Category Archives: Criticism

Delia’s Shadow

So, Kevin finally wrote a post. Don’t count on mine being as long, we will see. Also, watch out – this ramble is full of spoilers.

Book cover from the internet.

Book cover from the internet.

Jaime Lee Moyer wrote a book called Delia’s Shadow. It is about a woman you can see ghosts. She leaves her home in San Fransisco to avoid seeing ghosts – cause that is crazy and she doesn’t want to be insane. weirdly, New York doesn’t seem to have ghosts at least for the first two and half years of her self-imposed exile. Then, one particularly strong ghost finds Delia and latches on, effectively driving her back to San Fransisco and the world of crazy people. San Fransisco is currently plagued with a serial killer and Delia’s ghost was one of his victims.

Back in San Fransisco Delia returns to her adopted home, where her adopted mother is dying and her adopted sister, Sadie, is about to be married, to Jack. Naturally Jack’s best man, Gabe, is single – as our female lead must fall in love with someone suitable by the end of the book. Of course, Gabe with his tragic history and dead first wife will match Delia’s own tragic history with two dead parents – being an orphan is sad. Both Jack and Gabe are lead detectives on the current serial murder case – which is theoretically the focus of the plot.

The story is set in the late 1800’s or early 1900’s – I don’t think a date was give. It is simple and logical in its set and competently written. I was going to say it was good, solid book – not brilliant as it lacked that indescribable spark that elevates good writing to inspired writing – until I started thinking about it.

The plot is simple – there are two detectives, a mass murderer and a city full of victims. The murders resemble those that occurred nearly thirty years earlier, down to the same brutality used on each victim, the same signature on the letters sent first to the newspaper and then to the lead detective. Threats are made against the city and then against the detective and his family (in present time, this includes Delia and Sadie). At the same time the Pan-American Fair is taking place in the city – oh and Sadie and Jack are planning their wedding.

Ghosts and emotional auras are the magic in the world. Technology includes cars starting to replace horse-drawn carriages, electric lights and cameras.

All the usual points seemed to happen. The ghosts try to threaten Delia. Delia and Gabe start off trying to be polite but indifferent to each other, but fall in love. Sadie is kidnapped by the murder towards the end and it is a race to save her life. Only, the story struggled in several key areas.

The main character is Bland. She is colourless, weak and while she defends her ghost from being sent away Delia doesn’t want to use her ghost to solve these murders. Delia’s sections are all written first person, which means a long steam of internal dialogue and a lot of ‘telling’ rather than ‘showing’. For example, we get a couple paragraphs of Delia reflecting on the stupidity of her decision to leave San Fransisco in favour of New York – because as she points out in the most high-handed fashion, that move did not change her ability to see ghosts, the way Sadie felt/looked at Delia and only meant Delia spent three years away from the people she loved. Thank you for that moral lesson.

Gabe’s sections are written in the third person – for contrast I assume. Though each time we have a change in perspective that character’s name in is written as the header. Gabe’s perspective is to show us insight into the workings of the police as they hunt down the killer. The police seem to act like those on TV; there is nothing rich or interesting about the manner in which the police are written.

Both of the above are more style points; writing. The other aspect of the writing was the error I found in one passage. The author has gathered five people for a séance and she carefully and precisely tells us where each person sits, then changes the location of two characters. It really stood out.

The biggest problem, the must unforgivable problem the book has is with motivations. Two people in particular were not well thought out. Jack appears to be irrationally angry with his family. His father, Jack discovers later in life, lied to him. The father told two lies: the first we learn is that the woman Jack knew as his mother was actually his stepmother. Though, if the woman raised him as her own, then I don’t understand why Jack was so angry. And I must have missed something because I don’t remember why there was any conflict between Jack and his stepmother – it seemed like forced conflict. The second occurs when we discover that Delia’s ghost, the woman who was killed in the murders 30 years ago and has been haunting Delia for the past six months, is Jack’s biological mother. Jack’s father told him his mother died of cholera (not that she disappeared). Of course the police at the time didn’t know the ghost’s name, so they could never actually inform the family. Again, I don’t know why Jack was so vehemently angry.

Bigger than Jack’s irrational anger, was the motivation of the killer. So, apparently the murder, Ethan, spends two years with his crazy uncle when his own mother dies and his father can’t cope. In those two years, normal young Ethan (about six when he leaves) because a crazed, death hungry psychopath. As he grows up he starts torturing and killing people in order to have their souls judged by the Egyptian gods. Really, really doesn’t make any sence. There is nothing inherently evil about the plethora of Egyptian gods associated with death. So to claim that Ethan kills on their behalf is bizarre and requires more of an explanation than ‘my uncle told me to’. What was wrong with the uncle? How was he able to brainwash and corrupt a child so thoroughly. I know the story was trying to say something about how even the most brutal people can appear normal with wives and children. But that Ethan, so depraved in the killings, so thoroughly obsessed had an innocent wife and child seems far beyond likely. The book tries to say that Ethan never stopped killing (during those 30 intervening years – he was a youth when he first terrorized the city and would now be late 40’s) but why did the ghosts suddenly take an interest in stopping him? Why did Ethan suddenly return to San Fransisco and start sending letters to the newspaper & police. The letters were not apparently a thing for 30 years (did he forget how to write for that length of time?).

Oh, and finally, how did the police manage to keep the entire city from knowing there was a serial killer on the loose? Someone, almost anyone associated with the crimes would have leaked the problem. This is not something you can covered up for months on end.

In the end Delia’s Shadow is Ok. I reads well at first glance, a little slow and colourless, but it does not hold up under further consideration. Passable, I suppose – if you want to discuss the psychology of crime and complain about how this killer is unrealistic.

Never Stop Running

Alright, the website has been a little remiss but I want to point out it’s been seven years since Derek posted. So, no matter how neglectful I get, Derek’s worse. But that’s probably a good metric for life in general.

Part of the problem with posting is that I have so very little to write for you, world. Life is. Unfortunately, until I become an international man of mystery, that means that the day to day drudgery is rather dull. It’s also the middle of the summer, so outside of me constantly complaining how hot it is, there isn’t a whole lot of culture to comment on.

Unless people would like to listen to me complain about the latest blockbuster release and why it’s bad and everyone should feel bad for enjoying it.

Well, today I do have something to comment on and it is tied to summer and heat. I’ve recently finished Harebrained Schemes’ original Shadowrun Returns reboot. This was my splurge purchase during the always excitingly disappointing Steam Summer Sale. At the very least, Derek was forced to pick up Dungeon Siege III so there’s that to look forward to on the horizon.

I should give full disclosure that I knew absolutely nothing about Shadowrun when I picked these up. Mostly, I’ve been salivating over the Xcom sequel news and broke down on this purchase because some people advertise it as Xcom-lite. It has nothing to do with Xcom save for sharing a similar combat mode so I won’t spend much time on the comparison. I merely want to paint a picture of my humble beginnings before digging in.

