all together very well. The way they wrote Otto Octavius was just amazing. If you know the characters you know he’s going to become a problem later on, but the way they developed him over the course of the game was MCU quality writing. I was so impressed by the campaign narrative in this game. But it’s not just the plot that’s well written. This is a Spider-Man game. That means dialog is everything and the dialog is strong. The quips are funny and cheesy. JJ Jameson is a radio host who randomly appears on your feed while swinging around the city and he’s hilarious. Modernizing him away from newspapers and into podcasting was the right touch.

What’s really important to note is that this game isn’t just about Spider-Man. It’s also about Peter Parker, Miles Morals, and Mary Jane Watson. All of them play major roles in the plot of the game and act as playable characters at some point in the narrative. It’s not just a story about heroes and villains. It’s a story about people. And even some of the villains get some real character development, which is a good thing. The relationships and interactions the characters have with each other, including the villains, is what really makes this a great comic book experience. Probably the best game Insomniac Games ever wrote.

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Defining the replay value is a bit tough with this one. Especially having gotten the platinum in a single playthrough that took only 30-ish hours, which as I’ve said is short for an open world game in my opinion. The truth is that if you get 100% completion there are still some things you can do, like try to get golds in all the Task Master challenges and finish all the base challenge objectives, but you don’t gain anything from doing it. You do continue to get stronger by collecting XP even after you hit max level, but you don’t really need it by that point. Now of course the difficulty you play on will also play a factor here. The game has no difficulty based trophies and lets you change the difficulty level mid-game whenever you want. I played through the whole game on the hardest difficulty so there’s no reason for me to play it again. But if you didn’t play it on hard, maybe you’d want to do that in a second playthrough. But honestly, having unlocked and completed everything, I don’t really have any interest in playing through the game again. It was a great one and done experience with nothing left that I feel the need to do. Especially since I unlocked all the costumes and gadgets already. There will be a New Game Plus mode added soon, but I really don’t see any reason to play it after having gotten the platinum. DLC is on the way, so there’s that, but that doesn’t factor into replay value and probably won’t add enough content to justify the $80 price tag for the deluxe edition.

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On the other hand, this game has without a doubt the best, most addictive photo mode I’ve ever seen. It’s an amazing experience. It’s not perfect. There are definitely limitations with it that shouldn’t be there. But it’s genuinely one of the most entertaining parts of the game. You have so many filters, frames, and stickers at your disposal. You can take pictures anywhere, including cutscenes. And they can be manipulated in so many ways. I almost took the time to make my own comic book with screenshots created in the photo mode. And you really could. I took literally more than 3,000 pictures over the course of the game. Which I’m still not finished sorting as I write this, by the way. That does add quite a bit of value and length to the overall experience. Especially when you consider the 28 costumes you can take pictures in.

Overall I’m very happy with how Spider-Man turned out. Insomniac Games did a great job. It’s not a flawless game and I think it was a bit overhyped with all the 9’s it received, but it’s definitely one of the top games I’ve played in 2018. I would absolutely recommend playing this game but I will also say you can stand to wait for a price drop.

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Detroit: Become Human Review – 8.3/10

It’s hard to say whether or not I’m a fan of Quantic Dream. More appropriately known as David Cage’s interactive movie workshop, Quantic Dream is the game development studio that created Detroit: Become Human. It is their fifth game. I’ve played three games by David Cage: Heavy Rain, Beyond: Two Souls, and Detroit: Become Human. I’ve also heard only good things about Fahrenheit (Indigo Prophecy) over the years, but I’ve never gotten to play it myself. Of the three games of his I’ve played, I liked one, absolutely hated one, and absolutely loved one. So while I’d say Quantic Dream doesn’t have a negative record with me, I also wouldn’t go as far as declaring myself a committed fan of the studio. All I can honestly say is that after playing Detroit, I would be happy to play the next game Cage puts out.

