Category Archives: Criticism

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Playground of the Id – Musings on Horror

Oh hi there. I didn’t see you there. Come in, come in. It’s been some time, hasn’t it. Well take a seat. This place is just as comfortable as it always is. Everyone is welcome.

Pay the dust no mind.

So, it’s been awhile since I’ve posted. And boy, have we had some big changes in that time. A new look and a new address, all of which we have Derek to thank. So, thank you Derek, your hard work is always appreciated!

A little bit of an update: I didn’t fall of the face of the earth for no good reason. I’m hard at work on the Clockwork Caterpillar sequel. We’ve got pre-order and previews in the works and hopefully we’ll be making more noise about that in no time. So keep an eye out for that.

But now that I have some breathing room from scribbling out draft after draft, it is high time that I go for a little bit of a ramble about just life and all the minute things that make it up.

The title of this article gives enough of the topic away but let’s add a dash of context. A friend of mine – let’s call her Rikki for no particular reason – and I really like to watch horror movies. Now, I’m not a horror fan. I’m not a true believer in the genre and I’ve certainly expressed my thoughts on its shortcomings in the past. No, specifically we like to watch bad horror movies. There’s some measure of joy to watch a work of art that utterly fails to achieve its goal. It’s another thing to watch such a trainwreck fail to reach any goal. This is essentially an endorsement of Wiseau’s The Room. Check it out!

So Rikki and I like to get together every month and just sit back and scroll through the movies that no one wants to see. We prefer the comfort of our own homes because we engage in the age old tradition of heckling while the flick is on. A meta-commentary of work is so popular it spawned its own long running series (Mystery Science Theatre 3000 – check it out as well!). I would never record and release this sort of thing, obviously. But it is immense fun.

Only, every now and then there’s a snag. Every now and then we screw up. Instead of putting on a real stinker we stumble into an actual good movie.

And this has lead into an interesting revelation for me.

Now, I’m well aware of the subgenres of horror. You have body horror, slasher films, cosmic horror, splatterhouse or even the oddly specific holiday horror. But one of the more interesting elements of this style of fiction is how telling it is of its creators. Many philosophers and artists allege that fear is the greatest emotion known to mankind. I’m sure Lovecraft has waxed poetically about it before diving into his strange fetish for scaly, long noses. But while fear is certainly a common experience for mankind, what scares us certainly is not.

In a way, if eyes are windows to the soul, horror films are the garage door to the director’s psyche. You get to see the shadowy shapes that wiggle just beneath the surface of the subconscious and see just what causes the bumps which keep them up at night.

For some, it is incredibly mundane witches, ghosts or witch ghosts that can’t stand you having more Facebook friends than them. But every now and then, a director is able to take their midnight terrors and do something extraordinary with them.

They make a message.

So here I list Rikki and mine’s worst failures. Here are two movies that, against our best intentions, actually turned out well.

The Babadook

Accessed from https://upload.wikimedia.org/wikipedia/en/d/d7/The-Babadook-Poster.jpg
The Babadook and all associated images and whatnot belong to Causeway Films, Entertainment One and whoever else.

Sure, anyone who follows the horror genre is probably rolling their eyes. Of course The Babadook is good. Anyone who doesn’t keep their head in the sand during 2014 would know this. Well, first, I like it there. The sand helps to regulate temperature really well.

Second, I don’t take critical consensus seriously after I was convinced to watch a horror movie about a lethargic walking STD despite everyone crowing about how brilliant it is.

Thus, I recommended the Babadook based on the fact that I wanted to see some silly Australians running around from a ridiculous looking person in a top hat.

And I have to admit, I was not prepared.

Now, the Babadook isn’t scary. I don’t really find horror movies scary. But the Babadook is good. And it’s because it managed something that I had not thought possible. It used our feelings of fear to peel back the layers of psychological defences the director had raised to reveal a very compelling story about the difficulties and shame surrounding grief.

Thus, the Babadook did two things I had not seen. One, it was a story very strongly feminine. As I’ve stated, I’m not a horror genre expert, but so often are we presented what scares men. Even when the protagonist is a woman, the films themselves are very… attuned for the male’s perspective. I mean, how many times do we have the female protagonist running through showers of blood or rolling around in the mud while wearing a shear blouse or, more often than not, just her panties and bra?

In contrast, The Babadook is positively mormon. Here, Amelia Vanek is a single mother attempting to raise her precocious and not-entirely-all-there son Sam. The story is, largely, a slow boil wherein Sam’s awkwardness and social failings cause ever growing stress and grief for Amelia. Sam is convinced that he must protect his mother from a monster only he can see. And Amelia, as a single working mother with strained relations to her sister, is stretched to her wits end.

It’s an excellent story which, handled by any other, would surely have looked simply through Sam’s eyes and watched as his mother turned into a raving, murderous creature which the son must slay in order to save. But, instead, despite Amelie’s inability to address this mysterious Babadook (which is so thinly veiled to be the representation of her grief towards the death of her husband – I mean it manifests as him at one point when it demands that Sam be brought to him!) the story never really abandons Amelie. This is her tale, even as she does unspeakable things in her attempts to calm her child and hold to the fraying threads of her unravelling life.

But even more impressive is the finale. It’s a staple in horror films that even when the supernatural threat is banished, there’s always that last minute shot of it coming back or having ultimately succeeded. This is represented with a happy Sam collecting worms for Amelie and presenting her the dented dog dish with the earthy insect laden mess. Sam then asks if he can “take care of it” and Amelie’s answer has stayed with me ever since:

“You will when you’re older.”

Accessed from https://nerdist.com/wp-content/uploads/2017/06/Babadook-e1497018439248.png
The Babadook is more a story about responsible parenting: Don’t let others buy your kid children’s stories.

It’s such a sucker punch reveal that the grief we carry isn’t just our own. Sam, who had no hand in the creation of this devastation in his mother, will later inherit this morbid manifestation once he’s fully capable of understanding the loss of a father he’s never known. Then he too will have to learn to take his own bowl of worms down to a monster that he will never live without.

I had not signed on to learn something about life.

Await Further Instructions

Accessed from https://www.imdb.com/title/tt4971408/mediaviewer/rm109279232
Await Further Instructions belongs to Johnny Kevorkian and Dark Sky Films.

This one is entirely on Rikki. To be fair to her, however, not only does this movie have a ridiculous title, it’s also got a really cheap film look to it that just screams “unintentional comedy.”

And I’ll readily admit that there’s a distinct difference in quality between Await Further Instructions and The Babadook. But this movie is still way better than it has any right to be. I don’t know what it is with foreign films but somehow they seem to churn out more thought provoking horror than their North American counterparts.

I wonder if there’s a thesis topic in there.

Await Further Instructions takes the opposite approach to The Babadook. While it focuses on a family Christmas dinner in what I can only assume are the suburbs of Britain, it’s subject matter branches far afield from the intensely personal tale of Amelie. Instead of commenting on the human condition, Await Further Instructions is leveraging its critical eye to society.

And there’s just something about fascism that simply does not gel well with British artists. Well, fascism doesn’t gel well with any artists but certainly its a topic that the British are far more willing to address their ire.

Await targets what I can only assume is the very British response of clamping down during an emergency and being as obedient as possible to authority. Not a necessarily inappropriate response in many circumstances. Certainly if a building is madly aflame, most would encourage trapped persons to obey the fire marshal.

But what happens if the fire marshal starts giving questionable directives?

Await follows the Milgram (heh) family as they awake Christmas Day to discover their house has been sealed by a mysterious black synthetic barrier. Concern spreads quickly, especially since Nick wanted to depart early given that his Indian girlfriend Annji was not going over well with his slightly racist family.