Accessed from http://cdn.akamai.steamstatic.com/steam/apps/234650/header.jpg?t=1432226421

Shadowrun Returns belongs to Harebrained Schemes, Fantasy Productions and whoever else is involved.

Shadowrun Returns is a kickstarter game based on an apparently successful table-top roleplaying series. Honestly, I had never heard of it beyond some luke-warm first-person shooter that was released eight or so years ago. If I had to describe what Shadowrun is, I’d say it’s a bizarre mash-up of Netrunner and Dungeons and Dragons. Which is an unfair comparison since it’s suppose to be a riff of Neuromancer and Dungeons and Dragons. Poor Gibson, you likely hated this derivative drivel and already your contributions to the genre are being pushed out. I feel a little sad, except I don’t remember Neuromancer very well and, quite frankly, your contributions beyond that haven’t really been as influential. But when you birth a genre with your first novel, it’s unavoidable that everything following will be overshadowed.

Perhaps there’s an article on that somewhere…

Nevertheless, Shadowrun is cyberpunk and, unsurprisingly, it was birthed during cyberpunk’s heydays of the early nineties. This is when all those delightfully pessimistic attitudes and themes of the eighties started to bear fruit: the wide-spread technological upheaval of the world wide web became a reality, corporate interests like Monsanto demonstrated moustache twirling villainy in regards to genetics and the environment and science started tearing apart DNA with the cloning of a sheep and the Human Genome Project. It was like we were on a crash course directly into the heart of Blade Runner. So when you take two popular forms of entertainment from the era and squish them together, it doesn’t shock anyone that the attitude of the one created during that time dominates the colouring of the other.

So, yes, Shadowrun unabashedly rips from Dungeons and Dragons with its wide-spread usage of fantasy tropes. We have elves, dwarves and trolls on display bearing all the hallmarks of a good Tolkienesque heritage with our surly stout dwarves and tall but haughty elves. Dragons are kicking around too, leaning very heavily on that hoarding aspect of Smaug and the Lonely Mountain. All of this is given that delightful gritty eighties twist, however. Dragons look to hoard their wealth the corporate mergers and acquisitions. Cybernetic enhancements give street warriors new strength but cut them off from the natural powers of magic and shamanism. Even the titular shadowrun is a branch of society devoted to the balance of corporate power–a black operation committed against an organization in order to steal data for a mysterious client who has a rather nasty tendency for being a rival corporate interest.

There’s that bleak dystopic inevitability on display. The little people are lost to the power shuffles of the mega-rich as they war over research and development for products that have zero intention of ever being released to a global market. The corporations are the new government, made explicit by the fact that there’s (apparently) no such thing as a police force. It’s all private security and para-military organizations exchanging blows within slick lobbies and office buildings. Society itself is stratified into two layers: the “free” people that make up the poor or unaffiliated shadowrunners and the corporate wage-slaves that do the grunge work of whatever corporate people do. Given the strong nineties anarchistic bent, Shadowrun Returns keeps its lens squarely on the romanticism of the unaffiliated shadowrunners and if you aren’t putting bullets or spells into hired security muscle then your unarmed corporate workers are always innocuously absent from the scene.

Shadowrun Returns is an interesting little project separated into two distinct entities: Dead Man’s Switch and Dragonfall. The first comes across more as a proof of concept. This is clearly the kickstarter game and its story seems more cobbled together as a demonstration of what can be done in an engine that appears to be very user content driven. Dragonfall, on the other hand, is a much more directed experience and a completed package you’d expect from a studio release.

And yet, I’m not entirely sure which I like best. They both have a different feel to them, carrying separate strengths and flaws. Overall, I’d probably give it to Dragonfall for being a more complete experience but I’ll try and give a brief run-down of both.

To start, there’s a persistent issue I have with both games and that is in the developers underlying assumption that the player has any idea of what Shadowrun is. I didn’t, and I had to consult online wikipedias in order to grasp concepts and terms which were thrown casually and haphazardly around. Part of the issue arises from the fact that Dead Man’s Switch is very cyberpunk that understanding the disparate fantasy elements is neither intuitive or apparent. Dead Man’s Switch focuses squarely on the player, its story following a very film noir arc of a lone individual trying to solve a murder. The player is hired, amusingly enough, by the victim himself who had the dead man’s switch installed to essentially release a video contacting you about his demise and promising a vast sum of money if you can locate his killer. You were both associates in a prior shadowrunning troupe but the game gratefully leaves your relationship and motivation for this investigation up to you.

So for the first half of the game, you’re basically playing private detective. Unfortunately, you’re playing private detective in a world that keeps yammering on about “shadowruns. leylines, otherworldly spirits and metahumans.” None of these terms are explained or even made clear in context, though the game is far too gleeful to remind you that this takes place on planet Earth and very specifically in Seattle. You can’t really use any of your real world knowledge to navigate this, however, since Seattle is (or maybe) half split with some magical kingdom called Tir Na Nog? I don’t know and the game doesn’t care to tell you though it does go through the effort of saying these things exist anyway.

Acessed from http://www.harebrained-schemes.com.s3.amazonaws.com/wp-content/uploads/2014/08/directorsCutKeyArt1920.jpgDragonfall is far better about explaining what shadowrunning is and who shadowrunners are. Its greatest strength is focusing on delivering what this conceit is for the player as the majority of the game revolves around you doing disparate jobs often obtained over shadowland bbs communications (which I’m guess is the game’s equivalent to “the deep web”). You have a handler and a staple number of runners to chose from for your missions and there’s some back and forth between different employers and their conflicting aims. The structure of Dragonfall is way better at introducing important elements of the world–like the aforementioned meddling dragons–but this comes at the sacrifice of Dead Man’s Switch more stylistic presentation. There’s a fair bit of character that’s lost in the do a mission, cash it in, get hired for next mission structure. And while I liked the inclusion of more permanent members for each of your jobs, I found their execution was a little too predictable. After every mission you saddle up to your companions and work through the prerequisite snippets of their life story until you learn enough to go on a personal loyalty mission and get them upgraded for the final fight. It’s very BioWare in its execution and it comes across as more cold and sterile than Dead Man’s Switches characters who show up briefly and only to perform missions personally relevant to them before they wander off.

The biggest hurdle for both games, however, comes in their final acts. Dead Man’s Switch does a massive heel turn in terms of narrative halfway through when you unexpectedly solve the murder but there’s this greater “massive conspiracy” underlying it all. This conspiracy involves Lovecraftian horrors and seems more concerned with a bizarre departure from the more focused personal tale to reframe the entire game on a horribly stereotypical “save the world” plot. Dragonfall, while initially couching the game in very obvious “big world problems” from the onset still tumbles into a story that’s more aligned towards some epic fantasy narrative that is far too discordant with all the quiet shadowruns and personal tales that lead up to it.

