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The Wolf Among Us: Episode 1: Faith review

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    The Wolf Among Us is a Point and Click game available for Xbox Live and via download from the Telltale website. There will be a PSS version available in the United States on October 15th with a European release later. Unlike most video games, Telltale games have the unique feature of being divided into episodes.

    Basically, each episode is two hours of content that you purchase and play individually as they come out. It's a great way to get cheap but fun games and I hope it becomes a more common practice. I purchased the first of these episodes, Faith, on Xbox Live for $4.99. I got more than my money's worth too. 

The action sequences in the game are delightfully rendered. You get a real sense of comic-book meets Pulp.
    The Wolf Among Us is based on the Fables comic book series by Bill Williamham. You don't have to be a fan of the comic book series to appreciate The Wolf Among Us. I'd argue it actually does the comic one better, emphasizing the Noir elements over the Fairy Tale to achieve a deliciously Marlowe-esque balance. There's good-girl prostitutes, sympathetic social workers, adultery, washed-up fighters, dive bars, and politicians only interested in helping the rich. It just so happens that these characters include Beauty and the Beast, Ichabod Crane, Snow White, and Grendel. As urban fantasy goes, this ranks up there with my favorites.

Guessing who fairy-tale characters is helps propel the narrative. Which fairy princess has been reduced to prostitution? Find out!
    The premise of The Wolf Among Us is that you are Bigby Wolf, the Big Bad Wolf of storybook legend. You are presently living as a human in New York City alongside virtually every other storybook character prior to the 19th century. Bigby has reformed from his Little Red Riding Hood-chasing days and now serves as the Sheriff of New York City's Fables.

    Surprisingly, this startlingly weird premise is fairly easy to follow. When I met Mister Toad as a Cockney slumlord, my first reaction was disbelief but the excellent voice-acting and writing plunged me head first into the setting. It helps that the plotline is straight out of a classic detective novel.

    The best part of The Wolf Among Us is the storytelling, which functions like an interactive movie. You only have X amount of time to respond and this helps keep the plot going as there's no "wrong answers" but you can come off as sympathetic, an ass, or threatening. All seem within Bigby's character and I appreciated that.

    The system reminded me strongly of Alpha Protocol, an underrated game which employed a similar technique. I was surprised to find that strong-arming characters was just as enjoyable as trying the more peaceful approach, so there's never really a preferred method. I've already replayed the game twice and got different results each time. Choice matters in The Wolf Among Us and that's a rare thing you can say in video games, even ones which pretend that such a thing exists.

Yes, one of the Three Little Pigs is crashing on Bigby's chair.
    The graphics bear special mention. The Wolf Among Us is rendered in a gritty-comic book manner that is normally done in custcenes but occasionally moves from panel-to-panel. The art style is highly evocative and lent the game a surreal feel which helped me get into the world.

    It's not Rockstar-grade animation but it doesn't have to be and is perfectly serviceable for what it is. The comic book-style animation doesn't interfere with the action either, making the chase and fight sequences unique. I especially liked the choice during fight scenes as the game allows the use of multiple objects during encounters in order to beat your opponent.

    Combat in The Wolf Among Us is done entirely as Quick-Time Events (QTEs). These events are relatively easy compared to something like Castlevania: Lord of Shadow, however, and work with the cinematic atmosphere of the battles. There's only a couple of fights in the game but both are memorable. You also get the opportunity to strong arm suspects if you desire, an action which won't you any points with them but can be quite satisfying. By the end of the first episode, you'll feel like you're a werewolf private detective everyone is afraid of. It's a good feeling.

Our hero doing the legwork expected of a detective.
     The characters are really the heart of The Wolf Among Us. I quickly bonded to Bigby, Snow White, Mister Toad, Faith, and even the Woodsman. They all felt simultaneously like characters out of a storybook as well as Noir archetypes. While one character dies way too soon and in a very cliche manner, I'm holding out hope she'll show up again later due to the somewhat nebulous rules regarding Fable death. Maybe it's foolhardy but it's my hope. I strongly encourage people to pick up this game.

