Assassin's Creed had a problem right from the get go (beyond even the snivelling pleas to not be offended because some of Ubisoft's best friends are black/Muslims/Templar/British) in that the "present day" was always linked in the most tenuous way to the actual story.
Outside of one rather clever moment at the end of Ezio's story, there's nothing to elevate the Animus beyond an increasingly irrelevant framing device. With the original trilogy concluded and the world saved, it seems little more than an after thought now - indeed, perhaps in line with the fact these games are now on a conveyor belt... there's not much of anything at stake anymore.
The much hyped (and then relentlessly slated) Unity wasn't even an artifact hunt, you were just looking for a body and (spoiler alert!) you could just have stayed at home but then, that's been a problem since the start. The denouement of the first game is finding the piece of Eden after a big ol' boss battle... and then you're back in the real world and everything is terribly anti-climactic.
It's also a problem because as is often the case, the Animus presents vast opportunities but ends up only being used to find the artifact of the week. Obviously, these searches tend to conveniently tie in with some historic struggle but... well, you somewhat undermine those events when the ONLY reason to experience them is to find the McGuffin.
Whereas AC1-3 let you go around and talk to people, check you e-mails and so on - and in the case of AC3, get a whole mess of backstory about the Precursors - AC4 bumped you down to a silent protagonist, who wandered around an office block between sessions and Unity does away with that entirely... you just get prompting from the Assassins on your mission objectives and occasionally the mandatory banter.
It's clear that the Animus has become an after thought, if not an active impediment to the way the franchise is proceeding. While Desmond was pretty flat, we had at least SOME investment in him and it meant we were invested in what was happening in the present day... It seems pretty obvious that this change of direction is a response to Ubisoft's desire to pump these games out but if that's the case, it seems like abandoning the framing device of the Animus and JUST telling the story would be far more sensible than demoting them to "peace of Eden hunt seven".
Tuesday, December 16, 2014
Wednesday, November 12, 2014
The Evil Within
If Shadows of Mordor is the best Assassin's Creed game since Revelations, then The Evil Within is the best Resident Evil game since... the last alright one?
There's so little to say about The Evil Within - you play a generic cop, with a generic backstory and you're fighting through a series of generic Resident Evil/Silent Hill settings. An insane asylum, a spooky village, a spooky mansion (wherein unethical experiments are being carried out and overly elaborate traps abound), some kind of underground industrial area, a deserted city... oh and a spooky corrupted church.
There are no real characters in this game - backstory is related exclusively to you by journal entries for your generic cop that you read before going to your "save game" asylum (no, really). This is also the place where you can upgrade your character and use keys you find to get more gear.
Your main enemies might as well be zombies but as this is 2014, they have to have SOMETHING to elevate them above being JUST zombies. So their eyes shine and you can blow half their head off and they'll keep coming. There's a LITTLE variety, you get fat ones (the game even TELLS you they have more health... and they say it's bad for your health), stabby ones, ones with masks and later on you get some Assassin's Creed cosplayers that can summon an insta-death creature.
The game does have a good number of bosses (although a few you'll face multiple times) but none of them are particularly exciting... and pretty much all of them amount to attack weak points for massive damage, you can use your "agony bolts" to do fancy things like freeze, shock or blind them (it's hard to tell if there's any material difference between as they're basically all different flavours of stun) but firing explosive crossbow bolts at their face seems generally a better use of your time and resources - although, obviously you can stun them and then use your shotgun, which you keep for close encounters.
Perhaps the most jarring aspect of the game (beyond the occasional sudden flip of camera angles when the game gives you instadeath runaway sequences) is the level transition. The game is - SPOILER ALERT! - all in the Matrix (kind of)... but (as oft seems to be the case), there's no particularly imaginative use of that, beyond one moment being in an asylum and the next a spooky village or windowless industrial complex.
That might be why, when a level ends, it feels the need to announce that you've finished it. There's no real point to that beyond explaining the transition.
