The Sound of One Hand Slapping

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Video games, movies, and miscellaneous approvals and disapprovals

Overlord II Review

Posted by missed on July 6, 2009

Okay, let’s talk about video games. A few years ago, a little company called “Codemasters” released an equally little game called Overlord. It was met with mixed response; some reviewers really dug it, and others, well, just didn’t get it. IGN, for example, was one of the latter, though you wouldn’t know it given their recent review for Overlord 2.

            The thing about the first Overlord was that it was like reading Giambattista Vico instead of Descartes, and seeing an alternate and wonderful way that games could have gone. Now, obviously, this new path wasn’t as developed as the same old trail that games like Halo, Madden, Metal Gear and so on stood on, but it was, well, new. And I’ve always been a big supporter of new frontiers, especially when the old frontiers are so old that they’re stagnant.

            Of course, Overlord was a far from perfect game. But here’s the breakdown of the good: you play as basically Sauron from Lord of the Rings with little gremlins instead of Orcs running around to do your evil bidding. The gremlins, bluntly called minions, are controlled via the left joystick in a giant, semi-autonomous cluster that leaps, smashes, beats and loots whatever you direct it into. Whichever is appropriate. The right stick controls the Overlord, who, if you power him up, becomes a potently dangerous force of his own, with sword, axe, or Sauron-like mace.

            What brought it all together was the attitude: the minions take genuine joy in whatever evil you have them execute in your name, whether it be looting and burning the countryside, beating down Halflings, dwarves and townsfolk, or sacrificing themselves by jumping into a giant vat of molten iron to make your armor stronger. My little heart melted at their gleeful cries of “Treasure! For yooou!”, “Maaasta!”, and when they found something they could use, “For me!” while plopping a pumpkin down on their heads.

The world in which these little terrors lived was as colorful as they were, a brightly inversed spoof of High Fantasy, in which unicorns are just white horses with a bloody horn, Halflings are the scourge of the dale and dwarves are, well, dwarves. But more dickishly. On the further end of it all were the Heroes, the white-knights of legend after the tales had run out, putting on weight and imposing their obnoxiously high and mighty agenda on the fiefdoms. It just made you want to beat everything with a giant mace and then burn it to the ground. Thank goodness you brought a giant mace, and some fire.

The bad, then. First, the minions on the left joystick meant a fixed camera, and less than perfect auto shift. Second, minions could die, and they took their weapons and armor with them. While not intrinsically bad by itself (I would expect some penalty for death) it became a little ridiculous when you throw insta-kills into the picture, in all their glory, simply for being in the wrong place at the wrong time, such as in fire, poison, beneath a boss, or, most frustratingly, touching water. In any capacity. Plus, they’d follow you in, like lemmings on an island. The steady increase in these sorts of death zones later in the game made it frustrating in the extreme, when you’re A-Squad was annihilated by, essentially, a deep puddle and you were left with a bunch of unarmed noobs. It got to the point where you’d just buff the hell out of your Overlord and leave your team at home.

But all that’s behind us now, and really I only talked about all that for context, so I could talk about this. So. Needless to say, the cultists had their way and an Overlord II was released. Thank God. Let me be perfectly clear, I loved Overlord. For all my bitching, I really only gripe because I care enough about its existence to wanted it to perfect its experience. And, apparently, I’m not alone: see, Codemasters addressed pretty much every gripe that its players asserted from the first game, which is a rare virtue in game-makers. It almost makes you believe that games are still made for gamers, and not merely created cynically for cash alone.

They fine-tuned the controls so that to move your minions you had to push up on the joystick, whereas left, right and back were camera controls until the horde was activated. They added a “River Styx”-esque revive station, manned by an adorable little minion death, scythe and all. They fixed the minion A.I. and basically touched up all the problem areas. All this gave way to the much more polished experience of Overlord II, complete with a few addendums, like mounts, formations, a few new minion powers, et cetera, et cetera.

So, was Overlord II the perfect experience I was hoping for?

Unfortunately, no. But before I talk about why I’d just like to add that, again, these complaints are out of love. If anything, this game was even more fun to play than the last one, and I really appreciate all the work that Codemasters put into it. Honestly. No sarcasm.