Then the television flickers on and an otherworldly green message flashes its instructions to the family. This cements in the mind of the patriarch Tony that this is a government quarantine and they must wait out the catastrophe following good old daddy parliament’s directives. Course, this quickly turns into a question of blind obedience to authority once the television begins flashing highly suspect orders and Tony puts his entire family’s life in danger while trying to maintain his quickly unravelling order.

Now, Await struggles in presenting a well written and well performed piece. But its theme is certainly far stronger than most the ghoulies and goblins are offered in the genre. Someone really hates Fox Nows. Or, more precisely, whatever form Fox News takes in Great Britain. All the family’s bad decisions are preceded by obeying the ever growing ridiculous demands of the television which mostly seems to want to torture the Milgrams. This is obviously contrasted with the seemingly normal Christmas Eve were dear old Granddad is watching the news and commenting on how the world is going to shit because of the immigrants and they need to kick them all out while staring hard at the doctor-in-training Annji.

Nick’s rebelliousness uncovers the horrible truth that the television hosts some strange alien synthetic organism which wants nothing more than the adulation and worship of its viewers. A goal that is easily achieved with the highly susceptible Tony who keeps appealing to the cross hanging above the television anytime he’s about to carry out the next unimaginable order against his children. There’s a lot of good ideas wrapped up in here that, given a skilled hand, would have really taken off.

Course, in the end, it’s a bit heavy handed. But the horror is far more ambitious than the ghost of a little girl trying to get revenge on her sisters thirty years after they accidentally contributed to her drowning. It’s a fear with a message and elevates a work that would otherwise have been ripe for parodying and mockery. Course, it’s elevated to more a position of awkward mediocrity wherein it’s a flawed but somewhat valuable work.

Accessed from https://static01.nyt.com/images/2018/10/05/arts/05await1/05await1-jumbo-v2.jpg?quality=90&auto=webp
I have to say the weird green glow did get a little tiresome.

But it has done more than a lot of other films better crafted than it: It showed that horror can be more than dopamine for the id. It can provoke thought and conversation over difficult matters of both personal and societal importance.

And these movies demonstrate that not all our fears are unfounded. Its how we address what we fear that matters, and whether we can turn that terror into a better solution.

Rules of Redemption – Book Review

Title: Rules of Redemption

Series: The Firebird Chronicles

Author: TA White

I really liked this book. So much so, that I finished reading it once and two days later started re-reading the entire book again. More importantly, I my second read-through was intentionally slower. I was reading for all the little details I missed I hurried through my first read too caught up in the action and adventure of the story to be bothered with the little things.

As far as I can tell, speed reading is just a means of skimming through pages. I am not terrible at scanning and following stories as so many of them follow very familiar and predictable paths. And generally, I still get enough enjoyment out of my material to not feel the need of changing. But every so often a story resonates with me. Those are the ones that I want to read a second (or third or …) time. And this was one of those stories.

Book cover for Rules of Redemption by TA White. Image from the internet.

Rules of Redemption is a space-fantasy. There are lots of starships, space bases, aliens, laser weapons and intergalactic wars. There are also alien-wizards, who could be more advanced or just magical. As has been stated before: advanced tech is indistinguishable from magic.

Kira is a fantastically strong and perfectly flawed lead character. Once she lead one of humanity’s most effect military groups in fighting the dastardly Tsavitee aileen race bent on universal domination and destruction. Nicknamed Pheonix, Kira was a powerful fighter and leader until she abandoned that life for the quiet solitude of a salvager. But of course fate will not leave such an interesting character alone. Docked at a space station for repairs, Kira will draw unwanted attention for both the human military leaders and visiting Tuann ambassadors. This will lead to some uncomfortable truths about her own origins as Kira is swept away to a home she doesn’t remember and family she doesn’t want. Though the feeling is mutual, as her family is reluctant to welcome her back into the fold.

With plenty of action, future tech and alien creatures it is a fun read. There is also some interesting characters with deep histories and just a hint of romance to keep me properly engaged. So much is learned in this first book of the series, but there are also many unanswered questions. Such that I wish I had a bookclub with whom I could discuss this book.

Note: incase it needs to be stated, spoilers will follow

Some things that drew my attention: Odin, the experimental base, the source of the Tsavitee and Greydon.

Who is Odin? Is he (or she – it doesn’t specify, but for now I will use male pronouns) really the genius out to help Kira or does he have another motive? Could odin be a Tsavitee in hiding? Could Odin be part of the human political network, the consortium? Have we met this character going by another name? Because if that is the cause I could make a guess at who it really is. Does the author even know who Odin is? There are so many questions, mostly stemming from the fact that Odin knows both that Kira is on that space station and she is being followed. Sure he could have hacked the stations cameras, but he could also have been present on the station. My gut feeling though, is that Odin is going to be the cause of betrayal in the next book. Either he will directly betray Kira, or cause Kira to do something that has her betraying her new friends/family.

Despite my second read through, I cannot remember if the location of the evil research facility that held Kira when she was growing up was in human space or not. It is mentioned that the scientists working at the facility were Tsavitee, does this explain how she knows the language? But were humans also present? Because that would only spike the tensions between Tuann and humanity. Did anyone else escape from the centre?

Where do the Tsavitee come from? It is discussed that they look very different, but are genetically similar. Did they create themselves or were they created by someone else? Is there a greater link between the Tsavitee and say the Tuann than anyone realizes? And why would they keep a human hostage for over a decade?

Greydon, the Emperor’s Face, is from the House Roake. Is he also a primus? Because he doesn’t shift, but certainly acts like he would be strong enough to do so. And exactly does Kira fit into that House? Though I am guessing that her father was the previous Overlord, so she is likely going to be tested for that potential. This I think is where the second book will pick up. But will Kira take responsibility for a House when she has a personal mission to infiltrate and free those captured by the Tsavitee?

There are so many exciting and unanswered questions with brings me to the biggest complaint. Why do I have to wait so long for the sequel?

Final Rating: 5/5 stars

Kill the Queen – Book Review

Title: Kill the Queen

Author: Jennifer Estep

Book cover. Image from the internet.

Kill the Queen was an engaging read. Everleigh, Evie, Saffira Winter Blair had a strong voice. And the author, Jennifer Estep, did a pretty good job explaining how Evie went from low status royal family member, seventeenth in line to the throne, to challenging her cousin in a duel for the crown. Sure the training sequence was a little rushed, but waiting years and years for Evie to develop the skills would have been less exciting to read about.

Besides, Bellona is a land of magic mixed with a gladiator tradition. It was interesting setting for the story. I of course liked the strong female presence running through the entire world. Here men and women are treated equally. The rich and the poor are not.

There was political intrigue with the neighbouring courts of Morta, Andvari and Unger. There were fierce fights between skilled gladiators, pageantry with the gladiator shows (feeling more like a circus with their acrobats and food sales) and of course there was a crown up for grabs by the strongest and most cunning of the Blair family line.

In many ways this was a story about family, a large and dysfunctional family that was massacred by one of its one in the first chapter. So, perhaps it is better to say this was a story about surviving ones dysfunctional and very deadly family.

Escaping the castle and its bloody court, Evie joins a gladiator troop where she puts some of her random skills to work and befriends a number of the prominent people in the group. One of the weak points for me was her keeping the secret of her identity for so long. Mostly because the Queen’s final words before dying words were to find the Black Swan gladiator group and seek help from their illustrious leader. It is not like Evie didn’t have a number of opportunities to come clean about who she really was.

Book cover for the sequel to Kill a Queen. Image from the internet.

That aside, I liked that Evie was an older heroine (~ 28), understandably skilled in a number of random areas like cooking, dancing and small talk. That she was a strong character, who had learned the value of silence. The magic in the world was interesting. The politics were thoughtful. The overall word was detailed.