With unremarkable gameplay, non-existent characters or plot... there's absolutely nothing to recommend this. It does the absolute bare minimum to hold your attention and you'll be waiting for an exposition dumb that never really comes - the ending seems to suggest some sequel baiting or DLC to answer some of the unresolved questions but with such a lacklustre and banal game... why would you care?
There's so little to say about The Evil Within - you play a generic cop, with a generic backstory and you're fighting through a series of generic Resident Evil/Silent Hill settings. An insane asylum, a spooky village, a spooky mansion (wherein unethical experiments are being carried out and overly elaborate traps abound), some kind of underground industrial area, a deserted city... oh and a spooky corrupted church.
There are no real characters in this game - backstory is related exclusively to you by journal entries for your generic cop that you read before going to your "save game" asylum (no, really). This is also the place where you can upgrade your character and use keys you find to get more gear.
Your main enemies might as well be zombies but as this is 2014, they have to have SOMETHING to elevate them above being JUST zombies. So their eyes shine and you can blow half their head off and they'll keep coming. There's a LITTLE variety, you get fat ones (the game even TELLS you they have more health... and they say it's bad for your health), stabby ones, ones with masks and later on you get some Assassin's Creed cosplayers that can summon an insta-death creature.
The game does have a good number of bosses (although a few you'll face multiple times) but none of them are particularly exciting... and pretty much all of them amount to attack weak points for massive damage, you can use your "agony bolts" to do fancy things like freeze, shock or blind them (it's hard to tell if there's any material difference between as they're basically all different flavours of stun) but firing explosive crossbow bolts at their face seems generally a better use of your time and resources - although, obviously you can stun them and then use your shotgun, which you keep for close encounters.
Perhaps the most jarring aspect of the game (beyond the occasional sudden flip of camera angles when the game gives you instadeath runaway sequences) is the level transition. The game is - SPOILER ALERT! - all in the Matrix (kind of)... but (as oft seems to be the case), there's no particularly imaginative use of that, beyond one moment being in an asylum and the next a spooky village or windowless industrial complex.
That might be why, when a level ends, it feels the need to announce that you've finished it. There's no real point to that beyond explaining the transition.
With unremarkable gameplay, non-existent characters or plot... there's absolutely nothing to recommend this. It does the absolute bare minimum to hold your attention and you'll be waiting for an exposition dumb that never really comes - the ending seems to suggest some sequel baiting or DLC to answer some of the unresolved questions but with such a lacklustre and banal game... why would you care?
Alien: Isolation
Alien: Isolation is a game that gets the Alien franchise. Everything from the art design to the attitudes of the individuals and corporations speak of people who have not just an appreciation but an understanding of what the films (the first two, before it all went downhill) mean.
It's also a game which understands the survival horror genre... Even in its first incarnation, Dead Space put most of the emphasis on run and gun... yes, you sometimes had a situation where you'd be running low on ammo but it was ALWAYS expected that you'd shoot your way out of danger. Alien: Isolation is completely the opposite.
For most of the game, you're helpless. It takes a while for you to get your first gun - which you're very rarely going to have enough bullets for and even if you DO have bullets, the xenomorph just gets pissed off if you shoot it - although, a shotgun round at point blank range is enough to give it pause.
About two thirds of the way through the game you get the flamethrower, which evens up the playing field a little but all it does is make the xenomorph run away for a while and you really can't afford to waste the ammo.
Some games promote stealth by giving you extra XP points or rewards - this game does it by not killing you as much and on the highest difficult, this game is going to kill you plenty... Mostly because the alien is (mostly) a one hit kill and it is FAST. If it sees you, you're dead.
It's not the only danger though, you've got a bunch of human survivors who are either going to shoot you immediately or shoot you slightly LESS immediately and the creepy Working Joe androids... It all plays into shiny veneer of corporate hype over the gritty, dirty, noisy reality.