First, and most importantly: insta-death remains, rearing its hideous face. While a little less painful than Overlord the first, there are still sections that are teeth-grindingly frustrating due to the high chance of losing over half of your highly polished team. While the gesture of adding the revive station is much appreciated, the better your minion, the more it costs to revive them. Meaning that mass slaughter late in the game, where it is most crucial that they are revived (and, for that matter, where they are most likely to be mass slaughtered), becomes very, very expensive.

Second, while the red minions have been ridiculously improved, hurling handfuls of genuinely damaging fire at soldiers until they actually were set alight (doing damage over time, happy shiver), the greens, on the other hand, have been utterly nerfed. The greens were perhaps one of the most enjoyable groups from the first game, as they leaped with gusto onto whoever was nearby, dealing massive damage as they plunged their claws into the hapless enemy’s back and hissing. In OII, they don’t err on the side of back-stabbing. Instead, if they’re controlled less than perfectly (i.e. don’t approach from the exact behind), they try to go toe to toe in an all-out melee fight and refuse to do their actually damaging attack. Also, apparently they’re made of feathers and soap, because one, possibly two hits results in their messy demise. Basically, I got used to the idea that greens were expendable and disposable, and I pretty much stopped using them except where the game expressly forces me to.

Finally, while the lines between the two alignments, “Destruction” and “Domination” have been much improved and refined, the actual effect on the game is that it has become far more linear. The decisions that are made merely define your motivation, rather than the act itself. Rebels have stolen the town’s food supply and are stealing a ship to escape. Domination: stop the rebels and get a ship. Destruction: go get your ship. Oh, that the rebels have. You should probably deal with that too. Also, the pillaging, destruction and so on, becomes distinctly final. Houses remain burned down, people remain dead. Like real life. I don’t want real life that that turns, essentially, conquered towns into wastelands. But everything else respawns, including treasure chests. So why deprive me, a domination overlord, of the fun of pillaging and looting?

            For fear of becoming too involved in my bitching, let me wrap it up. I advise you buy Overlord, and Overlord II if you want a unique gaming experience. Maybe not at full price, if you don’t dig it like I dig it. It might make you old-school frustrated, which really only means that it hooks you, with a barb.

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Day Two: Don’t Mess With ‘Don’t Mess With the Zohan’

Posted by missed on June 9, 2008

My friend and I stood in line at the bustling Saturday night cinema, determined to see Kung-Fu Panda. He was high on Percoset, having had his wisdom teeth out the day before, and we’d just come from an adventurous all-you-can-eat establishment we’d christened ‘The China Buff.’ Suddenly, we were accosted by a high school ‘friend’ wearing a pink feathery hat for no discernable reason.

            “Hey you guys!” he caroled. “What are you seeing?”

            “We haven’t decided yet,” my friend said, tactfully.

            “I’m seeing Kung-Fu Panda!” he yelped. “You guys should see it too!”

            “We’re uh, thinking about it. Good talking to you, Chris.”

            My friend turns to me and under his voice says, hopefully, “Don’t Mess With the Zohan?”

            I concurred.

            So that’s how I found myself in Adam Sandler’s newest visual shindig, gratefully eating my sour gummi worms unmolested. I’ve always had a good relationship with Sandler, and rude press-ganging aside, I was honestly looking forward to seeing him back at the top of his game. Still, I know that a lot of people have a love-hate relationship with the ex-SNL singer. No one I know has uniformly liked every movies he’s made, whether the deal-breaker is Little Nicky, Punch Drunk Love, Spanglish, or combinations of the three.

            To simplify the whole process, I’m just going to say that this isn’t going to go down in the books as one of those depending-on-your-opinion atrocities, but neither is it a triumphant return to the glory days of Billy Madison or Happy Gilmore.

            In this excursion, Sandler tackles the tender Palestinian-Israeli conflict. To his credit, he does this with all the sensitivity of a drunken rhinoceros and all the reverence of Mr. T skydiving into a vat of pudding wearing a tutu. Dressed in a series of Mariah Carey t-shirts and short shorts to display a package hitherto unknown since David Bowie’s spandex-clad member in Labrynth, Zohan fulfils the role of Israelis we all secretly hold. That is, twenty years behind us in culture, dressed like flamboyant Europeans with similar accents and terrifyingly good at killing people.