I lament the way that we equate strength to the physical prowess needed to destroy another person. There are more ways to solving a problem rather than just running a sharp blade through its heart, but that is a general comment on trends in writing and society.

Importantly this was a fun read and I look forward to the next book, which just might address a very important aspect of these power plays. It is one thing to kill the queen, but how do you keep the throne (and stabilize your country). Killing and ruling are not the same skill set, at least not entirely.

Final Rating: 4 / 5 stars

Heartstone – Book Review

Title: Heartstone

Author: Elle Katharine White

“Pride & Prejudice meets Dragons”

Book cover. Image from the internet.

Much like Pride, Prejudice and Zombies the Elle Katharine White is tweaking Jane Austen’s classic romance by adding more fantastical elements to the well worn narrative. One of the biggest differences, and greatest strengths of Heartstone was the author’s choice to create their own world. It is not Hertfordshire with some dragons roaming about. Rather, the story of of Pride and Prejudice has been reskinned with new character names and a world of fantastical creatures. But don’t worry, you will not have any problem connecting Aliza Bentaine with Elizabeth Bennet.

My first question upon completing the Heartstone was: Why? Why did the author restrict herself to following the plot points of Pride & Prejudice, when she so clearly struggled to contain her own voice within these narrow confines? The greatest failing, in my mind was the fact Heartstone mirrored Pride & Prejudice. Granted, there are some obvious differences, one of the Bentaine sisters is dead. Their family lives and belongs to the great house in the neighbourhood. THere are dragons that act as elite cavalry units in hunting and killing dangerous creatures of myth and legend. I could go on. But the differences pale in comparison to the similarities. The overall plot, the arch of the narrative is undeniably P&P.

This meant that I knew from the second paragraph what would  help, at least in broad strokes. There was no great surprise at the inevitable betrayal. Not great victory when Aliza and Alastair Daired acknowledge their mutual attraction. To me it felt like the author sacrificed the potentially interesting world, filled with magic and manners, for something people already recognized. This was disappointing. The story could have been great. It could even have started as a mirror of P&P, but it should have been allowed to grow and flourish on its own terms, not someone else’s.

Before you write off my complaints as those of a person who hates everything. I didn’t hate everything. I like dragon riding warriors. I like fantastical worlds of magic and dangerous creatures merged with regency-flavoured societies. I like the tensions that arise between the snobbish upper-upper crust and those who are on the lower rungs (but still part of Society). The setting worked. It had potential. But there was not mystery, because the story was so obviously Pride and Prejudice.

Book covers for the first too books in the Heartstone series. Image from the internet.

What I would have loved instead, was for the story to feel reminiscent of P&P without following the events like a paint-by-numbers drawing. The movie, Age of Adaline, feels as though it was inspired by Sleeping Beauty. But the authors did not have a princess prick her finger and fall asleep. Instead they explored a different form of agelessness and what happens when someone comes into your life talking about love.

Heartstone could have been heavily inspired by Jane Austen’s work, without copying it so closely. This would have been amazing, instead of mediocre. But then this brings up another important question: Would I have chosen to read the book without the blatant reference to Jane Austen? I would like to say the answer would have been yes. But it is just as likely I would have skipped over this story, as I have skipped over many others in my search for a really good read. So instead, I will ponder my third question: Do I bother to read the sequel?

Final Rating: 3/5 stars

Captain Marvel – Movie Review

I really wanted to like this movie. Despite my best efforts to temper my expectations, I was still hopeful – unreasonably so. I will not go so far to say that Captain Marvel was a bad movie, but it was lackluster. It was missing the punchy colour and world building that went into Black Panther and sadly, unlike Wonder Woman, I found Captain Marvel largely lacking the ability to engage the audience.

Charismatic Wonder woman on the left and flat Captain Marvel on the right. Both of their superhero names are kind of dumb (personal opinion only). Image from the internet.

I wanted to say how I thought that Captain Marvel was missing a personality and any decent characterization. I still think this is true, but I have been reminded by friends that most superheroes are pretty flat. They have a good point. Thor and Captain America – particularly in their first movies – were rather drab as characters. They did not emote a great day, being all bushed with warrior stoicism that we attribute to epic heroes. So, really it comes back to my foolish hope for something more. Because I certainly don’t think it would have take much to make some huge improvements to the movie.

For a better Captain Marvel, I would only tweak the script enough to give more dialogue and character development to the principal leads and supporting cast. Something I strongly feel should have been done as there really is a rather small cast on this film and small cast means we should know them better.

I love the fists of flames. And the blowing hair. Image from the internet.

Starting at the begging, please give Vers more of hook than occasionally emotional. Also, if she is going to be the joker on the team, the reactions of the others should reflect this role. Not only do they fail to make interesting the alien homeworld where we first meet Vers, the also fail to explain who the Kree are. Now, I am not an expert in superheros. I have never read a Captain Marvel story and I come to this movie largely ignorant. So, please, take a few minutes to lay the framework for the plot. Who is this collection of various aliens, spread across the galaxy with incredible tech and an AI overlord/god? What is interesting, unique or quirky about them? What do they stand for? Are they a melting pot of alien cultures? Doe something with these first few minutes beyond a generic hand-to-hand training room and public transit railcar.

[Note: I have since learned the Kree are not a melting pot of different alien races, rather they show some variation in their appearance. I wish this had been noted in the movie.]

Team shot! But who are these colleagues? I couldn’t name one of them. Not good since they were both friends and enemies of Vers. Image from the internet.

When Vers goes to join her team for that first mission, I cannot tell if this is her first mission ever or if she has worked with these people on many prior occasions. I almost wonder if the writers know this information, because the reactions of the rest of her team should be either to welcome/tease the newbie or role their eyes at her regular antics. There should be either feel that Vers is just joining a group of strangers, or that they have a longer (6 year even) history of working together. If the latter is more true, then some of these teammates should demonstrate this history through their comments and actions. There should be passing references to previous missions, or inside jokes that develop between friends. Some of the team can hate or dislike Vers, but some should be friendly. Also, their names should be far clearer. Coming out of the film, I couldn’t name anyone of Vers’ Kree team that I think she worked with for at least part of her 6 years with them. This would certainly make the twist at the end more impactful.

She was the mother of Captain Marvel, in a sense. Mar-Vell helped to shape Carrol Danvers into the superhero she became. Image from the internet.

I really liked the pre-2000 time setting. I thought the jokes about slow and simple tech cute. While I would like to have seen more for this time, though I am not actually certain what they could have done differently. I thought they did a great job with Nick Fury –  one of the highlights of the movie. I also thought that the impeding of Vers’ powers until the end was notably well done. I understand that Captain Marvel can easily be overly powerful, so their use of her fire-blasting hands and military training to kick butt and still be at risk was a good balance.

While I will always argue that more time should be spent on dialogue and character development and far less time should be spent on fight scenes, there were some moments of visual interest. One that stood out was the early fight with the old lady on the train. I liked that the bystanders worked to stop Vers – I would have loved to see them have an even faster, stronger reaction, but the scene ended in a pretty good manner. I guess, that is something I would have liked to explore, the cultural differences between life on the Kree homeworld and Vers’ return to earth. After all, she is missing her memories, so she wouldn’t know or understand things. They had a moment or two of this, but there could have been greater humour derived from these social misunderstandings.

There were good points in the Captain Marvel film. Not knowing anything about the comics, I would not change the arc of the plot. But certainly, this film needed stronger characterization of not just Captain Marvel, but also her friends/enemies too. With the notable exception of Fury, everyone else needed some character work. Oh, and I don’t like the explanation of the eye. That was better left to the imagination as mystery is more powerful than explanation. In the end the movie was fine, feeling more like a middle chapter in a longer narrative and over missing the engaging hook to make it stand out from the rest of the Superhero Movies.