Sevastopol station perfectly encapsulates the feeling of a future full of broken promises. Sevastopol was a failed endeavour, in a backwater, peddling substandard androids and now in the process of being decommissioned... which is probably why they weren't best equipped to deal with a xenomorph infestation.
So, you're Amanda Ripley - the daughter of Ellen Ripley - and fifteen years after the events of Alien, you're still wondering what happened to your mum... so, you immediately head off when you hear that the flight recorder of the Nostromo has been recovered, along with your friendly android and a corporate lawyer.
You can't dock, so you have to go EVA and things IMMEDIATELY go tits up, when an explosion means you lose contact with your buddies and the ship. From there, it doesn't take long for you to realise that everything has gone to hell on the station but unlike Dead Space, the game doesn't immediately blow its load and have you grappling with a xenomorph.
It lets the tension build, as you find out that there has been a complete breakdown of law and order and everyone has adopted a very "everyman for themselves" attitude because of one certified grade-A alien killing machine but the build up to the reveal is nice, it lets the suspense build.
Unfortunately, once the xenomorph is revealed, it follows you around like a puppy - in that regard, the game could certainly have benefitted from a less is more approach but as soon as it turns up, it's on you like glue for the majority of the game and most of the time, it'll be sitting between you and your objective.
The fact that pretty much all of its attacks are instadeath, combined with the save mechanic (the game has very few checkpoints, the overwhelming majority of saves are done at savepoints but they're fairly liberally sprinkled through the levels... although, their gentle beeping will become a heavenly sound) can make that feel cheap, at times - especially when you've gone through a section three or four time, JUST to get chomped because the alien decided to turn around.
Of course, that's usually the trade-off in this kind of game - much of the tension is generated by the knowledge that the game isn't holding your hand by giving you checkpoints every five steps you go and when you finally get a break and manage to run through that door and lock it behind or get into the lift and mash the button, the sense of achievement and relief is that much more palpable.
Games with checkpoints make death little more than an inconvenience, psychologically at least - Alien: Isolation makes it meaningful and the inclination to hold your breath when you're hiding in a cupboard and an alien is right outside, as well as the way your heart races when you're on the last stretch to the end of a level.
Really, for a franchise which has just had the clusterfuck of Colonial Marines - this was much needed. The story COULD have been a little more involved and there's a tendency for characters to help Ripley only to conveniently get chomped before they might get to tag along... but that's kind of a staple of the horror genre.
The game does end with a shameless bit of sequel/DLC baiting but that seems to par for the course these days and really, while it's cheap - this was such a good game, more is really warranted and purely from a canon point of view - we know that Amanda Ripley dies of old age...
Strange that a developer synonymous with RTS games should be the one to break the run of bad Alien games with an FPS - strange and impressive. The whole game is like a love letter to the film but not in a gormless fanboy way.
So, you're Amanda Ripley - the daughter of Ellen Ripley - and fifteen years after the events of Alien, you're still wondering what happened to your mum... so, you immediately head off when you hear that the flight recorder of the Nostromo has been recovered, along with your friendly android and a corporate lawyer.
You can't dock, so you have to go EVA and things IMMEDIATELY go tits up, when an explosion means you lose contact with your buddies and the ship. From there, it doesn't take long for you to realise that everything has gone to hell on the station but unlike Dead Space, the game doesn't immediately blow its load and have you grappling with a xenomorph.
It lets the tension build, as you find out that there has been a complete breakdown of law and order and everyone has adopted a very "everyman for themselves" attitude because of one certified grade-A alien killing machine but the build up to the reveal is nice, it lets the suspense build.
Unfortunately, once the xenomorph is revealed, it follows you around like a puppy - in that regard, the game could certainly have benefitted from a less is more approach but as soon as it turns up, it's on you like glue for the majority of the game and most of the time, it'll be sitting between you and your objective.