I was reluctant to play Detroit: Become Human when I first heard about it. Part of this came from the fact that I found the idea of setting a game about high technology and opulent wealth (to buy said technology) in Detroit to be laughable. It’s Detroit not San Francisco. The city isn’t known for its wealth or its high minded tech culture. But what I was more worried about was the fact that this game was coming from the same studio that sold me Beyond: Two Souls. I think Beyond is absolute trash. When I first heard about it I was really excited, and I did like Heavy Rain so I had confidence in the studio bringing out another hit. But Beyond is just the worst. It is so unbelievably bad as far as both gameplay and writing. So I was not excited to play another David Cage game after that. Luckily I was able to borrow a copy so I didn’t have to pay for Detroit, otherwise I might never have played it. Boy was my fears about the next Quantic Dream title wrong.

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I am happy to admit that I was wrong about Detroit. Not only is it an excellent game, it’s the best game Quantic Dream has ever made. (I’m assuming it’s better than Fahrenheit based on what I’ve seen of that game.) It more than made up for the travesty that was Beyond. It’s the first game they ever made that I’ll actually do a full replay of. In their past games, I’ve taken the time to replay certain sequences to see different outcomes but never the entire game. I will replay Detroit all the way through, making different decisions, and take the time to get the platinum. That’s how much better this game is compared to its predecessors.

Visually it’s great. It’s not the best PS4 game ever made, but it looks very good. Specifically how real the characters look. The character models are based on the real actors, some of which are notable personalities you’re probably familiar with like Clancy Brown and Lance Henriksen. This brings the game to life in ways that many games can’t because you already have a visual point of reference for many of the characters in the story. And the acting, I say acting here instead of just voice acting, is phenomenal. Jesse Williams, who I had only previously seen in Cabin in the Woods (2012) gives such a powerful performance that I wanted to see other stuff he’s in after I finished the game. I can’t remember saying that about any other character/actor in any other game I’ve ever played. The delivery of his lines and the emotion of his character model, Markus, were masterful. I truly saw the humanity in the android characters. I felt for them. I wanted them to be granted freedom and equal rights.

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It’s not just the characters that look good though. The landscapes, the neighborhoods, the graffiti, and everything else all comes together nicely to create a Detroit that I found believable in the world of the game. It’s probably the best looking game I’ve played this year set in a real world environment. Spider-Man comes in at a very close second for reference.

The sound is real good in this game. The sound track works well, the effects work well enough for what it is, and the voice acting is perfectly balanced. You feel like you’re actually in a world of other people. Conversations aren’t unrealistically loud to make sure you hear them. You can miss lots of stuff throughout the game if you aren’t listening and looking. Interactions can be completely missed because you didn’t notice the conversation going on low in the background. It’s a nice touch of realism, even while being kind of annoying when you miss something.

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Gameplay wise, this was much better than past games from Quantic Dream. There are still camera issues, but overall it’s a much cleaner gameplay experience than the other titles by them I’ve played.  Gameplay, specifically controls, was my biggest complaint about Beyond so it was nice to see them clean it up by a noticeable degree in Detroit. I didn’t have any control issues with QTEs. A lot of games in this genre often misread commands and end up making you fail where you know you shouldn’t have. This happens a lot when I play TellTale Games titles. Surprisingly, I only missed two action sequence QTE commands over the entire course of my first playthrough. Part of that may just be that I’m a lot more familiar with the genre now, but I think those results are very telling about how well the game responds. I had no such luck when I played Heavy Rain back on PS3.

What’s really nice about the gameplay in this one is that your decisions really do matter and for once the game directly and clearly shows you that and in what way they affect the overall story. At the end of each chapter you are shown an events flowchart that plots all the decisions and outcomes you made and where those led to. But what’s even more useful is the fact that it shows you how much you didn’t do. In most cases the game doesn’t reveal what other outcomes you could have gotten, but it does show you how many other outcomes were available with each decision/occurrence along the plot of each individual chapter. It also shows you how decisions and outcomes from previous chapters affected the chapter you just played as well as that they might possibly affect future chapters. A good example of this was early on when you are given the choice of whether or not to allow an android to join your resistance. It’s early on in the game and you don’t know who you can trust yet. You can choose to take him with you or leave him. If you chose to take him with you, several chapters later that same android sacrifices his life to save yours. Characters can permanently die in the story and without that android’s sacrifice one of my characters would have died at that moment, ruining my perfect survival first playthrough. I think this transparency of outcomes really makes the game better because then you really do feel like your decisions matter where most games make you feel like the outcomes are fixed even if the road to them has a few branches. Detroit doesn’t do that at all because it proves it to you every step of the way.