Some of the key players from Captain Marvel. Image from the internet.
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Behind Rewind Review: New World, Old Problems

It’s been awhile since I’ve given a good little review of a video game. Well, outside of mentioning my mixed adoration of Artifact’s design and lamenting it’s anemic launch. Well, over the holidays, Firaxis has been slowly revealing all the bright and juicy details for their next expansion to the sixth entry of their Civilization series. Civilization has been a mainstay in my life and a cornerstone franchise of the video game industry. It’s the poster boy for the 4x strategy genre (so called for its key game mechanics surrounding eXplore, eXpand, eXploit and eXterminate) that tasks players with choosing a civilization from human history and navigating it from the stone age to modern times and beyond, racing against other heavy weights of textbooks to see who can achieve victory first.

Course, there’s a lot of definitions in that explanation that require a bit more exploration and certainly the discussion around each of them could be a post in of themselves. For simplicity sake, victory is typically broadly defined as achieving dominance in one of several key developmental fields, whether that by dominating all your opponents by capturing their capitals, completely a space faring project and being the first to successful set out into the emptiness of space or (much recently) convincing everyone through the sheer power of your pop music and blue jeans to adopt your culture over their own or anyone else’s.

Accessed from https://cdna.artstation.com/p/assets/images/images/000/103/842/large/autumn-turkel-marquee-beyondearth.jpg?1443931718
Civilization Beyond Earth and all associated imagery and what-have-you are properties of Firaxis and 2K Gaming. Well, maybe my thoughts are my own.

The evolution of the series has certainly touched upon some fascinating concepts and later additions are starting to question even the basics of what it means to be a civilization or what victory truly means. Religion has become a mainstay element. Diplomatic relations between leaders and world governing bodies are becoming more prominent. Perhaps that most interesting is the development of cultural game mechanics and the idea of a victory sheerly through these cultural means and peeking at a world beyond colonial expectations and philosophies.

It is hard to tear Civilization and the 4x genre away from clearly western colonial ideals and the clearest example of how cultural influences heavily impact our lens through which we process our understanding of the world. Literally all four components of the 4x genre are key elements of colonization and, as a consequence, Civilization gameplay typically revolves around repeating the brutality and severe consequences of colonial activity. It values land solely by its productivity or commoditization and treats the people and environment in that territory as simply a further evaluation in the cost/benefit analysis of that territory. Sure, there might be quite an enticing deposit of steel over in those hills but is there enough arable land to warrant plopping a city down in that area and do I have the strength to beat out the Shoshone who are angling to settle that territory? Can I afford to have them gain access to more iron and build up more of an army to threaten my own borders?

It’s a decidedly limited scope to view all of human history and motivation though I have no intention to obfuscate the fact that colonialism certainly led to the foundation of my home country. In fact, it was the inclusion of said country, Canada, that brought me back to the genre recently. Civilization VI is far too expensive for my blood currently but it was the perfect time to jump into its predecessor Civilization: Beyond Earth.

Now all this rambling about colonialism isn’t some long winded academic whinging. It’s the very foundation for Beyond Earth – the spin-off game released between Civilization V and Civilization VI. Here is where I take a moment to explain my own biases and background. I’ve never played Sid Meier’s Alpha Centauri which  most certainly had a huge influence in the development of Beyond Earth. As such, I cannot judge the game based on the expectations of those looking for a proper spiritual successor to that game. On the other hand, I think it can allow me to look at Beyond Earth with a little more objectivity.

Second, I have the complete version of Beyond Earth. Which is to say I’ve been playing on the Rising Tide expansion. I did briefly disable the expansion in order to earn an achievement impossible to unlock otherwise and I can definitely say whatever mixed reviews Beyond Earth received on launch are quite likely justified. If you’re interested in Beyond Earth, Rising Tide is a necessary component. That brief game without it certainly made the experience far more shallow and a lot less interesting.

With that out of the way, let’s get into the bones of Beyond Earth.

Civilization V had a science victory awarded to the player first to launch a spaceship to the far distant Alpha Centauri. Beyond Earth is a theoretical continuation of this timeline with some necessary assumptions set into place to make it work. First, it takes place quite a few years into our future where long distance space travel is possible. It also occurs after an event referenced simply as The Great Mistake which is the impetuous for these spacefaring seeding ships to launch into the next great frontier.

The Great Mistake is never truly elucidated, a clearly conscious decision by the developers likely to allow players their own interpretations of what constitutes its events. What does seem clear is some terrible ecological tragedy occurred that changed the shape of the earth and its geopolitical organization. If countries exist, they are certainly not drawn along lines familiar to us. Instead, Beyond Earth utilizes a “sponsor” system wherein twelve great conglomerations have pooled resources in order to huck a bunch of theoretically doomed individuals into almost certain death and obscurity. As a player, you get some choice in how these sponsors shaped the fateful ship that, against all odds, managed to find a habitable planet (of which you can choose some basic qualities like size, terrain and climate). Then, you set down on this planet and begin the difficult process of colonising it.

Course as fate (and game settings) would have it, you were not the only seeding ship to make the successful discovery and your opponents make planetfall an indeterminate number of turns after you. This is such a simple but I find effective measure since it gives you those initial turns of loneliness in an alien world that is surprisingly populated by some terrifyingly alien organisms. Functionally, this is no different than the starting turns of a regular Civilization game since you’re unlikely to discover your opponent right away anyway (and the AI always has some advantages to ‘catch up’ on the player regardless). But Beyond Earth has taken some notes from the Endless Legends game and tried to wrap more of its pacing in a loose narrative overview.

Accessed from http://www.vgamerz.com/wp-content/uploads/2014/10/civilization-beyond-earth-best-colonists.jpg
I like one of the options during game creation is to pack your seeding ship full of artists. Because someone thought “Yes, a bunch of arthouse hipsters would make the perfect saviours of mankind and suitable colonists for an alien world!”

This narrative hinges entirely around your relationship with the planet around you. It breaks down three generic routes that a hypothetical space colonialist would have to their alien world. They could cling to their native home, trying to cultivate their new planet into a replicate of the Earth they left behind. They could seek to understand this strange and radically different environment, seeking to reach some sort of communalism with the radically and oftimes hostile nature. Finally, they could lean heavily on the advanced technology that brought them here, incorporating the new resources they’ve discovered to develop their cities and themselves into hitherto unimagined heights of new synthetic superiority.

These ideologies, named Purity, Harmony and Supremacy, serve as the primary pathway to victory. By specializing and developing your ideology, you’ll eventually unlock a means to bring this discovery and taming of a new world narrative to a close. If you’re an adherent to Purity, you eventually establish contact with Old Earth, construct a warp gate through which the population can travel to and rescue the old world from whatever indescribable horror had led to its near extinction. Harmony members turn their back wholly on Old Earth, recognizing a heightened awareness and sentience with the planet itself. Through a fusion of gene manipulation and technological integration, they develop a mind flower that will allow communication with the planet as a whole, bringing ultimate unity with the human species to the oddly coordinated flora and fauna already found there. Lastly, Supremacy establishes contact with Old Earth but not to bring its remaining refugees to their new home. No, using their advanced cybernetic enhancements, they send an undefeatable “diplomatic envoy” back to earth in order to cure the last remaining vestige of humanity of the flaws of their decidedly weak meat bodies so everyone can live peacefully as one synthetic society.

There’s also a strangely disconnect victory condition of making contact with some alien species that had left a bunch of their own structures behind on the planet like an irresponsible child forgetting to put away their toys and discovering their walkie-talkie has managed to fall into someone else’s hands.