The fact that pretty much all of its attacks are instadeath, combined with the save mechanic (the game has very few checkpoints, the overwhelming majority of saves are done at savepoints but they're fairly liberally sprinkled through the levels... although, their gentle beeping will become a heavenly sound) can make that feel cheap, at times - especially when you've gone through a section three or four time, JUST to get chomped because the alien decided to turn around.
Of course, that's usually the trade-off in this kind of game - much of the tension is generated by the knowledge that the game isn't holding your hand by giving you checkpoints every five steps you go and when you finally get a break and manage to run through that door and lock it behind or get into the lift and mash the button, the sense of achievement and relief is that much more palpable.
Games with checkpoints make death little more than an inconvenience, psychologically at least - Alien: Isolation makes it meaningful and the inclination to hold your breath when you're hiding in a cupboard and an alien is right outside, as well as the way your heart races when you're on the last stretch to the end of a level.
Really, for a franchise which has just had the clusterfuck of Colonial Marines - this was much needed. The story COULD have been a little more involved and there's a tendency for characters to help Ripley only to conveniently get chomped before they might get to tag along... but that's kind of a staple of the horror genre.
The game does end with a shameless bit of sequel/DLC baiting but that seems to par for the course these days and really, while it's cheap - this was such a good game, more is really warranted and purely from a canon point of view - we know that Amanda Ripley dies of old age...
Strange that a developer synonymous with RTS games should be the one to break the run of bad Alien games with an FPS - strange and impressive. The whole game is like a love letter to the film but not in a gormless fanboy way.
Tuesday, September 30, 2014
Gotham is so bad, I think it gave me cancer
Gotham gives the impression of some subpar police show that was thrown back and told "You need a gimmick"... That gimmick? BATMAN! Kind of. Not really but you get the feeling someone said "Hey, Batman is popular and Batman fanboys are idiots that will lap up anything even remotely Batman related!" and with such a profound indictment of the bottomless, ruinous stupidity of fanboys - Gotham was greenlit.
It's quite possible doctorates will be penned on the terribleness of this show. For something to prime an audience on a show, it has one trick "HEY, YOU KNOW BATMAN STUFF?! Do you? DO YOU? DO YOU?!?!" because nothing else in the show is worth noting... well, nothing good.
The acting is wooden, the directing and editing is piss poor. We're supposed to believe that all these characters in Batman lore are interconnected from before the word go and hey, there's nothing wrong with re-imaginings but prequels are always a nightmare, even when well conceived and this is anything but that.
Catwoman witnesses the murder of Batman's parents, Jim Gordon (and Harvey Bullock) investigate. Montoya is tipped off it was a framejob (on Poison Ivy's father) by the Penguin, The Riddler works in the police department. Oh and obviously, they're all doing their schtick. Riddler riddles, Catwoman (a peri-pubescent youth) is flipping around the rooftops, Poison Ivy is always fondling plants, the Penguin starts out with an umbrella.
This stuff makes Smallville seem Shakespearean by comparison. Even Arrow!
So bad it's awful.
It's quite possible doctorates will be penned on the terribleness of this show. For something to prime an audience on a show, it has one trick "HEY, YOU KNOW BATMAN STUFF?! Do you? DO YOU? DO YOU?!?!" because nothing else in the show is worth noting... well, nothing good.
The acting is wooden, the directing and editing is piss poor. We're supposed to believe that all these characters in Batman lore are interconnected from before the word go and hey, there's nothing wrong with re-imaginings but prequels are always a nightmare, even when well conceived and this is anything but that.
Catwoman witnesses the murder of Batman's parents, Jim Gordon (and Harvey Bullock) investigate. Montoya is tipped off it was a framejob (on Poison Ivy's father) by the Penguin, The Riddler works in the police department. Oh and obviously, they're all doing their schtick. Riddler riddles, Catwoman (a peri-pubescent youth) is flipping around the rooftops, Poison Ivy is always fondling plants, the Penguin starts out with an umbrella.