I think this is where the game and conceit really falters. At the end of the day, Dungeons and Dragons isn’t cyberpunk. It’s epic fantasy. You don’t get personal tales of a lowly merchant or peasant’s day to day struggles beneath cruel but not villainous magistrates. You kill sorcerer-kings. You fight gods. You hop between worlds and stop the ascension of mad liches. In Dungeons and Dragons, every day the world is threatened and adventurers need to pop up and rescue it. You are a powerful, enabled force that reaffirms truth and justice can make the world a better place against inextricable evil.

There’s no room for dystopia in D&D. Likewise, there’s no room for hope in cyberpunk. Not on this grand scale. No matter what you do in Shadowrun, you’re always reminded, at the very end, it’s rather irrelevant. The dragons and megacorporations win no matter what you do because they have all the power. You can be the biggest, baddest mage but it means nothing in the face of billions of dollars of net worth. You can hack all the servers you want but you won’t move nations with a single phone call. Taking out an entire corporate branch is basically chopping off the head of the hydra: two more are only going to spring forth elsewhere.

Shadowrun tries to strike a balance between this optimism and pessimism but it’s never well executed. The world is too cyberpunk for the dungeons and dragons power fantasy to really fit. It comes across as hollow and ultimately silly. Shadowrun is at its best when it’s going full tilt on its cyberpunk influences but that makes all the mages, orcs and spirit nonsense stand out in such bizarre relief. You can take the best parts of Shadowrun and strip them of all that Tolkien flavour and they’d be just as good. The elves and dragons don’t add anything.  It doesn’t even try to use fantasy races to explore social issues since you still have Turkish, African and Chinese elves, dwarves, trolls and whatnot. There is racism driven by these fantastic races but it doesn’t work when amongst those races you have real life issues of ethnicity and culture that has, seemingly, been magically forgotten in people’s prejudices.

I really liked Shadowrun Returns. Truthfully, despite all my complaining. It’s a solid roleplaying game in a market where roleplaying games have fallen from favour for distilled, cinematic, BioWare-tinged nonsense. But what I really like about Shadowrun is that it’s basically Netrunner with a bunch of silliness tacked on. It made me realize that I just want a pure cyberpunk roleplaying game free of the genre tropes of epic fantasy. If I could have a personal focused story of a ragtag group of vigilantes trying to get by beneath the oppressive omnipresence of a faceless, uncaring corporate world then I would be in heaven.

Harebrained Schemes has announced the next instalment of their Shadowrun series. It takes place in Hong Kong. I’ll definitely be picking it up since the games have been improving with each iteration. And they’re good fun. Mindless but good fun. I’ll still be playing a decker, however, hoping to fulfil that dream of being a world renown hacker that trashes the corporations secrets and exposes their filthy agendas to an ultimately uncaring world. It’s just half of those secrets are going to end up being sex scandals with dragons.

Shadowy Shadows

To begin with: Happy Canada Day! May you enjoy some delicious BBQ and Fireworks on this the first day of the seventh month. I am not certain I am going to actually make it out to watch the fireworks, but I am sure some of our neighbours will do the honours anyway.

This is the book cover taken from the internets.

This is the book cover taken from the internets.

The book: Shadows.

The author: Robin McKinley

The plot: Magic doesn’t exist in the Newworld, only science. Genecor has excised the gene from those living in the Newworld. Instead the populace realise on technology to deal with the weird and dangerous warps to the fabric of reality. Maggie, however, is starting to suspect there is something wrong with her new stepfather. When she looks at him, she can see them: the Shadows. An undulating mass that wriggled free of his own logical shadow. She is not happy about this new development, though she is determined her weird new stepfather is not going to ruin her senior year at highschool.

I am not sure I am doing that good of a job selling this book. Of course, that would fit perfectly with my first impressions. I want to start this review by saying that I like Robin McKinley. I have read most of her novels and enjoyed many of them. She is, or can be, one of the more artistic writers I read. Which is to say there are long expositions of description, perhaps some internal dialogue and very little action. I would, to my brother’s frustration, describe her work as leaning towards watercolour – a little washed out and hard to see. Perhaps more impressionistic?

That said she has some very beautiful prose and I do quite like a number of her other stories. This one was a challenge to get into. It felt like a slog to read the first half-dozen chapters. It was the style, not the story, that was my stumbling block. The narrative is told in the first person (not my most favourite) and it was rambling. It lacked a clear, clean, direct timeline as it tried to provide the reader with a lot of world building. Unfortunately this made for a very tedious start to the book. I had thoughts of putting on my shelf and ignoring its uncompleted being, except I had nothing else to read last night. Fortunately things do start to pick up, the narrator meanders less as she focusses on the present problems. There are still a number of reflective sections when we are told about past events, but those are skimmable.

The world itself is a rather interesting alternate earth. It is very science-fiction, despite the heavy inclusion of magic. The Newworld (as opposed to the Oldworld, Farworld, Midworld or Southworld) is science/tech focused. It is trying to rid itself of magic. It is also facing the regular problem of rips in reality (or some such thing) just like the rest of the world.

The expletives are largely tech focused: ‘hot wire’, ‘dead battery’. It is everyday slang for the characters of the story and a good detail in the world building. Though, it can feel a bit confusing, especially at the start of the narrative when everything is new and odd sounding.

I also really liked the inclusion of Japanese phrases. They were added for world building flavour as one of the secondary characters has a Japanese background. It just so happens that I am currently studying Japanese, so I was tickled to be able to read these inclusions.

So, to sum up this review. The story is rambling, particularly at the beginning. However, if you continue forward there are some excellent world building elements, solid characters and interesting story to be discovered. It is a good read, just not as smooth as some other stories.

After the Golden Age

Strawberries are delicious – especially those you have picked yourself.

Also, I just finished reading After the Golden Age by Carrie Vaughn. It is a superhero novel, that I probably wouldn’t have chosen based on the ugly cover or the title. I in fact found it on someone elses recommended list. It was a good recommendation.

Image of the cover from the internet.

Image of the cover from the internet.

The story follows Celia West, the daughter of two prominent superhumans (superheros): Captain Olympus and Spark. Unlike her talented parents, Celia is not gifted with amazing powers. She is thoroughly normal. Unfortunately that makes her an easy target for all the villains of Commerce City. I think she has been kidnapped some half-dozen times before the story starts and she is kidnapped nearly another half-dozen times before the story ends. She is very good at being a victim.

Celia rebels against her famous family and strikes out on her own. She goes to college, studies hard and becomes an accountant. Yup, that is the excitement of her job. However, despite efforts to live her own life, Celia is drawn back into the world of superhumans when the super-villian Destructor is brought to trial. Celia is called in as a forensic accountant. All the things she thought she had left behind suddenly come back into play.

I thought the book was very well written. The moments of going back in time do a good job of showing, rather than just telling, some of the incidents bringing the characters to their present point. The motivations of the heroes and villains are compelling – always a good thing in a story.