It’s an interesting system and one that kind of encapsulates Beyond Earth. It’s different and neat but not without some glaring flaws. For one, despite the emphasis on narrative, there’s not a whole lot of incorporation of these ideologies in with the leaders. Despite each representative of the sponsors having a fairly interesting and detailed background, there’s nothing stopping the exploitative and money driven Hutama from seeking harmony with the earth (like I did in my first game) despite there being little narrative justification for doing so. On the one hand I can understand not limiting player choice and strategy but on the other hand, the game does anyway in regards to the quests which provide specific rewards to your buildings when they are completed. These quests are essentially decided based strictly on the rewards and not on their narrative consistency, so I don’t know why there was so much emphasis placed on splitting them in the way they did.

On the other hand, I do like the idea of customising your units and structures towards your strategy. There’s just little rhyme or reason for how they justify the customization. Furthermore, the sole determinant for your ideology is based on your research order (and random quest rewards). So you are forced rather early into deciding which victory condition you want to pursue as any of the major three require you have a staggering level fifteen in their respective ideology. So once you land on your little plant, you get some early turns to check out your starting area and basically commit to whether you want resettle old earth here, make friends with the aliens or just assimilate everyone into your collective hivemind. There’s a bit of mechanical nuance to these three victories that means you need to decide early what you are doing.

A Harmony victory is the most research intensive but the least interactive. You want to have a wide presence on the map through multiple cities. There are two buildings you can construct that will speed the process of the mind flower’s awakening. Course, Beyond Earth is running on the Civilization engine, so you have a natural anti-synergy in that the more cities you have the more research it costs to unlock the mind flower wonder. This naturally pushes you down the science virtue tree which makes technology cost penalties lower from number of cities. Thus, a Harmony victory requires a science and settlement focus which at least aligns slightly with the technologies that give you Harmony affinity (mostly ones to alleviate unhealthiness which is a global malus on your cities’ growth and production that grows due to number and size of cities).

What you’ll find, however, is that you start slipping into a Harmony/Supremacy hybrid since Supremacy technologies are generally science boost technologies. Rising Tide added hybrid affinities which allows your units to customize in different directions from the primary three ideologies. It’s a necessary component but, sadly, should have opened alternative victory conditions as well which they sadly don’t.

Finally, I find it really incongruous that you can murder the indigenous life without impunity with no negative towards the victory condition that follows you merging with said indigenous life.

Purity and Supremacy are a bit too similar as well. They both involve researching a satellite to contact Earth then building a wonder like the mind flower. Course, the two gates are on different tech but it’s what follows after the gate that makes things a little more interesting. Purity needs to settle twenty refugees in separate colonies that follow normal city settling rules. Supremacy has to shunt one thousand strength worth of units through its gates. Thus Supremacy is going to require a high production city or have built up a large army reserve. Unfortunately for both gates, they each can only transport one unit a turn. So Supremacy ends up needing a fair bit of technology in order to unlock the highest strength units in the game to make its progress as fast as possible. It’s still less than Harmony since the strongest Supremacy unit is just a few tech nodes from its gate but it does require a lot of the firaxis resource. Purity, however, need only protect the colonists so once their gate gets up there’s a pretty hard twenty turn timer to stop them. Though their colonists do move slowly so it’s helpful to either have spots picked out along the ocean or build roads to the places you want to keep them.

So there are some interesting elements and strategies that arise from these different victory conditions. But they don’t intersect with the other elements of the game particularly well. For instance, while the leaders are colourful and interesting there’s a neat dynamism with their visual appearance changing to reflect which ideology they are pursuing. It’s a neat visual flair that’s great for quickly understanding diplomatic relations just by looking at the leader screen. It’s unfortunate that the leaders themselves have little connection with the goals.

There are some interesting abilities and I like that Beyond Earth leans more towards game warping uniques to set their sponsors apart. Daoming is capable of building wonders instantaneously in any city that does not have a wonder. That’s a pretty incredible ability tempered only by the fact that none of the game’s wonders really contribute to any of the victory conditions. CEO Fielding has incredibly fast spies who can accomplish their covert operations in half the time as her opponents and really opens up the espionage game. But, once again, this doesn’t really predispose her towards any ideology. While flexibility is appreciated, I think it holds back both gameplay and narrative. Without some direction, the leaders rather come off as generic. Half the time Elodie is in my game, she’s a warlord conquering the entire map. Other times she’s just sitting back trying to put out wonders and looking to build the mind flower. Outside of her avatar, there’s not much that really distinguishes her from Bolivar. It would sacrifice some replayability but if they could have given the leaders some manner of predisposition, it would have been great. Make some more likely to pursue warmongering or purity. Others focused on establishing contact (and generating lots of money to accomplish this) or looking to set up the mind flower. I think with more distinct victory conditions they could have made the leaders even more prominent and put their personalities front and centre. I can’t help but compare it once more to Endless Legend where some factions are cut off entirely from victory conditions due to their perks and detriments.

One thing that Beyond Earth does do really well is lean into its science fiction theming. I really like the separation between land and water cities and how both have slightly different mechanics for how they work. Then there’s the woefully underutilized satellite layer which has so much potential for additional strategy and development that it could turn into something really unique and distinct.

Beyond Earth is ultimately an ok game. I’ve enjoyed my time with it and don’t regret the purchase by any means. There’s lots of really wonderful ideas and ingenious twists on the genre kicking around in this game. I would really like to see these ideas given room to grow. I’d also like to see it push the boundaries of a 4x game and maybe start examining some of the core game mechanics and ask what can it do differently. Could you make a Beyond Earth like game that has different focus rather than on conquering, exploiting and exterminating? Technological or ecological integration are ideas ripe for bending the traditional approach to these types of strategy games. And I’m not opposed to the narrative elements but I am unsure how you can reconcile them with the base game mechanics as well as form a cohesive story arc.

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One thing I would have liked from a narrative perspective is if a player chose one of the expansion sponsors they actually arrived after the AI. Would fit their backstory and add an interesting twist to difficulty levels.

At any rate, I know this review is far too late to the discussion to provide much for impact on the game or it’s development. But perhaps it can serve as a source of inspiration or merely act as a resource for looking back on a release and examine why it wasn’t just quite right. Since I’ve kind of vowed to work through my backlog as well as do more of my purchasing on dated releases for cost reduction, I think I may have more of these retrospective looks in the future.

Or we can just see if older games truly stand the test of time.

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The Crystal Cracks

So this is the accompaniment article to last weeks disappointments of 2018. And, more than anything, I hope to bring attention to a little gem of a game that I feel has not received as much buzz or attention as it really deserves.

Last week I pointed out Artifact which is a digital card game by Valve Software and is really well made. Well, this time we’re looking at another game but this one is wholly physical.

For those that have followed the gaming posts on my blog, you are probably aware of my love for Summoner Wars by Plaid Hat Games. Despite being a bit niche amongst my board game friends – to the point I only know of Kait and myself who enjoyed the game – I managed to play a lot of games and actually buy many of the new armies for the game. It got to the point that Kait and I developed eight custom factions as well, so we could play decks both new and more tailored to our tastes.

The process of variant creation was an interesting one for me. It helped me to view the game through a different lens and I appreciated and despaired over different design directions key to Summoner Wars. On one hand, I came to really appreciate the element of luck and uncertainty that the dice provided. On the other hand, I did not like the use of high health walls for deployment and instantaneous response it provided along with the timing of discards and card draw.

Overall, however, I really enjoy Summoner Wars and my only regret is that I cannot find other people to play. Sadly, this carried over to Plaid Hat Game’s newest release: Crystal Clans.

https://www.plaidhatgames.com/games/crystal-clans
Crystal Clans, Summoner Wars and all associated imagery and whatnot belong to Plaid Hat Games.