This stuff makes Smallville seem Shakespearean by comparison. Even Arrow!
So bad it's awful.
Sunday, June 22, 2014
Wolfenstein: The New Order
If there's one thing that gaming has done to death its WW2 and particularly Nazis because... who can resist killing Nazis? They're about as close as you get to pure evil in the real world but Wolfenstein: The New Order puts a new twist on things. Your protagonist is involved in a last ditch attack to try and stop the Nazi warmachine, gets knocked out - (actually, it's the third time he's KO'd but this time he's in a coma) and wakes up in the 1960s to find that the Nazis won.
The art design of this Nazi run alternate future is genuinely impressive - mixing the futuristic tech with the retro-60s look... Everything from the big clunky robots to the space shuttle, it all seems nicely coherent... and contributes nicely to that continuous oppressive feel the game has, although the subject matter helps in that regard too. This game doesn't shy away from some of the obvious issues when it comes to the Nazis - one of the missions even takes you to a labour camp but it doesn't really out-and-out confront it either but that works for it.
In this world, the Holocaust is only one of many atrocities visited upon the world by the Nazis - who nuked America, have ongoing labour camps (that are cremating people too weak to work) and are enacting genocide against Africa - the last real place to hold against Nazi rule but that's never really thrust in your face. It's a bit like Half-Life 2 in that respect, although it lets you read full news clippings and get actual audio logs - also, cutscenes.
As far as FPS go, this is rather old school. There are sections where stealth is possible and even advisable but there are other parts where the game flat out says - here's a bunch of Nazis, gotta kill 'em. That's actually entirely fair, you're not in Splinter Cell... you're a soldier, not a ninja... but the game does reward you for different play styles, as well as giving you successive upgrades to guns... and shockingly, NO TWO GUN LIMIT!
Speaking of shocking - regenerating health is done rather different here. It's not just getting jam on your face or the screen going grey or red or whatever - you lose a wodge of health, it's gone until you get a health pack... of course, the game follows the recent trend of having protagonists who walk through firefights getting injured in cutscenes - in one scene, you're STABBED REPEATEDLY AND LEFT FOR DEAD... but you're fine. The next time that happens (yes, really - it's as bad as getting KO'd) it kind of cripples you... for a few seconds.
So, overall - a pretty fun game. It's a wonderful treat for old skoolers. It doesn't QUITE go back to old skool gaming but it at least pays homage and really, it's just a fun FPS. Which in this age of dull and dreary ones, is sadly exceptional.
Tuesday, June 03, 2014
Watch_Dogs wasn't worth the wait
You know what? There just isn't a lot to say about Watch Dogs. The best way to describe it is hollow.
At some point - perhaps - there might have been a good idea in there but all we've got in a very banal storyline (which doesn't even include the titular Watch Dogs) and the usual growly, angry and very stupid protagonist (although, obviously his stupidity is what's required to push the plot along) atop gutted GTA gameplay (and we're talking maybe Vice City and that's being generous) with a bunch of random stuff lifted from Assassin's Creed (including actual animations) tossed into the mix, with the addition of the hacking stuff which is mostly mini-games or used to make-up for the inability to fire weapons while driving (hence being sub-GTA as that's something it added several titles ago).
In fact, it's more likely that you can't shoot and drive as that would make the already somewhat extraneous hacking pretty much entirely irrelevant given that about half of your hacking abilities are for stopping cars. In actual combat, it's really only useful if the mooks are near the ubiquitous explodable items that are apparently integral to Chicago's infrastructure... and as soon as you go exploding something - there goes the element of surprise. Which means that - if you're playing on the highest difficulty, where all it takes to kill you is some harsh language - you're going to want to hold off doing that and just go for KOs or stealth kills if possible.
There ARE some interesting ideas used - finding the QR codes by getting the right camera... Using cameras to track down boxes... but the hacking mini-game itself gets old pretty fast... and really, it feels as if the game would have been better had it concentrated on large mission areas, rather than a whole open world. The experience is just so diffuse and while the game is pretty, it feels unfocused... although, with such a bland storyline - that's hardly surprising.