The book has a lot of comic book superhero influences. Warren West, aka Captain Olympus, is the head of a massive corporation (like Batman). He has a generic superpower of strength and invincibility (like Captain America – I suppose, with a little of the Hulk’s anger thrown in). Suzanne West, aka Spark, has a fire ability. Together they formed the Olympiad vigilante group that came to include the Bullet (super speed) and Mentis (telepathy). Naturally they operate out of West Corp. huge skyscraper, complete with impressive penthouse, and secret operations room. The asylum, where Destructor is residing during the Trial of the Century is reminiscent of Arkam Asylum. Commerce City is a sufficiently generic city filled with people, gangs, cops and superhumans.

I do like the trial aspect of the book, which seemed to pull from Al Capone’s own history. Simon Sito, aka Destructor, is brought to trial for tax evasion and other accounting illegalities. Even Captain Olympus is incredulous that the evil super-villain will be tried, not for his heinous crimes of destruction, but for tax technicalities.

That the emotionally scarred and very normal Celia is the protagonist makes this book. It is an interesting dive into a world where superheroes exist. I like the way it protrays the rather obsessed vigilantes. I like the way it looks at the negatives of being a superhero or being related/involved with superheroes. The story feels real, rather than cartoonish in its portrayal of the world and characters. In the end, superheroes aren’t that spectacular and just like other people super-villains have to stand trial.

In a world saturated with the glory of masked men running around in skin-tight suits and claiming they act in the name of justice, this was more interesting and believable way of looking at that world. I would recommend this book. It was a good and compelling story, even if it was a little fluffy.

I, Spy

I saw the new Spy.

It’s a Melissa McCarthy movie.

Accessed from http://cdn.film-book.com/wp-content/uploads/2015/03/gold-melissa-mccarthy-spy-movie-poster-01-2025x3000.jpg

Spy is a Chernin Entertainment, 20th Century Fox and Feigco Entertainment movie directed by Paul Feig. They own it, not I.

Actually, that’s not accurate. As Derek described it, it’s someone trying to do a two hour Archer episode focused solely on Pam and Cheryl. Which, on one hand I really like Archer but it’s a bit much for two straight hours.

I make reference to it being a Melissa McCarthy movie since the only point of comparison I have is Bridesmaids. I liked Bridesmaids but there’s a tendency for that type of humour to devolve into the lowest common denominator kind of jokes. Which is to say there’s a fair bit of toilet humour or people falling down shticks. The toilet humour was definitely prevalent in Bridesmaids and the people falling down rode strong in Spy.

It’s also a movie that is quite fond of swearing. I’m not a Victorian prude but that gag certainly wore itself out much faster than the movie thought it did. Jason Stathom’s character nearly hinges on basically being loud and obscene for most of his moments and there’s a second act turn when Susan Cooper (Melissa McCarthy) relies on some quick improvisation to rescue her rather flimsy cover and goes with a foul mouthed body-guard explanation which overstays its welcome.

Overall, it’s an okay movie. I had some laughs with it, at it and then at the audience.

What it is not, however, is a good satire of the spy movie genre.

I think that’s the biggest disappointment for me. Granted, I knew little about the film and it wouldn’t have registered at all on my radar had I not heard that it was scoring so well on critic reviews. It’s hardly the first to take jabs at the genre which holds James Bond as one of the defining movie franchises. Even Kingsman takes many a potshot at international espionage and men of mystery.

Generally speaking, I find that spoofs of the spy genre end up falling a bit flat. The best of the bunch–in my opinion–is Archer and it keeps itself going by leaving a lot of the spy elements as dressing and dipping in and out of a half-serious, half-joking action motif. The few other success stories follow a similar pattern: Mr. and Mrs. Smith, Red or even Burn After Reading. They certainly have a lot of tongue-in-cheek moments but they still treat their narrative with just the right amount of gravitas that it doesn’t devolve entirely into a Three Stooges type slapstick farce.

And I think that’s the tricky part of doing spoofs of spy movies. As I’ve mentioned, James Bond is really the big flagship for the genre but–and I say this as a massive James Bond fan–the series is half a joke. It’s filled with its own cliches and tropes that it pokes fun at enough times that it’s often times a parody of itself. It’s hard to satire something that’s already making fun of itself and certainly hard to keep it up for an entire original piece.

The best satires usually work by pointing out the flaws of genres or trends which are popular and unaware of their own weaknesses. Murder by Death and Clue work as great spoofs of the mystery detective genre because it takes all the dowdy seriousness and spins it on its head. It can stick its tongue out at the irritating habits that crop up in those genres. like detectives taking incredible leaps of logic, confusing final reveals designed solely to bedazzle its readership or the oft times mindless pile of bodies that accrue in an investigation because the original works pull those tricks again and again without even being aware of stereotypes they’re fulfilling.

The spy genre, unfortunately, doesn’t have these ubiquitous elements to lampoon because they, themselves, are not ubiquitous. Sure, we can make fun of James Bond tropes but those tropes aren’t universal amongst the handful of spy movies that get released. For example, a common scene to parody in these types of movies is the James Bond gets new equipment from Q moments. And while there’s plenty of standard elements amongst the Bond series for how these scenes play out, you’re not going to find them anywhere in things like the Bourne Identity, Cambridge Spies or Argo. But sure enough, the scene crops up in Spy like clockwork, focusing its time on pointing out how ludicrous a meeting with some technowizard like division would be in a spy agency despite the fact that it’s almost always played for cheese laughs in the Bonds in the first place.

Thus what ends up happening is that the laughs feel rather cheap. It’s a lot of going through the motions in Spy without really bringing anything to the table. A number of the jokes also hinge on the fact that Melissa McCarthy is a large woman and puts emphasis on how “gross” that is, either through constantly giving her undesirable and socially outcast cover identities or filling her gadget gear with things like haemorrhoid wipe pads.

It’s very American in its comedy, so if we’re not talking about stool solvents or rodent scat, we’re dropping vulgarity for the sake of padding out dialogue or flashing photographs of a person’s genitalia. And when you’re right out of ideas about what to do next, have an incredibly awkward and incongruous celebrity guest appearance and milk that for a few empty laughs more.

Which is a shame, because there is a workable concept in there. There’s a couple of times when Melissa McCarthy does do some decent action-spy elements that, had it been a greater focus, would have worked better. There’s a scene where she gets her handler to cut the power to a casino so that she can take out a squad of armed thugs in the dark without blowing her cover which, had the movie decided to lean on that trope more, I feel could have been a stronger narrative.

Accessed from http://i.ytimg.com/vi/mPyYEqYSo9A/maxresdefault.jpgOn the other hand, this could simply be me just wanting there to be more spy movies because it’s a genre that’s basically died out. This movie certainly found its audience and is pleasing someone despite how cheap it is most of the time. It could very well be a case of “not for me” with a side dash of “wanting what’s not around any more.”