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Without a doubt, as with most games in this genre, it’s the writing that makes Detroit amazing. Much like Beyond, this story is grounded in science fiction, but what it does right is use science fiction that’s actually believable and grounded at least part in actual science. It may be about sentient robots, but it gives you a story that you can actually believe and connect with on a personal level, more akin to Heavy Rain. Not to mention we already have tons of other fiction about sentient machines trying to obtain their freedom. Detroit plays mostly the same bits from the singularity playbook, but it puts you, the player, into the role of the android instead of the humans fighting against them. This makes the experience so much more personal and in many ways introspective. You empathize with the androids and start thinking about what you would do in a world where people had to choose whether or not to recognize them as living, intelligent beings.

For me, through Markus, the story was very personal because of the racial undertones Cage was clearly drawing upon. The fact that I’m a lighter skinned African American, especially living in the current political climate, made me identify a lot with Markus who, at least in my playthrough, leads the android revolution. The game draws direct comparisons between the struggle of the androids and racial minorities in the real world. There is even a scene where an African American human character helps the androids and when asked why says it’s because her people experienced similar challenges in the past and were only able to achieve the position they had because of help from members of the ruling class/race.

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The game lets you make key decisions about the type of revolution you want to have and it affects the story greatly. It was an interesting experience to be able to choose what type of revolutionary you wanted to be. You can be completely peaceful. You can be violent. You can be a bit of both. And the game makes you take public opinion into account. I took advantage of this and got the outcome I wanted, but that often meant intentionally making decisions that I didn’t personally want to make, for the good of the android cause. In a way, that’s the most realistic gameplay scenario ever because politics, especially when it comes to civil rights, actually does work that way. It’s not whether or not the cause is right or wrong, but how the people in power perceive the cause that matters. The writing, and more specifically multiple possibilities within the writing, in pretty much every chapter is why I’ll be replaying this game from start to finish with different choices. I want to see everything this game has to offer.

I think I’ve already made it clear that Detroit has a decent amount of replay value. It’s certainly worth two complete playthroughs and possibly even more after that to experience every possible outcome. I will probably just rerun specific sequences to fill in the holes after my second playthrough rather than doing a full third. But the game is certainly good for 14+ hours of play. I wouldn’t have dropped $60 for it but at $20, the price I paid for Beyond, I would have been very happy with my purchase if I hadn’t of gotten to borrow a copy.

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I hope I’ve made it clear that you should definitely play Detroit: Become Human. It’s certainly worthy of being a PlayStation exclusive. I’m just sad that so many people won’t get to play it because for some reason they still don’t own a PS4. It’s well written, well executed, beautiful, and an emotional roller coaster that I haven’t been on in a game in quite some time. Even God of War (PS4) didn’t personally speak to me as much as this game did. Granted I don’t have a son or a great relationship with my father so much of the narrative impact was certainly lost on me with that one. But at the end of the day, you should definitely give Detroit a playthrough. You can clear the game once in less than eight hours.

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PlayStation Gaming Festival Taipei 2018 – Demo Reel

This week, I got to attend an event called PlayStation Gaming Festival. I’ve never heard of this event before. I don’t know if it’s an annual thing that happens in Taipei and I’ve just never heard about it before or if this was the first time, but I attended and I’m very happy I did. I don’t want to focus too much on the event itself. Pretty much it was just lots of different PS4 game demos, including some PSVRP titles, a swag shop, and a “Bring Your Own PS4” LAN party, which I took no part in. My one real complaint about the event was that they showed a lot of demos for already released games, which I found very odd. They showed Nioh, which really irritated me because at first I thought they had a demo for Nioh 2, which I really wanted to try. They showed Horizon: Zero Dawn, which is more than a year old. They were featuring Frozen Wilds content, but that’s still almost a year old. They had Fist of the North Star: Lost Paradise, which is about six months old and Attack on Titan 2, which is about five months old. Both of these demos were featured, and I tried them, this year at Taipei Game Show so they didn’t need to take up space here. And most odd/irritating was that they had Assassin’s Creed: Origins. This was weird because they also had Assassin’s Creed: Odyssey, which is the soon to be released latest title in the franchise. But rather than having four screens of that setup, they only had two and then two of Origins right next to it. They should have just been running four screens of Odyssey. I waited almost two hours to try Odyssey because of this odd decision. Overall it was a good event though and I did get to try a number of new demos for unreleased games, which is the only reason I went in the first place.