I don’t know any other way to describe Crystal Clans other than it’s Summoner Wars version 2.0. This, unfortunately, turns off pretty much everyone I know because they do not like Summoner Wars. So a far more intuitive game with better balanced objectives and alternating game mechanics is not enough to alleviate people’s concerns. So, in order to do Crystal Clans a greater service, I shall attempt to describe it better.

Crystal Clans is an area control board game that pits separate clans represented by unique decks against each other to fight for the coveted crystals. Cards represent different forces of an army which move across a battlefield and vie for two of three crystal locations necessary to claim a crystal card. Players can contest crystal zones by moving their own armies into the space and duking out with their enemy.

Each clan deck is composed of six different commons and three hero cards. Two of the common cards form the backbone of the clan with six copies of those units while the rest have three copies each. There is only a single copy of heroes but heroes are generally stronger and cheaper commons.

Well, that’s the best I can really do. It is near impossible to discuss Crystal Clans while ignoring the Summoner Wars lens and, I feel, something only possible by a player who has never played Summoner Wars. But let me just tell you why I love Crystal Clans far more.

First, the game design is really slick. Clans have a reference card which denotes the signature ability of their faction. This ability isn’t found on all their cards but usually represents a core strategy for the clan. For example, the Skull Clan has Undying as their signature ability. This allows their warriors with that ability to be summoned from their graveyard as though they were in their player’s hand. Unsurprisingly, this represents the classic “undead” faction in fantasy games.

However, these aren’t your stereotypical graveyard robbing ghouls with an unhealthy obsession for black and mortification. One of my consistent gripes with Summoner Wars was how woefully shallow its theming was. Well, Crystal Clans is a terrifically beautiful game. While the style is a bit too cartoonish for my taste, I can’t deny how consistent and committed it is to that style. Those aforementioned necromancers are more Day of the Dead themed with lots of flowers, bright colours and – yes – an unhealthy obsession with skulls.

https://www.plaidhatgames.com/games/crystal-clans
Some cards have consistent battle effects across them, removing the risk in guessing your opponent’s hand. Course, there’s an additional consideration in what you play as a battle card since it gets discarded and can’t be summoned unless you reshuffle your deck – which awards a free crystal to your enemy!

Curiously enough, only about a third of the undead faction is actually undead. The rest are units built around supporting them with necromancers allowing them to deploy outside of your clan’s home zone or devout cultists which allow a free undead unit summon to their space when they are killed.

Contrast the Skull Clan with their distant kin the Blood Clan. These swamp rednecks are most easily associated with the swarm like factions in fantasy battles. Typically its represented by goblins or something and not bayou farmers and their colossal crocodiles. This faction, however, is fun since they are not restricted by the number of units they can use to form an army. Stack them up as high as you can and form an old school Civilization III stack of doom to terrorise the board!

And this transitions into my next point about Crystal Clans. One of its immediately tangible departures from Summoner Wars’ formula is this squad formation mechanic. You can stack up to three units into one space (for most clans) with only the top unit contributing its special ability while every other unit lends its strength and defence to the whole. This eliminates the need for spells or buffs since any card can, essentially, turn into a persistent improvement to a single card’s power. But there’s more consideration here. Most battles will remove lost troops from the top so you may want to organize your forces to accommodate expected loses so the unit you want to live is buried on the bottom.

Even more interesting, every card also has a “battle effect” tied to it. See, Crystal Clans removes the oft maligned dice mechanic from the game. But to maintain that same element of uncertainty, when two armies battle, each player provides a battle card to their side in an attempt to turn the outcome to their side. The battle effects are split between two options and serve as a simplistic rock-paper-scissors mini-game. At the start of a battle, cards are revealed and you compare your chosen battle card with your opponent. Bold beats Guarded, Tricky beats Bold and Guarded beats Tricky. Generally speaking, stronger effects are regulated to the stronger pairing. For example, Big (Blood Clan Hero) provides an additional 8! attack if you happen to play him into an enemy’s guarded card. But if your opponent played a tricky or bold themselves, then you only receive 4 attack for the fight.

For most games, this little contest will typically be treated as a random effect that you pay little attention to. However, as your understanding and skill with the game improves, you may realize that you can pop your Dandelion Knights out from a horrible Meteor Clan knight stack in your home zone and scurry to crystal zones for the final score by initiating a battle and utilizing your Pollen Faeries battle effect.

And this is what I most love about Crystal Clans. It looks like a cutesy, simplistic version of Summoner Wars with streamlined decks, clearer objectives and much smaller battlefield. However, my experience has been anything but. Crystal Clans mechanics are simple to understand but much harder to optimize. I still don’t know how to “properly” play the game – which is to say I am never certain which action is the best one to take at any turn. This is very similar to Artifact where the mechanics are simplified by the strategy is far more compelling.

Compounding Crystal Clans decision making matrices, its resource system is far more elegant and far more tricky than Summoner Wars. Crystal Clans uses an “initiative track.” There is a numbered ladder on the side of the board and you track your spending by moving a marker up this track towards your opponent. Once it crosses the 1 threshold on your opponent’s side, it is their turn. However, actions cost different amount of initiative. For example, you make take a summon action which allows you to play 1 to 3 cards from your hand to your home zone. This alone can cost anywhere between 0 to 9 or more initiative depending on what you play. If you were on the neutral 0 space of the tracker, that could give your opponent a whopping 11 initiative (since play will only pass back to you once it cross your 1 initiative space on the track)! Scoring is likely the most expensive action since you need to pay the cost of a crystal in order to grab it for your side. Crystals are, on average, about seven initiative themselves and this is not accounting for the initiative you need to spend to control two of the crystal spaces.

https://www.plaidhatgames.com/games/crystal-clans
Oh Flower. This Sleep ability is perhaps the best signature in the game. Nothing like either taking out an opponent’s best attacker or forcing them to bury really good abilities to put low attack cards on top of the stack. Plus who doesn’t like a 2v3 battle?

Sadly, despite digging how sly its mechanics are plus the unique and coherent design of its clans, Crystal Clans simply does not seem to be catching. I know Kait was pretty lukewarm to it and my friends who didn’t care for Summoner Wars weren’t big fans either. Somehow Crystal Clans managed to alienate both those that loved Summoner Wars and those that hated it. There was a delicate line to walk between too familiar and too different and from my experience Crystal Clans failed to attract those turned off by its predecessor or draw along its ardent fans. I’m really digging their expansion clans who provide very interest twists to the basic game mechanics. I’m also eager to see how Plaid Hat Games finalizes their deck building rules before I start dropping too much money into the game.

And I certainly have not played enough of the game to do a deep dive into its balance but my initial experience seems that while the core box offers pretty good options, there’s a few standout clans. Stone and Flower are distinct among the rest but for opposite reasons. Stone Clan is all about building a strong board presence with immovable armies that destroy the enemies. But all their units and activations cost far too much to really get that board built. On the flip side, and perhaps the fuel for my bias, Flower is incredibly tricky and fast. It’s a pretty frustrating match-up (that I’ve played too many times) and Flower is both able to run circle around Stone (and the other clans for that matter) while also providing rather powerful punches given the power of their signature clan ability Sleep. If you want to try Crystal Clans and really enjoy rolling a game, I suggest picking up the faerie clan.

As of today, however, I’m very happy with Crystal Clans with my only disappointment being that I have no one to play and, given the battle card component of its battles, I’m unable to play by myself. I’ll shamefully admit that I’ve played Summoner Wars on my own many times with only mild conflict of knowledge. But truly randomising the battle cards really strips out a key component to the game.