But I don’t think I’m alone. Sure, Archer is hardly the definition of high-brow comedy but it still works. I think there’s interest in the spy genre outside of slapstick American comedy.

We’ll probably have to wait for the superhero craze to die out before that sees a resurgence though. The action genre is pretty dominated by that subculture for the moment and they’re unrelenting in their stranglehold on the comedy-action scene. One day, though… one day.

Narrative, Video Games and You

Accessed from http://www.wired.com/images_blogs/photos/uncategorized/2008/11/25/fallout3_dogmeat.jpg

Fallout 3 belongs to Bethesda Studios, Zenimax and whoever.

“Let’s go, pal.”

These immortal words set the world on fire. At least, they did in my small corner of the intertubes that deals with video games as fans the country over rejoiced at the announcement of the long awaited Fallout 4.

You see, over the last week the video game industry has been holding their annual trade fair show: the Electronic Entertainment Expo (better known as E3). This is little more than console developers and big publishing studios’ chance to put out a metric tonne of advertising and build hype for upcoming titles meant to push units and sales. It’s big. It’s glamourous and it’s entirely not for me.

You see, I’m a PC gamer which means I primarily enjoy my little hobby on my personal computer instead of utilizing one of the many handheld and dedicated machines built to solely play these morsels of amusement. I am primarily stuck to this “one console” lifestyle due to an element of cost. It’s not financially feasible for me to purchase every single platform which can run these video games and so I stick with the one that has the broadest options and the lowest cost. The fact that I need to have a computer anyway makes this a no brainer in terms of decision making.

As a PC gamer, however, E3 has spent most of its years quite joyfully ignoring me.

I don’t begrudge them by any means. The show is what it’s meant to be: a massive marketing ploy funded by the big companies willing to throw enough money at it. I pay a little attention to the trade fair for the select few games that would be ported to the PC a year later.

Well, this year things were different! This year they had a PC conference! And then they went and promptly showed multi-platform games that are primarily console focused and will be ported to PC later. Needless to say, I didn’t watch.

I did hear that Bethesda finally announced Fallout 4 and I did watch the trailer.

And now, here we are.

For the world’s quickest summary on the Fallout franchise and why I’m discussing it now: Fallout was originally a isometric role-playing game produced by Interplay and developed by Black Isle Studios back in the days when Interplay existed and Black Isle Studios was still around. The franchise was inspired by Wasteland which, in turn, was inspired by Mad Max in dropping the player into a world ravaged by a massive nuclear apocalypse. The primary difference between Fallout and Wasteland is the visual aesthetic. Wasteland projected a world that was created when the bombs landed during the grim and gritty 1980s. Fallout envisioned a world lost in the far more incongruous 1950s.

Needless to say, I’ve enjoyed Fallout more than Wasteland because of the anachronistic element that, for the most part, was better executed in the original Fallout and Fallout 2. However, Interplay died as video game companies are wont to do and the IP sort of floated in limbo for many years until Bethesda snatched it up.

Bethesda then released a rather successful third person shooter/action role-playing game Fallout 3 that, outside of sharing the visual elements, setting and lore had really nothing else in common with its prior games. It was… ok. I enjoyed it when it first released but it’s certainly not aged well. It’s a mixed bag made all the worse by the fact that Obsidian Entertainment got to do a spin-off of sorts in Fallout: New Vegas.

Accessed from http://games.kitguru.net/wp-content/uploads/2012/06/dialogue_wheel.jpg

Mass Effect and its wonderful wheel belongs to BioWare and EA and whatnot.

This ended up being everything that Fallout 3 was not. I loved it and you can read my reviews on its DLC somewhere in these archives.

That’s a long story short. So what does this have to do with the opening quote?

Well, Bethesda’s reveal trailer for their next instalment ends with the protagonist uttering those lines to his faithful canine companion.

And that has me in a furor.

I do not like voice acting. It has been an ever expanding and ever popular development in video games. People praise it for increasing their immersion with the medium. Companies spend big bucks hiring named actors to read a handful of lines so they can advertise that Sean Bean or Patrick Stewart or whoever is in their latest release. The player then gets to listen to upwards of twenty to forty hours of Nolan North voicing the main character and then a handful of three or four people voicing every single other person that you meet. Which wouldn’t be a problem if you only ever meet three or four other people but by the time you’ve come across your third city populated with the uncannily same voiced citizens you either wonder if the world has developed instantaneous transportation or why mimicry seems to be the past-time of choice for its minor characters.

I understand the love for voice acting. It lets people forget for a moment that they’re playing a video game and buy into the illusion that they’re playing a really lengthy movie. The problem is that video games aren’t movies and shouldn’t ever have made that their goal.

Now, I’m not going to try and argue that voice acting can’t bring value to the medium. One of my most cherished games is Baldur’s Gate and it has voice acting. It has some of the best and I can’t help but still recall some of the more powerful speeches given by its primary antagonist and just how spot on the actor delivered them. But for every Baldur’s Gate, there’s a dozen Deus Ex games where it’s distracting, aggravating and possibly controversial.

And much like everything else, the real use of voice acting needs to be focused on playing to the medium’s strength rather than trying to co-adopt techniques from elsewhere wholesale without any concern for its impact on the product. This brings me to the reason why I loathe seeing voice acting. In role-playing games–a genre that’s already well beyond a movie’s experience as those that are twenty hours in length are generally considered “too short”–the addition of full voice acting for every character heavily detracts from the main draw of the game. For every line that needs to be voiced, there is way more than a dozen of lines that have to be cut due to file size and cost of production reasons. Voice acting really bloats the memory usage of a game and pushes against the technological limits that our current computers can maintain. It also puts monetary strain on developer’s budgets that now have to pay actors for every line delivered. So, to increase the ever popular “immersion” of a play, the developer must sacrifice options and length.

If I’m ever given a choice between depth of experience or “ermersion,” well I think my choice would be rather clear.

The irony, of course, is that people always bemoan how the modern role-playing games are often filled with cliches and shallow plots. Well, part of the reason for this is your demands to have everything voice necessitates that your options are extremely reduced down to an inconsequential option between three “attitudes” that all say the same but let you say it nicely, neutrally, or dickishly.

However, even if we were somehow able to handwave away the practicality of voicing every piece of dialogue and somehow made it a non-issue (whether through the magic of technology or accepting that unvoiced is superior) it, ultimately, wouldn’t address why video game stories can’t compete with novels.

The real reason plots are paper thin and contradictory while characters are shallow and stereotypical is because there is no environment in the video game industry for producing great stories. Unlike a novel where the focus is placed primarily on character interactions, motivations and world pressures, the onus first and foremost for games is being games. Thus, the majority of the development is placed on rendering and bringing to life all the game systems, physics, lightning and technical doodads that bring a digital environment to life. We’re looking at an industry that has teams of hundreds of people working to create a project. How many of those are going to be writers? Probably less than 1%.