The worst part being that the game seems certain it has this complex mystery plot and when it finally does reveal what set in motion the events of the game, it's such a let down (and especially if you listen to the audio logs) that it makes it that much worse. It also has the bland main character - so we can all pretend we're him - who is surrounded by far more interesting characters... who really don't get nearly enough screentime.
Needless to say, the biggest question there is to ask when it's all finished is - what did they spend those extra eight months on? It certainly wasn't polish.
At some point - perhaps - there might have been a good idea in there but all we've got in a very banal storyline (which doesn't even include the titular Watch Dogs) and the usual growly, angry and very stupid protagonist (although, obviously his stupidity is what's required to push the plot along) atop gutted GTA gameplay (and we're talking maybe Vice City and that's being generous) with a bunch of random stuff lifted from Assassin's Creed (including actual animations) tossed into the mix, with the addition of the hacking stuff which is mostly mini-games or used to make-up for the inability to fire weapons while driving (hence being sub-GTA as that's something it added several titles ago).
In fact, it's more likely that you can't shoot and drive as that would make the already somewhat extraneous hacking pretty much entirely irrelevant given that about half of your hacking abilities are for stopping cars. In actual combat, it's really only useful if the mooks are near the ubiquitous explodable items that are apparently integral to Chicago's infrastructure... and as soon as you go exploding something - there goes the element of surprise. Which means that - if you're playing on the highest difficulty, where all it takes to kill you is some harsh language - you're going to want to hold off doing that and just go for KOs or stealth kills if possible.
There ARE some interesting ideas used - finding the QR codes by getting the right camera... Using cameras to track down boxes... but the hacking mini-game itself gets old pretty fast... and really, it feels as if the game would have been better had it concentrated on large mission areas, rather than a whole open world. The experience is just so diffuse and while the game is pretty, it feels unfocused... although, with such a bland storyline - that's hardly surprising.
The worst part being that the game seems certain it has this complex mystery plot and when it finally does reveal what set in motion the events of the game, it's such a let down (and especially if you listen to the audio logs) that it makes it that much worse. It also has the bland main character - so we can all pretend we're him - who is surrounded by far more interesting characters... who really don't get nearly enough screentime.
Needless to say, the biggest question there is to ask when it's all finished is - what did they spend those extra eight months on? It certainly wasn't polish.
Monday, March 31, 2014
Bioshock Burial At Sea: Episode 2
Worthwhile DLC has always been something of a rarity but Bioshock Infinite's Burial at Sea Episode 1 was genuinely enjoyable... mostly because the original Bioshock (unlike Bioshock Infinite) never showed you Rapture before the collapse.
Burial at Sea allowed you to wander around Rapture and get a feel for that city under the sea before it was exclusively the preserve of murderous freaks... which was a pleasant change of pace because, regardless of what people say about Bioshock - it's gameplay is not (and never was) "genre busting".
In fact, Bioshock Infinite marked a fairly substantial regression to the rather wearisome status quo of console gaming by way of Halo's seemingly inescapable two weapon limit and regenerating health - although, there's no regenerating health in Episode 2... but still a two gun limit, although it's rather more stealth orientated and even has a mode focused EXCLUSIVELY on non-lethal takedowns but as with the first episode, it's the NON-COMBAT sections which are that much more interesting.
The fights aren't particularly interesting and in fact for the vast majority of the time, you can effectively avoid them either by being stealthy or simply by running away or using your invisibility plasmid. In fact, you fight generic Rapture (and SPOILERS! Columbia) goons almost exclusively and are even denied the opportunity of a Big Daddy beatdown - the game puts you in an area with a Big Daddy and then goes "Yeah, you can't kill him."