What I want to do here is give a short first impression of each demo I tried. Please note a few important details. All of these demos were in Chinese. Not the in game dialog, but the settings. Dialog language was different for each game depending on the title. Some were in English, some Japanese, and some Chinese. But the HUDs, tutorials, and all non-dialog text was in Chinese, which I do not read. So with certain games I struggled to figure out exactly how the controls worked. I can of course get the gist of most games based on general gaming experience, but for more nuanced controls and special gameplay such as secondary items, I was not able to master any of them because I couldn’t read anything. Along with that, many of the games were set to Japanese standards/settings. What that means is the X button acts like the O button and the O button acts like the X button. Many Western gamers don’t realize this, but in Asia they use an altered control scheme for most games. Each demo session only lasted 10 – 15 minutes. So obviously I wasn’t able to get a full grasp of most of the games I tried. So please take these micro-reviews with a grain of salt and understand that I am giving my account of each game based on very little playtime and less than ideal gameplay conditions. All that being said, I still believe that my insight, due to my general gaming and reviewing experience, can be valuable to people curious about the titles I tried.

PlayStation Festival

I will give one to three paragraph accounts of each demo I tried at the event with as much useful information as I can. Please note that the screenshots featured below were not taken by me. I was not allowed to take pictures of specific games during the event so I just pulled these images from Google for visual reference.

Spider-Man

Spiderman

This game was probably the main reason I wanted to attend the event. It is the hype of all hyped games right now, and SONY is aware of that fact. It was the most featured game at the event both in the number of demo units available and in the banners and advertising for the event as a whole. It was of course the first game I played.

Spider-Man very much was inspired by Arkham City. It’s a full open world filled with people and interactive objects. The combat is very similar to the Arkham games, but it’s been noticeably adapted for Spider-Man’s style of movement and abilities. Fighting is very smooth, but not easy to master. You can get by in earlier fights with button mashing, but technique will play a big role as you progress through the game. One of the things I couldn’t master with a Chinese HUD was the special combat items. You can bring up an item cache and use special objects in combat such as a web bomb. These are in limited supply though and I didn’t get to find out how to refill them. I really liked how your fighting and the HUD were linked. What I mean by this is when you take a hit, say from a stun rod, the HUD gets fuzzy and shakes as if you’ve suffered a temporary injury from the impact. This made you feel the consequences of taking damage a lot more than in the Arkham games because the disorientation can negatively affect your ability to play, thus leading to further damage. It’s a good mechanic. The fights are very showy. There are even moments where the game slows down during special attacks so you can get a perfect screenshot.

The city is a large open world, full of tasks that are indicated by symbols floating in the sky. You can track specific objectives or just free roam. You unlock more of the map by doing the Assassin’s Creed perch thing on top of specific points. The difference is that it’s way easier to traverse buildings as Spider-Man because he can web swing, climb smoother/easier than an assassin, and literally sprint up buildings like Alex Mercer in Prototype. That being said, I was not a huge fan of the web swinging. It works, but it wasn’t as fluid as it could be. Like with the Arkham games, you can’t just latch on to anything with no understanding of what it actually is you’re grappling. Only specific points on buildings and other web capable structures can be latched to. This means you have to actually swing based on the proximity of the buildings around you and even then you have your limits. It’s a very “realistic” system in that you have to actually think about where and how you’re swinging. But it’s not as fun as it could be because you notice the limits of your mobility relative to what you’d like to do. It reminded me a bit of the Attack on Titan game but I actually think that is smoother because you don’t have limits on what you can tether to as long as a structure of a certain height is around. Spider-Man’s swinging system works well enough and is in no way a deal breaker, but I was hoping for something smoother that would let me move through the large city map effortlessly. The world is alive. There are random occurrences happening all the time such as crimes you can choose to stop or just ignore them. I stopped a restaurant robbery and then got involved in a police chase. The problem was I couldn’t figure out what to do once I landed on the car because no button indicators appeared and everything I tried just moved me to different sides of the truck without ever entering it. Ultimately I got thrown off of it and the truck got away. I liked the fact that you could fail at stopping crimes without the game resetting as if you died or failed. Suffice it to say that if you liked the Arkham games, you will definitely like this.