Accessed from http://i.ytimg.com/vi/He09JaBVZdE/maxresdefault.jpg

Deus Ex belongs to Eidos though it’s best Chinese voice acting is still in Ion Storm’s hands.

And if we chose to solely focus on role-playing games, the genre that arguably has the most people working as writers in it, things become even more bleak. While we will have more people working together to give words to voices scattered all across the wasteland, the sheer organizational and manpower requirements necessary to fill them all with good voices is practically impossible. The reason that novels work is because there are few “cooks in the kitchen” so to speak. You can keep consistent voice and tone when you have one or two people overseeing it. When you need three writers just to fill one city and start including the writers that are tasked with creating the companion characters, major quests, major locations, minor locations, minor quests, primary villains and whatnot… well the number of competing voices starts to create a traffic jam of different hands in the pot.

So, yeah, I’m disappointed to see Bethesda opt to create their new game with a voiced protagonist because it places an emphasis on writing that they never were capable of achieving in the first place. Having actors try in vain to bring non-nonsensical writing to life simply makes the experience awkward. On the other hand, Bethesda doesn’t really have the ability to make a strong story experience without voice acting either so it’s really a moot issue in the end.

So what’s the solution? Ultimately, I don’t know. I know I’ve been scaling back my expectations and I’m no longer looking for improvement in narrative and writing within video games. I think that expectation was wrong in the first place. I’ve ranted before about how the nature of television creates poor story structure and it’s unfortunate that video games share a similar fate. This isn’t to say some of it can’t be interesting, however. I still enjoy Obsidian’s work and there are a handful of talented writers in the industry. The simple fact is, however, when someone says they want a game with a “good story” and I hear a person reply back with “well, read a book” I don’t think I’m going to argue that response.

Our expectations for what makes a good story simply cannot be met in a digital space. However, I do think there is room to grow. The one element that video games beat out all other mediums is in that dreaded “immersion” factor. Nothing else lets you get in there, get your hands dirty and shift the pieces around quite like video games do. So, perhaps in the future there will be a way to really deliver some truly reactive and compelling writing. Until then, however, I think we’re going to have to simply smile and enjoy the few nuggets that appear and get repeated over and over again.

Because war, war never changes.

The Emperor’s Edge – Book Review

Can you buy a book if it is free?

Bored (but don’t tell anyone or they will want me to do things), I went to peruse the fantasy section of amazon. This is not an advertisement for the store. However, I have discovered amazon will have ebooks (kindle version only) on for $0.00. Well, I like free stuff. It makes taking a gamble on unknown authors and their novels risk free.

So I bought(?) The Emperor’s Edge by Lindsay Buroker. It was surprisingly good.

It is not a bad cover - it would look quite nice on a book shelf. But it does make for a rather uninspired picture. Image from the internet.

It is not a bad cover – it would look quite nice on a book shelf. But it does make for a rather uninspired picture. Image from the internet.

The Plot Summary:

Amaranthe Lokdon is an enforcer (police) in the Emperor’s (northern and winter locked) capital. She is female, a new trait for the city’s enforcers and looked down upon by nearly everyone. She is also dedicated to the throne. When Amaranthe is brought to the Emperor’s Chief Advisor’s (and previous Regent) notice she is offered a chance to prove her skills and advance her position in the force. Obviously, when the mission is to kill the most notorious assassin, the job is less of an opportunity for her career and more of an attempt on her life.

Sicarius is credited with numerous kills, escapes and other assassin credentials. He is deadly. He is also in the city.

Amaranthe goes in search of the assassin, only to have entire life turned upside down. While she is not killed (cause we wouldn’t have a story otherwise), she is also not successful. Sicarius points out the obvious trap the Chief Advisor had set and Amaranthe starts to put together the notion the Emperor is not safe. In fact, the Emperor is being poisoned by his Chief Advisor. This is the problem that pulls Amaranthe and Sicarius together. They must protect the Emperor and dispose of the Chief Advisor.

Our feisty heroine my not have all the deadly skills of an assassin, but she is able to devise crazy plans and recruit a rag-tag team to carry them out.

The selling feature of the book was the humour. It was a lark. Amaranthe is amusing the way she charges forward, sometimes blindly, but always with the best intentions. She is the moral compass for their small band of criminals, who are trying to do the right thing by protecting the Emperor. Of course, since they are operating outside of the law as fugitives with wanted posters, some of their methods are questionable at best.

The tone of the book reminds me of Ocean’s Eleven. There is just the right balance between serious moments, potential death, successful fighting and quips to keep the story rolling forward. The pacing is strong the story is solid and the characters are entertaining. There is not a lot of character growth, but then apparently there are some 7 books in this serial, so hopefully character growth comes over time.

Finally, a quick note on the world: it is cold – at least it is winter when this first story takes place. I get the feeling of some fantasy Scandinavian/Russian-esq world. Obviously it is not our world. But the Empire has a long history of war and culture built around war. They clearly have deep, cold, frozen winters. There is an element of steam punk or early mechanized technology with trolleys, clinkers and factories. There is also magic (mostly foreign) or as some might say: Mental Sciences. The world is fine, felling more modern than medieval. But it was not the world that held my attention throughout the story, it was the interactions between the characters and the entertainment of the situations.

Over all I enjoyed the Emperor’s Edge; it was a good romp with an engaging female lead. I may even purchase the sequel to see if it holds up.

A Turn of Light – Book Review

Book cover found on the internet.

Book cover found on the internet.

Ok, so my brother has been nagging me to post on the website. Apparently he feels sad he is the only doing work.

I would argue that I haven’t read anything lately, hence the lack of posts. However, that would be a lie. Rather, I have not read anything remarkable. Do not expect much from this review.

The book is entitled A Turn of Light. The author is Julie E. Czerneda. My overall assessment: it is good with a rating of 8 out 10.

A Turn of Light is a very traditional fantasy novel. The world has been entirely and competently created in a mix of monstrous and magical creatures, swords and wild elements. It has a pioneer/settler vibe in a world that is not stuck in mediaeval fantasy land. Elsewhere in the world tracks are being laid for trains while distant large cities are busy with politics, learning and religion. Our story, however takes place in the wild lands at the very edge of the inhabited land. I liked the way the author incorporated magic into Marrowdell. I also feel the connection between the magical world of the Verge and the physical world of Marrowdell were nicely woven together.

The story is restricted to the small valley village of some eight homes and few interconnected families. Yet there remains a greater sense of world beyond the sheltered wilderness. The village and its inhabitants are important characters. They generally get along, yet each has its own personality and faults.

When boiled to its basic components, the story is a coming of age for a protagonist Jenn Nalynn. She is not an orphan, but has a loving and capable family: father, older sister and visiting Aunt. I like that the family is involved in Jenn’s life and she in turn is a part of theirs. This is not a story of an isolated individual setting out on their quest. This is adventure found in the shadowed nooks of the valley and the Verge overlapping it.

To shake things up there are also two newly arrived strangers. They add different points of view and a connection to the world beyond that helps to transform Jenn’s world view.