Of all the things I’d like to see the most in later releases, however, are more crystal cards. To win, one side needs to collect four and they’re purchased from an open set of three. So you can see quite a lot of the same ones through multiple games especially if they’re close. I’d also like to have the option to remove some crystals from rotation and allowing customization of the crystal deck would be fantastic.

So… yeah, if this long rant piqued your interest, I encourage you to give Crystal Clans a try. It might not click at first which is its biggest weakness. But it’s such a lovely little refinement that I just want it to do well enough to see even more!

Maybe it’ll even encourage Plaid Hat Games to put the rest of their clans on their card browser which, to date, still only has their launch cards listed. Or maybe it they could even release more scenarios which also haven’t been seen since launch. There’s so much promise here, I would hate to see it squandered.

Movie Review – Ocean’s 8

Yes, I realize I am very late coming to this party, but ages after the film released to video I have finally gotten around to watching it. There was a combination of factors that resulted in me seeing Ocean’s 8 some eight months after its launch. On one hand life got in the way. But also, the first reviews I heard were pretty lackluster. And I can see why.

*Note: This review is filled with spoilers.

Image from the internet.

First, let me say I am a huge fan of the 2001 version of Ocean’s 11. I love nearly everything about the movie that I had no expectations for. I loved the heist. I loved the acting and in particular the way it was filmed. There was a great cohesion of costume choices, music, props and stage layout that really worked seamlessly together to create a great environment for the story. Everything worked together, so it felt unified and purposeful in design.

There are also some very classic scenes that stylistically are so interesting. For example, there is one scene with Danny Ocean (George Clooney) and Rusty Ryan (Brad Pitt) sitting in a bar. Danny is talking about the numbers of his crew for the heist and whether they need one more person. Rusty is flopped over the counter of the bar, with a glass of alcohol in one hand. The only reaction from Rusty in the entire scene is when he blinks his eyes. The interaction of these two characters suggests a history that monologues of words couldn’t convey in the same elegant fashion. It is these moments of quiet, mixed in with moments of banter and action that really add to the pacing.

While, Ocean’s 12 was not as much a favourite for me, I have come to greatly appreciate the experimentation that it took. Unfortunately, Ocean’s 13 demonstrated the film-makers didn’t really know what had caused 11 to be so successful (strong plot and excellent filming!) and as a result we get something that is watered-down and mostly boring. This is one of the biggest failings of Ocean’s 8. It is a paler version of a great movie. Here the film-makers knew that having one great heist with a twist was central. But they missed all the other stuff that elevated Ocean’s 11 into greatness.

Image from the internet.

I like the all female cast. I even like the basic premise of the heist. And the costumes, particularly for the MET gala were pretty awesome too. Unfortunately, the plot was shallow, the characters were one dimensional and the twist at the end was not cleaver so much as a cheat. If I was to describe the film in one word, it would like be: Flat. Everything was pretty boring, which is a shame when you have such a talented caste. The actors did not shine in this film, where the most interesting character is the Fence/Stay-at-home Mom, Tammy (Sarah Paulson). Debbie Ocean (Sandra Bullock) and Lou (Cate Blanchett) did not have great chemistry. They felt more like strangers than long time friends that understand how the other works. I know there is not enough time to develop every character in the crew, but surely they could have done more with Debbie and Lou.

The heist could have been interesting, but it wasn’t. There was never any real sense that things could go wrong. With a lack of stakes, it was difficult to become emotionally engaged. There was a lack of set up, which meant the big final twist was so unexpected I really felt cheated in the process. One of the great things about Ocean’s 11 is re-watching the movie knowing how the ending works. Doing this you can see all the little signs and clues of how things are really going to work. The first time you watch the heist, you are following the characters with great interest and anticipation. You think you know what is going on, you believe you are watching the heist play out. And when it looks like they are going to be caught – well, you are nervous as you should be. When the twist is revealed, you can look back over all those previous scenes and see how it fits together. This was cleaver filming and story telling. Unfortunately, Ocean’s 8 was not cleaver. It was bland. Roping in a character you never heard about in this film, to pull off a stunt that the characters expressly said they were not going to do – it was cheating, not smart story telling. Other’s may have thought it was cute to have the return of Yen (Shaobo Qin), but I thought it was disjointed. Two reasons, one Debbie makes a point of turning down men for this job. And two, it was like they were trying too hard to connect back with Ocean’s 11 instead of doing their own thing.

Image from the internet.

Also, the pacing felt off. Partly because you think you know when the ending is going to strike but then it keeps going. In concept, I don’t mind pushing the actual ending back further, but then de-escalate the importance of the heist. I also would have loved to see more of a set up with Claude Becker (Richard Armitage). This could have been way tenser if he seemed to be catching onto Debbie’s plan. Also, her revenge streak felt a little contrived. The writers needed to flesh out that plot line in more detail. They also should have show how much of a player/con Claude was throughout the film. Using him properly, they really could have upped the stakes during the heist.

Image from the internet.

I liked Daphne Kluger (Anne Hathaway) being in on the plot. I even like the idea that most of the crew would have no idea she was part of it. But I would have had her in from the beginning – because I can see how this could played for a good laugh. I think the most frustrating aspect of Ocean’s 8 is how they squandered what could have been a really good movie. They had some descent ideas, a fantastic caste and some wonderful costumes. They lacked depth of character, a unified presentation (in visual and musical design) and an intelligently filmed heist. I wished it was better, I wanted it to better. In the end it is a fine movie to watch on a plane or an evening when there is nothing else to do.

Movie Review – Mary Poppins Returns

I confess this is being written far later than I intended. I was able to watch Mary Poppins Returns over the holiday. I enjoyed the experience. It was a nice to sit numbly for the 2 hours that I was in the theatre. But alas, it does not come close to replacing the original Mary Poppins with Julie Andrews.

First, I think it is important to point out some of the good things about the film. The animation was very pretty. The choreography was well done to my untrained eye. Lin-Manuel Miranda and Emily Blunt were fun to watch. The guest appearances by Dick Van Dyke and Angela Lansbury were cute. (I was not so sold on Meryl Streep’s character.) There were also several catchy songs – most notably the bathtub song: “Can you imagine that?”.

Now onto a few of my disappointments. This was not a proper sequel. Yes, it had the Banks children grown up, but it was trying to follow the same plot line as the original movie only less well done. It was so like the original in pacing, design, layout, song type … that it felt more like a remake than a sequel.

In fact, Mary Poppins Returns spent so much time referencing the original film, I am surprised anyone of a younger generation who didn’t grow up with Julie Andrews likes the movie at all. Nearly every scene, song, and design choice was a direct “hey-do-you-remember-this-from-Mary-Poppins”. It was very paint by numbers and because of that, it felt shallow, disconnected and ultimately unsatisfying.

If the writers were set on doing a sequel with the Banks children then they really needed to come up with a more original issue. Having Michael Banks, a creative artist with his head in the clouds, try to pull off being too serious like his father was utterly unconvincing. In fact, Michael Banks was the least successful character in the film.

The easiest fix, would have been to follow a different family. This way, the paint-by-numbers format, where every song and scene in MP Returns mirrored the original MP would have felt less creatively flat. As it stands I wonder at all the work that went into producing a film that was a paler reflection of the original source material.

You can see how much more frivolous Emily Blunt’s Mary Poppins is compared with the portrayal of Mary Poppins by Julie Andrews.

However, a different family, even if they still lived on the same street would have added just enough variation that the thin plot would have worked. To improve the movie and really appeal to the audience, I would have loved to see the writers go beyond a regurgitation of old material.