Jump Force

Jump Force

The first thing that needs to be said about Jump Force is that it does exactly what it needed to do. It allows me to pit my favorite anime heroes and villains against each other in a three dimensional field of play with smooth, highly accessible gameplay, really nice graphics, and fairly similar movement and controls for all characters. Let me be clear. This isn’t Injustice or Smash Bros. Each character doesn’t have their own unique weight and movement that severely affects play style from character to character. Or at least that’s not how it was in the mode they had running in the demo. Goku isn’t flying around the stage while Zolo is left on foot trying to jump up and land a few lucky strikes. Luffy can’t hit Sasuke from across the screen with stretchy arms. Everyone feels very similar, and that’s a good thing. The game is about having a fairly balanced anime themed match up that focuses more on the player’s management of their HP, energy level, and use of mobility rather than depicting a truly realistic matchup between characters with different powers from different worlds. Frieza can get beaten by Naruto and Goku doesn’t automatically win every fight. The only noticeable differences between the characters is their special moves. Each character has four special techniques that are specific to them and have different affects and damage levels. This is where they actually differentiate somewhat. The basic combat is very easy to pick up. Even with the Chinese HUD, I was eventually able to figure out how to do specials with all six of the available characters in the demo. This is because they have the same two button commands for special moves. The idea is not for them to be hard to use. The art is in knowing when to use them. They can miss, by the way. My only complaint about the demo was that they clearly had the AI set to easy. I never lost a match. So I can’t really speak to how balanced it is because I was dealing way more damage with my attacks than what I was taking from the PC. I assume this was intentional to make the demo more enjoyable for amateur gamers.

Jump Force looks good. The graphics do the characters justice, even when coming from different shows with different art styles. I will say that Frieza looks super creepy as a 3D model. They stayed true to the drawings from the show. There is something so gratifying about seeing Naruto land a Rasengan on Frieza. Or Luffy a multiple hands punch combo on Sasuke. This game is about having fun. Unless there’s a more complicated mode of play, I don’t see it being taken seriously in e-sports for more than a debut season.

Overcooked 2

Overcooked 2

Overcooked is a super niche indie game that you either love or you hate. I was surprised by the number of people who waited in line to try the demo for the sequel at this event. It plays exactly the same as the first one, which isn’t a bad thing. It’s just a new set of levels and plot, which is really all it needed. The only added feature I noticed, which I saw another player do but never figured out myself, was that you can use a comment wheel to visually verbalize what you want done. This would be extremely useful for online play without mics because it allows players to communicate non-verbally. I enjoyed the demo, I will be buying it, and anyone who enjoyed the first one will probably do the same. I will be picking it up on Switch though.

Assassin’s Creed: Odyssey

Assassin's Creed Odyssey

I haven’t played Assassin’s Creed: Origins yet. That means, assuming the combat and movement system for Odyssey is similar to that of Origins, I have not been formally introduced to this new control scheme yet. I struggled immensely to climb, run, and fight because I couldn’t figure out the nuances of things like dodging, countering, and blocking or even just how to run and speed climb. I don’t even know if all these mechanics still exist in the game. And the demo wasn’t helpful, even if it had been in English. It just dropped me into some random far along moment in the game with a bunch of gear. I got my ass handed to me twice by a group of Spartan soldiers. The game was very responsive, and I don’t assume it’s that hard to play once you actually learn the controls through an early on tutorial. The one thing I was able to quickly figure out was the bow, which works well.