My biggest complaint is the length. The story in paperback is 800 pages. There is a lot of description, a lot of slow character building, a lot of words. It is slowly paced, plodding even. As much as the author works to weave different threads of story together, the narrative is long.

Close-up of the cover - there is not a lot of image choices on the internet.

Close-up of the cover – there is not a lot of image choices on the internet.

Still, the story is solid. The characters are reasonable. The world itself is beautiful crafted, making it the best part. Over all it was good.

Hell Hath No Fury

Confession time: I have not seen a Mad Max film before.

Shocking, I know. Somehow, through my formative youth, I managed to not once have any installment of this series grace the screens of the collective households in which I was raised. Granted, it is an Australian series, so maybe my family was simply holding fast to a “No Foreign Film” policy. Or–more likely–they were simply not popular enough to pierce the isolating cultural bubble of small town Canada. We only had one movie theatre at the time and–from all reports–said theatre has long since closed after I had moved from those alpine heights.

Image accessed from http://theralphretort.com/wp-content/uploads/2015_mad_max_fury_road-wide.jpg

Mad Max: Fury Road and all rights and images belong to Warner Bros., Village Roadshow Pictures, George Miller and all the rest.

Well, I have rectified this injustice over the weekend by seeing the much lauded Fury Road. I was quite excited to see this film after watching a trailer before a movie I’ve long since forgotten. An action movie, that takes place on a single road, in post apocalyptic setting and simple, unabashed back-to-back action? I could not sign up any faster. Alas, I hit a snag when the only friend I had that held any interest wandered off on opening night and saw it without me. My family were all less than enthused to see this film and so I had to search through my achingly meagre list of friends to find someone willing to indulge me and my lust for violence and carnage. Thankfully, I found someone. I can summarize the good and parts of Fury Road as thus:

Bad: It was in 3D.

Good: Everything else.

Alright, that is not true. However, I feel it adequately sums up my feelings about the movie. I can’t help but be reminded of Dredd (the 2012 release) while watching Fury Road. Similar to the Judge Dredd reboot, it wasn’t some over-the-top narrative mess that tried to be more than what it really was: that is an over-the-top action movie. Action movies have a tendency for injecting too much gravitas into their hearts. Movies like the Mission Impossibles and Die Hards kind of get lost in their own convoluted narratives as they attempt to keep the audience guessing about what the hell is going on in the story while jumping from set piece to set piece. Dredd stripped all of that away, keeping its story focus square on the single day in the life of the Judge as he went about breaking up an opportunistic drug cartel that had overtaken one of the megalithic apartment complexes in the Dredd universe. There wasn’t grandiose flashbacks of Dredd’s past, there wasn’t overly dramatic explanations for how the villain was going to change the face of the world, there wasn’t deep and evolving character arcs for the characters. And it all simply worked. You know almost as much about Karl Urban’s gruff Dredd by the end as you do at the start. Which is fine. This is an action movie, not a character drama. All we need to know of the character is expressed through, appropriately, his actions.

Image accessed from http://cdn.filmschoolrejects.com/images/Fury-Road-Guitar-680x388.jpgFury Road follows the same formula. As I said, I’ve never seen a Mad Max film so I knew nothing about the character. At the end of the day, I can boldly say I still know next to nothing about the character. The basics are explained as quickly as possible (world went to shit, Max lost his family and is haunted by that loss) and then the action just starts. Within five minutes of the film, we’ve been introduced to a character and then a car chase followed up with a failed escape attempt. Within fifteen minutes, we’ve been introduced to all the main characters before yet another car chase begins (Note: I didn’t actually time this, all these are estimates). There’s no plodding about before we kick of the action. There’s no long narrative overlays to explain this strange and violent world. There’s no rehashing of whatever the hell was covered in the prior three movies of the series. This is it. Here we go. Welcome to Fury Road.

It may be strange for someone like me–someone who loves narrative and character–to adore this approach. And that’s one thing I do want to cover explicitly. While the action is centre stage to the performance, it doesn’t come at the expense of either these two elements. Simply put, Fury Road shows its characters and story instead of telling it. I learn quite a lot about Furiosa, Nux and Angharad without requiring long soliloquies or lengthy pauses to communicate clumsily their personalities. Often you’ll get the advice when writing that one should “show and not tell” without any real indication of what that means. I would point to Fury Road as an example. George Miller lets us know quite a lot about Furiosa and Max without saying any words. There’s a scene where Max is holding the Imperator at gunpoint, along with her entourage, while he systematically searches through the entire cabin of the giant warmachine for every hidden firearm. That Max keeps his weapon trained on unarmed civilians tells us a lot of his practicality over morality. That Furiosa keeps way more weapons around her than necessary tells us a lot of her preparation and fear of being disarmed. That Max fails to find the knife kept in the gear shift and Furiosa checks it the moment he leaves gives us indications for the faults of either character.

The movie is full of all these moments. Perhaps the most interesting and best use of this is with Nux, the fanatical lackey of Immortan Joe who has perhaps the most complex character development throughout the entire piece. When we were first introduced to him, his interactions with Max and his fellow outriders was so well done that I hoped he wouldn’t be some nameless mook to just fill up a few minutes of screen time before being murdered in spectacular fashion. I was more than pleased to see that wasn’t the case. Typically, important characters have grandiose introductions and that this one character could be introduced in such a fashion that you’re left unsure whether he is important or not was–simply put–quite elegant.

Image accessed from http://www.squaremans.com/images/FR1.jpgSo, yeah, Fury Road isn’t just some “stupid action movie” though it’s got lots of wonderful stupid action in it. The set design–if one can really call it that–continues this subtle but extremely effective means of conveying character through subtle indicators. Near every vehicle that rides onto the screen is personalized for its driver. This is important when we start into several of the three faction skirmishes in the movie, giving the audience an immediate shorthand for who is who while explosions and car parts fill the air. The different gangs are given their own aesthetic that helps differentiate while the main bosses of the three pivotal cities (Gas Town, Bullet Town and I can only assume Water Town) ride in on their own unique chariots that convey their personal philosophies. The boss of Gun Town drives a converted muscle car with tank treads, trading efficiency and speed for military bulk. Gas Town, on the other hand, is more concerned with appearances and driving a large and impressive vehicle than something that’s truly combat ready.

And that stereo/war-drum contraption was utterly fantastic! Of course, the main warmachine is designed with various hidden compartment and entrances–another quick shorthand for the unexpected and surprising routes its drivers develop across the feature–while maintaining enough complexity to be the main set for the majority of the movie.