9.5/10

Wife broke her foot, please send vibes-prayers-best wishes.

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Yesterday, the wife broke her foot in two places. We spent the entire night waiting in the emergency room and it'll be a couple of days before a specialist can see her. It's a really cruddy situation. I could share more details but it isn't more story to tell, only that it was a pretty harrowing struggle to get her to the emergency room too.

Hopefully, we'll be able to take care of the situation soon but she's feeling really down.

Thanks for reading.

 ***UPDATE 10/21/2013***

Sadly, things have gotten worse rather than better. My wife proceeded to injure her foot worse on Wednesday and now she's scheduled for surgery today. This is going to lengthen her recovery time considerably and she's absolutely terrified. I'll keep everyone posted as to what happens with her. Thanks everyone, for your support.

**UPDATE 10/25/2013**

Surgery went well and she's now in recovery. Still, there were some harrowing bits. Thanks again, for all those who thought of us.

The Elder Scrolls IV: Oblivion review

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    The Elder Scrolls began with the game, Arena, and eventually moved on to become a number of successful spin-offs. I joined the series with Skyrim and have been working my way back through the series ever since. Oblivion was the first game I chose to pick up in this quest, having come out when I was first getting back into video games. I heard excellent word of mouth and as the precursor to Fallout 3 and Fallout: New Vegas, I had high hopes when I picked this up.

    The premise of the Elder Scrolls games is, usually, the player character is a prisoner who finds himself roped into a larger plot affecting the Empire of Tamriel. For newcomers, Oblivion is actually the end of an era as the game starts with the assassination of a major NPC in the franchise.

    This assassination triggers a cataclysmic series of events which culminate in the setting being invaded by the forces of the Mehrunes Dagon. The Devil, basically. At least in this game. What separates Oblivion from say, Diablo, is the game nicely contrasts the peaceful lands of Cyrodiil with the horrific Dante-esque universe inside the various dimensional gateways.

You must invade the dark-dimension of Oblivion numerous times to save Tamriel.
    Having familiarized myself with the Elder Scrolls universe prior to playing the game, Oblivion does its best to make the game a bit more "audience friendly" than the setting was previously. The province of Cyrodiil has gone from being a Roman tropical paradise to a forested Medieval fantasy-land all-too-reminiscent of countless others. Likewise, the titular dimension of Oblivion isn't really hell in the traditional sense but it's portrayed as a stereotypical vision of fire and torture.

As a thief, I rob this place blind. That includes the rather phallic Imperial tower.
     Despite these questionable elements, the overall game is incredibly fun. In addition to the main quest, there's a mammoth number of side-quests and in-game fiction. I was particularly fond of both the Dark Brotherhood and Thieves Guild questlines, enjoying how they both went in very odd directions. The main quest was also surprisingly well-written despite the unambiguous nature of an invasion from hell.

    I was particularly fond of both Uriel Septim and Martin, voiced by Patrick Stewart and Sean Bean respectively. While neither character gets as much interaction as I would have liked, both endeared themselves to me so by the time their stories ended, I was truly sorry to see them go. The game is also unprecedented in the fact that you are not the one "Chosen" to save the world from hell. You're just a guy who happens to wander into a stereotypical fantasy plot and ends up crucial to its resolution. In short, the character of Martin is Luke Skywalker and you're Han Solo. It's a refreshing dynamic.

After Game of Thrones, it's kind of hilarious to have a major NPC named Jauffre (Joffrey).
    The graphics on display in Oblivion are a bit dated as of 2013 but, even now, are still quite impressive. The land of Cyrodiil is rendered in loving detail and while not a nice place to visit, let alone live, Oblivion is delightfully infernal. I only regret we didn't get slightly more unique designs for both as opposed to such 'classical' fantasy depictions. When you first escape out of the Empire's dungeons, the sight of Tamriel is enough to take your breath away.