The HUD is a bit busy in Odyssey. There is a lot shown on screen while playing in both text and symbols. But I appreciated the wealth of information the game was providing me without having to access menus or press special commands. The graphics are great. The voice acting is very realistic, to a point where I was questioning my own pronunciations of Greek words I thought I knew, like drachmae. Odyssey also has a dialog system similar to Mass Effect. You are given text options and have to pick one. These appeared to affect the story and the missions made available to you. The demo didn’t give me enough about the story, but I got to meet Socrates (Sokrates according to the game) as a younger man and have a debate with him about a rebellion.

Just Dance 2019

Just Dance 2019

This was the first time I ever tried Just Dance with the PS Move. I do not like it. I will be buying Just Dance 2019 on the Switch. Overall, it was pretty much the same thing. The song menu was much different than that of previous games. It’s a scrollable menu of songs similar to when you scroll through a PSN sale as opposed to the usual rotating song reel you see in the previous games. And, assuming this wasn’t Just Dance Unlimited, it seems like they brought back access to some older songs I remember from previous versions of the game.

Sonic Mania Plus

Sonic Mania Plus

Sonic Mania Plus has already been released, but it is fairly new so I guess it made sense to have at this event. Up until now, I hadn’t played it before. It is the same stressful, 2D gameplay I remember from my childhood. I wasn’t interested when I first heard about it, but after playing the demo I might consider it when it goes on sale.

Soul Calibur VI

Soul Calibur vi geralt

Soul Calibur has always been one of my favorite fighter franchises. It’s smooth, has good graphics, individual character styles, and some of the best cameo appearances in all of gaming. In this installment, you get to play as Geralt of Rivia from The Witcher series. The game plays like the past ones. The spirit bar is the more traditional Street Fighter style one than the orbs you had in one of the more recent installments. Overall the game plays very well. They didn’t do too much to change the formula other than make the specials slightly easier to use and give you the ability to dodge them. There are also standoff sequences like in Injustice: Gods Among Us, where your spirit bar faces off against your opponents to decide the outcome, but I was not able to implement/initiate this consistently.

It’s still the great looking game it always was, complete with sexy, super revealing Ivy costume. The game looks good and plays well. Certainly a fighter worth buying that has stayed true to the roots of the franchise mechanically and stylistically.

The Legend of Heroes: Thors Military Academy 1204

The Legend of Heroes Thors Military Academy 1204

I randomly tried this game by a Japanese developer called Nihon Falcom. Apparently this is one in a long running franchise of at least 14 games. It was in Japanese and I only sort of understood what was going on, but the gameplay was phenomenal. This is a turn based RPG that has you play with an active squad of four, but it’s not as simple as old Final Fantasy games. The field of combat is a three dimensional space where you location matters. You can’t choose to move to specific locations on the field. Your movements for each character in your team is driven by your attacks. As you attack different enemies on the field, your characters will disperse accordingly. The way they’re grouped affects the effectiveness and reach of enemy attacks. The same goes for your attacks. This comes into play with reference to magic attacks that have to be aimed. Even though I couldn’t read any of it, I was able to pick up how combat works fairly quickly and I found the system to be very satisfying. It’s a system where you walk around the map and enemies appear on the screen, but when you make contact with them a battle mode ensues.

The graphics are solid, but very Japanese. It looks like many 3D JRPGs with an aesthetic that’s both mature and youthful at the same time. Something I thought was really interesting is that you can use any of the members in your party as your on screen avatar when outside of battle and you can change them instantly just by scrolling through them with L1. I’ve never seen this in an RPG before done in such a convenient, efficient way. The game also has a “Hi-Speed Mode” that can be easily toggled on and off just by tapping R1. It speeds up everything including your movement outside of battle. I found it extremely useful since I couldn’t actually understand/read anything the characters were saying. Since I don’t know how connected the stories actually are, I don’t know if this is worth buying as the 14th game in a franchise. But if I only cared about gameplay, I would probably pick this one up.