Of course, I feel that I can’t properly comment on Fury Road without making some comment about all that feminism hoopla prior to its release. There was clearly much attention given to the fact that a prominent feminist author was involved with the script or worked on set. Honestly, you wouldn’t really notice and I feel that’s kind of the point. Furiosa does not really stand out as some sort of highly crafted piece of philosophical propaganda. Amongst the likes of Ridley Scott or The Bride of Kill Bill fame, there’s nothing really different about Furiosa. She’s isn’t some sort of bra-burning femi-nazi who constantly shouts for equality or women’s rights. She’s just a woman trying to do what she feels is right in a world that’s gone utterly mad. She’s a product of her upbringing and heritage which has turned her into a capable fighter despite the loss of a limb. And while it makes her rather cold and stand-offish, this is hardly surprising given how long Max holds people at gun-length. Had there been no mention of feminist involvement, I suspect no one would really think anything of Furiosa other than her being a damn good action hero.

And she is a great action hero. She is essentially the central figure of the movie (it is called Fury Road after all), as Max has presumably gone through his character growth in his first movie. Some of the most annoying clichés of serialized fiction is this pressing need to constantly put the main character through the standard “hero’s journey” of character development. There’s only so much that someone like Max can learn in a world as crazed as the one he occupies. After awhile, him constantly getting some sort of moral lesson from all his gallivanting becomes very eye-rolling. I’m always a fan of shifting these sort of character developments to new faces who have the opportunity to learn the lessons the main character simply can not.

Image accessed from https://belgianfilmfreak.files.wordpress.com/2015/05/2015-mad-max-fury-road-wallpapers.jpgSo, while Fury Road wasn’t two and half hours of pure car chase shenanigans, it simply and effective delivers on every other expectation and hope that it’s all the better for it. It’s a fantastic movie and I can see immediately where all the inspiration for Wasteland and Fallout derived. It’s so good that I’m going to try and get a hold of its prior installments… just as soon as I find someone to watch them with me.

Big City Heart

So, continuing on our tour of late 2014 reviews, I have recently seen Big Hero 6 by Disney Studios. I hadn’t any intention of watching the movie, especially after feeling rather chilly towards the children’s entertainment giant and their lacklustre Frozen mega-hit which served to demonstrate just how out-of-touch I am with the rest of the world. It also didn’t help that whatever fledgling interest I may have had for the flick evaporated after having to sit through Guardians of the Galaxy.

Accessed from http://i.kinja-img.com/gawker-media/image/upload/s--ETEiEUY_--/c_fit,fl_progressive,q_80,w_636/18wisnf9ybdwcjpg.jpg

Big Hero 6 belongs to Marvel, Disney and a bunch of other people and stuff.

Yes, yes, I hate super hero movies–or as I like to call them “Stupid Hero Movies”–and was quite frankly ready to give popular blockbusters a skip since it seems the public is going through a really weird phase and I feel it’s safer to hunker down and wait it out. Of course, avoiding the megalithic reach of Disney and his cold, dead fingers is a near impossible task, especially as I have a habit of speaking to a number of women in my life. I was assured–quite voraciously I might add–that both Wreck-it-Ralph and Big Hero 6 were great movies. People even dared to go so far as to recommend I watch them even after I expressed my disdain for the unanimously adored flick about the Swedish girls and their boring life.

You’ll notice I didn’t write anything on Wreck-it-Ralph and that’s probably for the best.

Big Hero 6, however, is the more noteworthy of the two. I’ll jump right to the point: I think it’s “okay.” The biggest failings of Big Hero 6 is that it’s a Stupid Hero Movie released in a climate where movie-goers are tripping over costumed weirdos every other weekend. Narratively, it does nothing truly new or extraordinary. If you try and tease it’s characters and plot apart, it unravels rather easily. It’s competent, which is perhaps the best thing I can say. But it’s competency arises from it re-treading quite beaten ground at this point.

There is one thing, however, that Big Hero 6 does fantastically. Perhaps more than any other movie I’ve seen recently, and truly the only reason I kept at it and look at it fondly, is that the world of Big Hero 6 is just so damn interesting.

For those not in the know, Big Hero 6 was a comic at one point in time–thus explaining it’s unfortunate plotline. However, it takes place not on Earth. Well, more accurately, it does not take place on any reasonable facsimile of Earth. One thing that stupid hero movies do–and must do in order for the picture to work–is spend a gross amount of time grounding their comic book worlds in a very recognizable and verisimilitude world. We’ve long passed the days of George Clooney’s Batman nipple suits and a Gotham City that looks like it was ripped straight from Lovecraft’s most hideous cyclopean nightmares. The X-Men movies set the stage for comic book adaptations that are filmed with an intense grounding in our day-to-day familiarity and it has apparently produced a “gritty and realistic” aesthetic that has resonated with movie-goers. Thus, Nolan’s Gotham is very clearly New York. Iron Man unabashedly lives in Malibu.

Accessed from http://static.comicvine.com/uploads/original/11/117787/4434289-6379007271-tumbl.pngBig Hero 6, however, is not. It’s location is San Fransokyo–some curious and compelling hybrid of San Francisco and Tokyo. It’s a world that’s strange and captivating. I found it hard not to get sucked in as we’re pulled over the Golden Torii Gate Bridge, the once familiar landmark carved into the iconic images of a Shinto shrine’s entrance. Great wind turbines bob in the air, tethered like enormous balloons and painted to inspire the recollections of the flying Koi during the Children’s Festival. Red lanterns hang from street cars while enormous neon signs in bright katakana fixate to the sides of downtown skyscrapers. The movie is very indulgent in its wide spanning shots of this inventive skyline where the old and the exotic are mixed into something almost familiar.

It’s really a brilliant mix of cultures done in such painstaking way to make the seams tying the two together indistinguishable. This extends to the main characters and their obvious Japanese heritage despite the movie’s stylistic renderings. Tanaka and Hiro are undeniably American for all intents and purposes, even as the engage in robotic sumo competitions or advanced robotics.

The best character of the show is the city itself and it’s a shame that something more couldn’t be done with it. Ultimately, the backdrop isn’t used for any clever thematic or even stylistic blending. The main villain runs around in a kabuki mask without drawing on traditional kabuki elements or traditions. There’s a heavy use of robotics throughout the film–echoing Japan’s leading edge in the field–without actually exploring any themes of robotics (displaced human workforces, moralistic questions of advanced artificial intelligences). There could have even been some exploration of the universality of the human condition by pulling on the shared elements of American and Japanese mythology and history but all of these things were missed.

Accessed from https://s-media-cache-ak0.pinimg.com/736x/38/fe/97/38fe97c9aa8b5eb44bc987266232d501.jpgAt the end of the day, Big Hero 6 is a bunch of stupid action with some shoehorned morality shoved in at the last second that makes no sense. But it’s world creation is very intricate with painstaking detail done to even the smallest references. It’s a visual feast just as much as it’s a cognitive snore. I think it showcases just how samey and unremarkable this super hero phase really is. At any other release, at any other time, this movie would have been fantastic. As it stands, it’s kind of forgettable in a vast sea of similar faces. It’s a shame they couldn’t take this setting and do something really fascinating.

As is, it’s a really brilliant example of some clever world-building. Check it out for that.