Even if it's somewhat generic in its high fantasy roots, Cyrodiil is still quite beautiful.
    Sadly, NPCs in Oblivion are butt-ugly. There's no other way to describe them. The design for the faces of the many people you meet in Cyrodiil could definitely use some work. This detracts from the overall feel of the game and is something they should have delayed until they'd worked out the bugs from. I also feel the persuasion system was needlessly complex, boring, and added little.

    Another problem with the game is the level scaling. Dorky ridiculous looking monsters appear at low-levels but if you level up the wrong skills, you'll be totally outmatched when the bigger nasties arrive. Oblivion has an extremely adjustable difficulty level, however, so there's not too many problems with this. Just know, unfortunately, you may have to crank the difficulty down to very-very easy.

     In conclusion, Oblivion is a great game but has dated badly. Likewise, there's several flawed choices made by the developers that Skyrim fixed. It's still worthy of a purchase but it's not perfect. I recommend fans of Skyrim pick up the game whenever they finish all there is to do up north.

9/10

Flying Swords of Dragon Gate review

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    Flying Swords of Dragon Gate is a half-remake/half-sequel to New Dragon Inn, which was much the same to another similarly titled movie. The premise of all three movies boils down to the same basic principle: heroic rebels against evil martial-arts wielding eunuchs end up at the Dragon Inn which is run by unscrupulous rogues. The three groups bounce off against each other before things revolve themselves in an entertaining fashion.

    Flying Swords of Dragon Gate is a big-budget CGI version of these films, involving much higher stakes and grander sets than the first two. In this version, a pregnant maid in the Imperial Palace is being hunted by the secret service of the palace due to the small chance she might be carrying the Emperor's child.

Flying Swords of Dragon Gate doesn't bother with realism. At one point it has a fight in this cyclone. This is a selling point to me rather than a negative.
    Their leader, Yu, is opposed by rebel general Zhao (Jet Li) who is trying to keep her alive with a woman impersonating him. One who may be the saucy innkeeper from New Dragon Inn. Along the way, they encounter some Tartars and a couple of con men who are hoping to make a fortune with a (literal) buried treasure. If I were to describe it, it'd be a combination of Sahara, Star Wars, and Crouching Tiger Hidden Dragon.

    Flying Swords of Dragon Gate is a fun rip-roaring adventure that has a surprising number of twists and an excellent balance of action sequences with the comedy. Some of the CGI effects are a bit obvious, especially the scenes which were supposed to be filmed in 3D. Still, overall, they're very impressive and mixed with positively gorgeous sets.

The fight scenes are gorgeous, which is what everyone is coming here for anyway.
     Having seen New Dragon Inn, I must say that everyone does an excellent job but it doesn't have quite the same punch. I may be biased in this assessment, however, due to my inexhaustible love of Maggie Cheung. It's a pity Donnie Yen couldn't have been a part of this as well, given his villainous turn in New Dragon Inn was quite impressive.

    In fact, thinking about it, I don't mind the recasting but it seems strange that Jet Li (born 1963) is cast as the hero of New Dragon Inn but they recast the role of the innkeeper despite the fact Maggie Cheung is an appropriate age (born 1964) for her romance arc. It took me awhile to realize they were supposed to be the same character. I also missed the original performance's sauciness.

    The first half of the movie is the most enjoyable and could have really sustained the entire film without the addition of the needless treasure hunt plot. There's also a rather forgettable "identical strangers" subplot which had some funny moments but ultimately lead nowhere.

If nothing else, everyone LOOKS cool.
     I won't get into a late-movie twist which, while shocking, really makes no sense. Otherwise, the film is grandiose and enjoyable. My favorite of the fights are the film's openings sword fight involving flying logs and a multi-person wuxia duel on a Chinese junk.