Code Vein

Code-Vein

I had heard the name before, but I really didn’t know anything about Code Vein. Since the demo was in Japanese, I still don’t know much. The best way to describe it is that it’s Bloodborne with a DmC aesthetic. I don’t know why I was in a series of cliffs tinted to look like Hell. But there sure were a lot of demonic looking creatures that kept respawning every time I died. The game plays like a Souls game but it’s even faster paced than Bloodborne and has a stereotypically JRPG anime art style, which isn’t a bad thing. I enjoyed the faster paced combat but I didn’t feel like there was enough of a balance between attacks and stamina. It feels as limiting as Dark Souls as far as number of consecutive attacks you can pull off before running out of stamina, but with the faster paced movement you feel it a lot more. They need to up the stamina amount to reflect the increase in movement speed or else you always feel too tied down. The game is challenging, like any Souls style game. I don’t think I saw a single person beat the demo boss and I couldn’t even reach the boss. But that’s fine. Thus is the nature of games in this genre. With practice and proper character development, which I assume plays a factor, it should be totally manageable.

While the core gameplay feels like a Souls game, Code Vein has a lot more technical additions. The HUD, which was in Chinese, has eight specialized actions/abilities, and quite possibly the ability to rotate wheels to more actions like in Nioh. That’s a lot of extra stuff to have to keep track of. I’m sure it’s like any other game, where you’ll only use maybe four of them a majority of the time, but it really crowds the screen. The HUD takes up so much of the bottom right corner that if you aren’t using a large monitor, which they were at this event, I could see it being a real problem. While I wouldn’t call it a bad game by any means, this isn’t something I’ll be picking up with all the other Souls style games currently on the market.

Shadow of the Tomb Raider

Shadow-of-the-Tomb-Raider

The latest installment of the current Tomb Raider franchise looks like another hit. The gameplay is pretty much the same. Seemed to be the same controls mostly, still working against Trinity, and another larger build minority character is there to help Lara with her adventure. This one looks really good visually. There was a scene where I was swimming through a cave and suffocated, but I wasn’t even sure if I was playing or watching a cinematic until after I died the first time, because the graphics blend perfectly now. It seems superfluous to say any more about Shadow of the Tomb Raider. It’s going to be very similar to Rise of the Tomb Raider gameplay wise because the formula works and there’s no need to really change it.  If you played the last two, you should certainly buy this one based on what I experienced in this short demo. I know I’ll be getting it.

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Ant-Man & the Wasp Review – 7/10

I really liked the first Ant-Man (2015). It’s a very small, pun not intended, very personal story about a man just trying to do right by his kid while also trying to do the right thing and be the hero his kid wants him to be. And I think the story is made even stronger by the fact that he, Scott Lang, is ultimately recruited by Hank Pym, because he’s literally in the exact same situation. In a lot of ways it’s a story about fathers trying to give their daughters the lives they deserve. It’s not a huge plot with a super villain that’s threatening the whole world. The antagonist is just a scientist trying to make a name for himself with a technology that if put in the wrong hands could have terrible consequences. And yes it could end up changing the world, but the narrative keeps the story very enclosed within San Francisco to a small number of people. But that’s not what I wanted from the sequel.

ant-man-and-the-wasp-ghost-hannah-john-kamen

Ant-Man & the Wasp is set about two years after Captain America 3: Civil War and at the same time as Avengers: Infinity War, which Ant-Man does not appear in. In fact, it’s not until the very end of Ant-Man & the Wasp that they even make reference to Thanos and it’s very clear that’s it’s already too late for Ant-Man to even consider getting involved with that problem. Ant-Man & the Wasp is also a small scale plot with a limited number of players that again centers on the idea of fathers trying to protect and please their daughters. The difference is that in this film, romance, for both fathers from the first film, plays a larger role in the narrative. In many ways I would say this plot is even smaller than the first film. It’s not about trying to protect the world from a certain technology. There’s no evil scientist. Really there’s not even a proper villain. The film plays a lot more like Snatch (2000) where you have a number of different groups all seeking the same object for their own purposes, but none of them are out to do anything particularly good or bad with said object.