            The Palestinians, by contrast, also jubilantly fulfill their stereotype as a race of rock-throwing super-terrorists, who, in one memorable scene, scream at the Zohan that there are two sides of every issue while firing an assault rifle.

Meaning, he handles the entire affair exactly right. Not only is the soapbox missing from this movie, but it’s illuminated by the light of its burning effigies.

            And that’s damn refreshing.

            I think my favorite line from the movie was right from the very end when the two sides have reached a kind of peace and the New York Palestinians are bemoaning the state of their presence here and one New York Israeli says, “You know, life here isn’t easy for us either.” “Why is that?” “Because we look like you.”

            So all in all, I appreciate that Sandler takes an easy tack to a tough issue and comes out on top by reminding us that it’s just a comedy. It’s not political commentary, it’s just a silly backdrop to a silly story. So, if you’re into the unabashedly goofy, with no hint of seriousness, you can’t go far wrong with ‘Don’t Mess With The Zohan.’ That is, if you like Adam Sandler movies.

            As for me, I give it three out of five silky smooths.

Posted in 30 Days of Creativity, Movies | 1 Comment »

Horton Hears A Who, the Most Uncool Review Just For You

Posted by missed on March 21, 2008

Lame rhyming aside, Dr. Seuss has been seriously mistreated the past couple of years: ‘How the Grinch Stole Christmas’ and ‘The Cat In the Hat’ have probably polished the inside of his coffin to glassy perfection with friction. It hurts especially because I so desperately want to like these movies. Deep in my cold, aching heart, a little piece of me still wants to return to the first time I heard they were making ‘The Grinch.’ ‘Jim Carey? Of Pet Detective and Mask fame? Starring as Grinch? My tiny, younger heart wants to explode in exitedness! I hope he and Director Ron Howard don’t clumsily reassemble all of my childhood memories into some kind of horrendous lurching monster of incompetant film making!’

Oh, if only I knew, I wouldn’t have had my heart broken… Then reassembled a third time, stitched together with used dental-floss and nudged out the door towards the terrorized townsfolk, yet again, for The Cat in the Hat.

Still, there’s hope. Because Horton Hears a Who wasn’t half bad. Oh sure, Jim Carey occasionally pushed the limits of goofy, especially because the CGI elephant didn’t have his plasticine features punctuating those obscene voices we know and love. And yes, there were a few more plot threads than there needed to be and even a moral tacked on at the end, but it was the best derivative of Seuss’s work since 1966, when the original ‘Grinch’ came out.

I think part of it is because this is the first animated version since the classic. The medium’s changed, but the tender care put into every gorgeous model of elephant, tree and Who rivals the artistry that went into the hand-drawn frames of the classic. The water glints and glistens like real water. Horton’s elephant skin looks cartoonish from the distance, but up close it has tangibility, detail and realism. And the Who’s town is incredible. The sheer density of complexity and Seussian machinery has a richeness all its own. Finally, it seems that Dreamworks is animating on par with Pixar.

The acting’s top-notch, too, featuring the whole spectrum of emerging comedic actors alongside the greats. Seth Rogan proves that he has some decent chops for written scripts. Will Arnett lends his voice for his first excellent movie since moving off cable, and Amy Poehler voiced Steve Carrel’s who wife so well I didn’t even pick up it was her, so divorced from the silliness of SNL and UCB. Like I said, Jim Carey occasionally took the voicing a little too far, but I’m so happy to see him back in comedy (good comedy, that is. I saw Fun With Dick and Jane) that I don’t even care. Over all, he was a great Horton.

It was pretty funny, too: a healthy mix of slapstick, visual gags and bizarreness that made me laugh unabashedly in a nearly empty theater (a shame). I don’t want to spoil the jokes, so I won’t go into detail, but Katie is hilarious and wonderfully disturbing. And don’t forget the references for the adults: Apocalypse Now, Ahhnohld and a inspired anime sequence.

 So see it with your kids, your girlfriend or your folks. If you ever liked Dr. Seuss, see the movie. If you were ever a child, or if you know one, you’ll probably like it. Go with the riff, go with the raff, I give this movie a four-and-a-half. Out of five… something about jive. I dunno, I wasn’t cut out for this Seuss rhyming thing.

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