It would have been wonderful to have a fully realized and relatable problem facing this new family. MP Returns didn’t have a strong problem to solve, so all the characters, both the good and the bad felt weak and washed out. They could have then themed all the songs and scenes around this new and original issue. In stead have having a collection of disjointed musical numbers. Also, the writer should explore an issue other than the idea we should all have a little more fun in our lives and be more like children. It is an overdone concept and this film did not pull it off successfully. But they could have worked with kindness, honesty, truth, perspective, oh, any number of different themes.  

Rather than trying to constrain Mary Poppins to a few familiar lines from the original movie, I would love to have seen greater development of her character. At least better dialogue. There were too many instances when what she said didn’t really make sense. I suppose she needed to be less focused on sounding like and enigma and more time sounding like a wise nanny – which in theory she is supposed to be.

In the end I would give the movie 2.5 stars, because Emily Blunt and Lin-Manuel Miranda tried so very hard to do something special.

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Come for a Moment

Well, it has been some time. Through a series of escalating events, I have been quite busy and unable to attend this little piece of digital space. First, I found myself seeing to the care of guest for a month longer than expected. Then, just as that was finishing, Nano happened and I was neck deep in writing that had fallen to the wayside. And, of course, Nano usually starts a pretty long dry spell as we spill into the holidays.

So that is pretty it. Unfortunately nothing exciting like international intrigue or combating the forces of evil or unearthing long-forgotten secrets.

There was a brief respite in there, however. And that is what I would like to close this year off discussing. You see, my uncle recently moved to the east coast. This was an unexpected development, especially for my mother who had tickets to attend Come From Away with them at the Royal Alexandria in Toronto. My uncle was clearly not flying over half the country to attend the play now so my mom had some spare tickets. She graciously offered me one.

Course, this was not just a ticket. It was a whole day affair. We went through some travel company which meant we were riding a bus into Toronto and we got dinner out of the whole event. It also meant that I was squeezed into a herd of individuals with a median age of 68. So I was the sole, young and sprightly member surrounded by a sea of experience.

Which is a convoluted way of saying that the theatre is mostly for old people. Course, that’s been the case for a long time now. It’s not like theatre tickets are cheap and when you’re going to see a popular show like Come From Away, you’re not going to find ticket offices trying to coerce people into unsold seats. As such, my mom and I were hardly in prime seating territory though we had an orchestra row which at least meant that we wouldn’t be distracted by behind the curtain action.

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Come From Away and all associated images and whatnot belong to Irene Sankoff, David Hein, Mirvish theatre and however else you source musical theatre.

Also, our tour guide was absolutely in love with Come From Away. While certainly part of her exuberance would have been played up for her patrons in the hopes of selling more tickets (either to another showing or whatever other tour they would offer for the next show), she seemed genuinely happy to be seeing the play again. This is the point wherein I share my hipster concern. It is hard for me to get excited for a show that has seen universal acclaim. Primarily, this is an indication that the producers have shot for general appeal with hardly anything new, interesting or risky in the material. Wide appeal is typically indicative of safe work. Which is usually indicative of derivative work. Nothing is safer than that which has already been proven to work.

This likely is why I get confused for hating everything.

Well, guess what critics, I liked Come From Away! Nay, I really enjoyed Come From Away! I may have even adored it!

There’s really no simple place to start with discussing the play. It’s a straightforward, well-done musical. Is it an instant classic? I’m hardly one to make that distinction. But I can’t remember having this much fun at a musical since seeing The Evil Dead and being one row from the splatter zone.

I suppose I can discuss the story. Come From Away is the sort of heartstring tugging schmutz you’d expect it to be. It’s a story about the small town of Gander being overrun with foreigners when America suddenly closed their airspace during the 9/11 attacks. Given that the creators clearly had their sights set on Broadway, the play really focuses on this American connection, to the surprise of no one. Course, there’s a fair number of Newfoundlander characters as well though the entirety of the emotional journey rests on the American passengers.

I would say the most interesting part of Come From Away’s narratives arise when there’s mention of the other travellers. It’s easy to focus on the people whose country was attacked by the terrorists but the ripples of the event stretched much farther than that. There a moments when the people of Gander need to accommodate those that don’t speak English and there’s the added fear and confusion of, say, African passengers being stranded in the middle of world they don’t even know. And of course, Gander is hardly equipped to handle this level of international pressure.

This is where, of course, the entirety of Come From Away’s strengths lie. It’s the little stories and struggles that people face which has been turned into compelling pieces. No one would expect a shortage of sandwiches and blankets to really resonate with audiences but the writers have cleverly focused the story through the lens of about a dozen characters on both sides of the situation. There’s no conflict other than the uncertainty and anxiety of dealing with the unknown: whether that’s what do you do with almost seven thousand visitors in a town of the same number or how do you cope with the terrifying realization that a terrorist attack has been committed on your home and you were so close to it yourself that people aren’t even sure if you are a potential threat or not.

The way the writers weave their narrative of emotion is through combining the real life stories into several cornerstone individuals. So, there’s the first American female pilot, the Gander veterinarian, the town’s mayor, an American environmental business consultant, mother of a New York fireman and many more. Here, the different real life stories have been condensed so that these twelve individuals experience the whole gamut of human emotion as they struggle to either comfort or cope with the loss and tragedy around them. Structurally, Come From Away is a one act play. From what I can gather, this is a novelty for musical theatre. However, it does lend itself to a fast and frantic atmosphere, leaving the whole production as just a brief moment in everyone’s lives – including the audiences.

Course, this does leave very little time for the play to cover all the action. The pacing feels like it was, at one point, a two act play with how thoroughly it introduces the characters and setting. About three quarters of the way through, however, things are rushed to an ending. While this is a great way to demonstrate the whirlwind of feeling and action, it also leaves the motivations and emotional development of several its character along with their arcs undeveloped. A few characters relay decisions that are not fully understandable in quick succession while the emotional climax of the piece reaches its crescendo… then quickly wraps up with a time skip final song that tries desperately to tie all the action into a messy little bow.

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It’s inelegant and the only blemish I have for the play. Technically, however, it’s absolutely a marvel. The stage is mostly several wood pillars, twelve chairs and a central rotating platform. From that, however, the cast is able to seamlessly transport you across airplane cabins, holds, Gander’s Tim Horton’s, a scenic lookout and various shelters and buses along the way. There’s very little in props but between the motion allowed by the rotating platform and the physicality of the actors, the audience receives a terrific sense of motion and pace that makes them feel like they’re flying through the three tumultuous days.

And the actors’ performances were top notch too. There’s very few scenes where all twelve of them aren’t crowded on the stage, flipping between the four or five characters each one of them is tasked with bringing to life. But regardless of the minimal costume changes, you’re never left wondering who is playing what. There’s excellent application of accents but it flows so effortlessly that it’s hard to pin down which technique adds the most clarity to their personas. But it’s very impressive to observe.

The music is catchy too. The band takes the wings of the stage, showing up to play as local bandmembers whenever it is cute. The songs are uplifting and joyful though I would have liked to see a bit more Newfoundland flair to them. My biggest complaint is, however, my highest compliment. Watching Come From Away only makes me wish there were more Come From Away.

There have been a lot of stories about the unforeseen impact of the twin towers terrorist attacks. Many of them even search for the positive and human reaffirming lens that lets people heal from the tragedy. Come From Away hits these notes but doing so without coming across as preying upon a simple and straightforward topic for easy emotional capital. More than anything, it felt like the creators really wanted to honour this small town that opened its doors and its heart for these strangers that came from everywhere. Having travelled to Newfoundland myself over the summer, the hardy folk that call it home truly are something else. It really is a delight to see and whether you want to watch some clever technical prowess or simply be lost in the music and people, you’ll discover something to love from the production.

And Come From Away really goes to show you can find something truly special in even the most unlikely of places.