ant_master-2

One character, and his cronies, is out to sell the object for profit, but he’s not a super villain or particularly threatening. He doesn’t even really hurt anyone. He just wants the money. And at the beginning of the film he sincerely offers Team Ant-Man the chance to work together with him for profit, but they say no. The second group, which was sold as the villain in the marketing, is by no means a villain. She has a legitimate problem that is life threatening and she believes that it can only be solved by robbing Team Ant-Man so she’s trying to do that. But she doesn’t have some nefarious end goal and she doesn’t actually want to hurt people. She’s just in a bad situation. Finally, you have Team Ant-Man and they’re just as selfish as everyone else. They have a goal that won’t help anyone outside of Hank and Hope. It’s not going to hurt anyone, but by no means is it heroic or particularly noble. It’s just a self-serving goal that will enrich their personal lives. And it won’t even help Scott. In fact, the entire film is about how Hank and Hope are forcing Scott to help them even though he’s on house arrest with a few days left in his sentence and if he gets caught using the Ant-Man suit or leaving his house he’ll have to go back to prison and lose his daughter. So really the movie isn’t even about Ant-Man being a hero. It’s about Hank and Hope making Ant-Man help them get something they really want.

Ant_Man_Wasp_Luis

The problem with this small, in many ways pointless narrative, is that it takes place after having already seen Captain America 3: Civil War, which is mentioned a number of times, and Avengers: Infinity War. In terms of Ant-Man, I wanted more. This is no longer the ex-convict just trying to get his life back together. This is a man who fought alongside the Avengers, against other Avengers, and lived. This is a man who we believed had escaped with Captain America at the end of Civil War. Not to mention, we’ve already seen Avengers: Infinity War. Who cares about this little vignette about the lives of the Pym family? I expect Ant-Man to be playing at Avengers level now. That doesn’t mean every Ant-Man movie needs to have other Avengers in it, but it does mean that the stories have to really matter. In Thor: Ragnarok, Asgard was destroyed. In Guardians of the Galaxy Vol. 2, the entire universe was saved from a mad celestial trying to replace all life with himself. In Doctor Strange, an infinity stone was revealed and the world was almost plunged into darkness by an evil being from a magical dimension. Ant-Man & the Wasp, which is not a debut film for the main title character, is about the same scale as Spider-Man: Homecoming as far as importance. Except Scott Lang isn’t a high school kid. And even in that Iron Man shows up. This film just under does it in a time where the MCU and the character are way past the kid gloves.

Ant-Man-Wasp

I don’t want it to seem like the film was badly written, because it wasn’t. It was much funnier than the first one. The acting was great, including that of Michael Peña reprising his role as the over talkative friend. And most importantly, they really leaned into technology in this one. In the first movie, shrinking is used sparingly. It’s an origin film where Scott is just learning how to use it and really it’s under-utilized outside of a few fight sequences and sneaking around. In Ant-Man & the Wasp they use shrinking and growing a ton and it’s great. It was used realistically, as in they actually use it for pretty much all the things you would use it for if you had that technology at your fingertips. My only real complaint about the technology aspect was that way too many malfunctions occurred. It’s fair for a malfunction to happen once, especially at a really crucial moment. But there were multiple scenes where Scott’s suit, and only Scott’s suit, was malfunctioning. This was used for comic relief multiple times. But this is the second movie. By now the bugs should have been ironed out. Especially when they’re doing stuff like shrinking entire buildings and growing ants to the size of people. It just felt very lazy to keep playing the suit not working card over and over.

giant man

As per all MCU films, the movie looked great. The shrinking and growing effects were very clean. The cinematography was solid. The costumes looked good. The sound was fine. I was happy with the soundtrack. It’s by every measureable standard a modern day Marvel film. But it was by no means in the top five or probably even top 10 MCU films. In a lot of ways it felt pointless. It introduced the Wasp and possibly a couple other important reoccurring characters, but the film itself didn’t accomplish much. Like they very well could have sent the Wasp with Ant-Man in Civil War, which is brought up in this film, and it would have accomplished exactly the same thing. Unless they really leverage the two other possibly important characters introduced in future films, this was pretty much the same thing we got in Ant-Man except now he has a partner. Ant-Man & the Wasp is not a bad film, but I could literally tell you everything you need to know about it in one sentence. In a lot of ways it’s one of the only films in the MCU where I could say you could really just skip it and it probably won’t affect the rest of the MCU, or your experience of it, that much.

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