There's one section where there is the arbitrary "kill x many goons to proceed" but that's pretty much the only time fighting is mandatory. The rest of the time stealth or speed are pretty much expected - on the higher difficulties just one hit can be enough to wipe out your health bar - and are helped with the new "peeping tom" vigor/plasmid and the ability to use vents.
The real problem - aside from the lacklustre gameplay - is the story... the ending of the first episode was good but it didn't lend itself to a continuation... and episode two seems to demonstrate that in spades, unfortunately mistaking a lot of technobabble and pseudo-philosophical navel gazing on the nature of choice as an alternative to characters and story.
Between that and some forced attempt to tie Bioshock Infinite to the original and trying to be entirely too clever (and failing) again... it's a rather unsatisfying finish to the franchise and while it's nice to return to Rapture (and Columbia) again... there's nothing of value added... Episode 1 succeeded because it offered an insight into what had been alluded to but never shown in Bioshock... Episode 2 just feels like it's riding coattails.
Burial at Sea allowed you to wander around Rapture and get a feel for that city under the sea before it was exclusively the preserve of murderous freaks... which was a pleasant change of pace because, regardless of what people say about Bioshock - it's gameplay is not (and never was) "genre busting".
In fact, Bioshock Infinite marked a fairly substantial regression to the rather wearisome status quo of console gaming by way of Halo's seemingly inescapable two weapon limit and regenerating health - although, there's no regenerating health in Episode 2... but still a two gun limit, although it's rather more stealth orientated and even has a mode focused EXCLUSIVELY on non-lethal takedowns but as with the first episode, it's the NON-COMBAT sections which are that much more interesting.
The fights aren't particularly interesting and in fact for the vast majority of the time, you can effectively avoid them either by being stealthy or simply by running away or using your invisibility plasmid. In fact, you fight generic Rapture (and SPOILERS! Columbia) goons almost exclusively and are even denied the opportunity of a Big Daddy beatdown - the game puts you in an area with a Big Daddy and then goes "Yeah, you can't kill him."
There's one section where there is the arbitrary "kill x many goons to proceed" but that's pretty much the only time fighting is mandatory. The rest of the time stealth or speed are pretty much expected - on the higher difficulties just one hit can be enough to wipe out your health bar - and are helped with the new "peeping tom" vigor/plasmid and the ability to use vents.
The real problem - aside from the lacklustre gameplay - is the story... the ending of the first episode was good but it didn't lend itself to a continuation... and episode two seems to demonstrate that in spades, unfortunately mistaking a lot of technobabble and pseudo-philosophical navel gazing on the nature of choice as an alternative to characters and story.
Between that and some forced attempt to tie Bioshock Infinite to the original and trying to be entirely too clever (and failing) again... it's a rather unsatisfying finish to the franchise and while it's nice to return to Rapture (and Columbia) again... there's nothing of value added... Episode 1 succeeded because it offered an insight into what had been alluded to but never shown in Bioshock... Episode 2 just feels like it's riding coattails.
Friday, March 28, 2014
Ended these Clone War have
The Clone Wars (the animated show) was really the one redeeming feature of the entire sorry mess that was the Star Wars prequels, managing to offer fantastic action as well as an idea of what the new trilogy could have been, if not for George Lucas.
The Clone Wars (the CGI show) has - by contrast - been a pretty bumpy ride. The tone has - even within some of the story arcs - changed with sufficient speed to give you whiplash. Going from comedic japes with misfit bands of droids, to serious heroic self-sacrifice. Big space battles and lightsaber fights to tedious discussion of galactic finance and lawmaking.
It was - in essence - the same panoply of ill fitting ideas that were cobbled together to form the prequel films... the problem is that some of these stories really didn't need to be told... did the world NEED Jarjar centric episodes? It would seem someone out there - perhaps Jorge himself - thought so... and one might argue "but hey, Star Wars is for kids!" Uhuh... that'll be why we have lengthy discussion of the taxation of trade routes, complex (and oft nonsensical) political machinations and let's not forget genocide, implied rape and torture, dismemberment and child murder! Oh, sorry - YOUNGLING murder (that makes all the difference, dontcha know?)
The issue is really that there were glimpses of greatness in the Clone Wars but attention seemed to shift all too quickly or there was a radical shift in tone but you would think that with the last season, they'd at least go for some kind of grand finale... such as they could within the confines of the time frame... but no, there's just a lot of navel gazing about the imminent destruction of the Jedi.
Now, if this was coming out BEFORE Revenge of the Sith (and we didn't know about the upcoming Jedi massacre) then this might have some dramatic weight but... the only reason to watch this is because you're a fan and that means you know what's coming... and really, season six is pretty weak.
We KNOW that the Jedi aren't going to find out about the plan against them - although, the information they discover makes the whole "A PLOT TO DESTROY THE JEDI?!" bit in Episode III seem that much more idiotic but not by much because... well, it was already really stupid. It's just that after however many years of fighting, we have - near the end of the Clone Wars... the Jedi council going "You know, it IS kind of weird that a dead Jedi secretly commissioned the creation of a clone army that we JUST so happen to need to fight this war." Especially as the reason for finding said army was because of some elaborate machinations anyway...
It's all completely unnecessary set up for a film that came out nearly ten years ago... and it's not as if this is some complex backstory... Hell, compare the season 5 finale and this is just FLAT. In fact, bar an appearance in a vision absolutely no Ahsoka at all...
To sum up season six of The Clone Wars is easy - it feels like a bunch of ideas that had been deemed too lacklustre but ended up getting made for an unexpected final run.
The Clone Wars (the CGI show) has - by contrast - been a pretty bumpy ride. The tone has - even within some of the story arcs - changed with sufficient speed to give you whiplash. Going from comedic japes with misfit bands of droids, to serious heroic self-sacrifice. Big space battles and lightsaber fights to tedious discussion of galactic finance and lawmaking.
It was - in essence - the same panoply of ill fitting ideas that were cobbled together to form the prequel films... the problem is that some of these stories really didn't need to be told... did the world NEED Jarjar centric episodes? It would seem someone out there - perhaps Jorge himself - thought so... and one might argue "but hey, Star Wars is for kids!" Uhuh... that'll be why we have lengthy discussion of the taxation of trade routes, complex (and oft nonsensical) political machinations and let's not forget genocide, implied rape and torture, dismemberment and child murder! Oh, sorry - YOUNGLING murder (that makes all the difference, dontcha know?)
The issue is really that there were glimpses of greatness in the Clone Wars but attention seemed to shift all too quickly or there was a radical shift in tone but you would think that with the last season, they'd at least go for some kind of grand finale... such as they could within the confines of the time frame... but no, there's just a lot of navel gazing about the imminent destruction of the Jedi.
Now, if this was coming out BEFORE Revenge of the Sith (and we didn't know about the upcoming Jedi massacre) then this might have some dramatic weight but... the only reason to watch this is because you're a fan and that means you know what's coming... and really, season six is pretty weak.
We KNOW that the Jedi aren't going to find out about the plan against them - although, the information they discover makes the whole "A PLOT TO DESTROY THE JEDI?!" bit in Episode III seem that much more idiotic but not by much because... well, it was already really stupid. It's just that after however many years of fighting, we have - near the end of the Clone Wars... the Jedi council going "You know, it IS kind of weird that a dead Jedi secretly commissioned the creation of a clone army that we JUST so happen to need to fight this war." Especially as the reason for finding said army was because of some elaborate machinations anyway...
It's all completely unnecessary set up for a film that came out nearly ten years ago... and it's not as if this is some complex backstory... Hell, compare the season 5 finale and this is just FLAT. In fact, bar an appearance in a vision absolutely no Ahsoka at all...
To sum up season six of The Clone Wars is easy - it feels like a bunch of ideas that had been deemed too lacklustre but ended up getting made for an unexpected final run.
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