     Sometimes, the spectacle gets in the way of the movie's better parts. As mentioned, the addition of a city hidden underneath a sandstorm containing a lost treasure isn't so much an homage to Sahara as flat-out copying. Likewise, there's one too many cool and interesting characters for a movie which only has so much run-time to get to know them all. A smoother script and trimmed cast would have done this movie wonders, in my humble opinion.

    Flying Swords of Dragon Gate is a great buy for any fan of wuxia films or martial arts epics in general. It's not the best example of its genre but it's a piece both Westerners and Easterners can enjoy. It's not a perfect movie but well worth the price of a DVD. Really, my only complaint about the film is the DVD doesn't allow me to skip past its mammoth number of previews every time I want to watch the film.

8.5/10

Exalted (comic) review

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    Exalted is my favorite RPG setting of all time. For those of you unfamiliar with the game, it basically is a combination of wuxia and ancient mythology that deconstructs a lot of the assumptions of both genres. In Exalted, you are one of the most powerful beings in the universe but this bestows neither wisdom nor virtue. You're a hero in the Greek sense, someone who does great deeds, but only you can decide if you're going to be one by modern values or local ones (which are decidedly warped).
   
    When I stumbled on UDON's Exalted graphic novel, I was quite excited as. I adored their Streetfighter comic. Even if the comic only lasted five issues, I was hoping it would properly capture the feel of the world and its myriad issues. Does it? Err, not really.

    Don't get me wrong, it's an absolutely beautiful comic with gorgeous art and characters. The action flows well on the page and the colors are breathtaking. It's worth buying the comic simply for the lovely depiction of the many characters. If you have any fondness for comic book art, this is for you.

    The problem is, as a representation of Exalted, the comic book just isn't all that good. The comic story follows Kidale, an impoverished Southerner who finds himself Exalting to become a member of the Zennith caste. In layman's terms, he develops the superhuman ability to make binding agreements and judgements. This also is accompanied by other amazing skills.

    Skills, Kidale never really gets to demonstrate.

    The Exalted comic dials things down in a setting which is all about dialing things up. Really, the entire thing feels like a semi-standard Sword and Sorcery comic only with the added addition of reincarnation and a mythical Golden Age the heroes hail from. There's even elements of Star Wars with the morally ambiguous Realm playing the role of the Galactic Empire and Kidale serving as our erstwhile Luke Skywalker figure.

    This would be fine but Exalted is so much more than that. It's a setting where very few people are completely good or evil in their actions. I hesitate to use the word gritty in a setting where people can kick someone into the moon but there's a large sense actions have consequences. Aside from a single surprise twist at the end of the TPB, there's not much in the way of weight to our heroes activities.

    Part of this may be due to the exceptionally large cast. There's Five Solar Exalted, three main antagonists, and a supporting antagonist all fighting for screen time. The comic doesn't really have much time to do anything other than introduce the characters and their basic personality traits before the story ends. Of the characters introduced, I think I liked the Dragonblooded most. Which is odd when they're portrayed as the remorseless villains.

     In conclusion, I think this is worth picking up but it's not exactly the best introduction to the Exalted universe.

Update - November is my lost month

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Hey folks,

People who know me may wonder what I've been up to for the past month as I've been more or less incommunicado for much of the month. Unfortunately, that's because this month has out-and-out SUCKED.

The first problem is that my wife broke her ankle in two places, requiring surgery rather than a cast and leaving her incapitated for much of the month. This has occupied almost all of my time up until the last week.

Unfortunately, the last week resulted in me coming down with what I assumed to be the flu. After a rather agonizing week, I didn't get better so I went to see the Doctor and after some finangaling about waiting for my insurance to get approved, I got a catscan that revealed I have acute diveriticulitis.

Sort version, a serious infection of the intestine. Thankfully, after going to the emergency room, they said I'm probably not going to have to have surgery. It's a nasty-nasty condition though and makes caring for Kat more difficult.We also broke one of our computers and needed to get it replaced.

So yeah, November not the best National Writing Month.

Assassin's Creed: Forsaken review

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    I was a huge-huge fan of Assassin's Creed 3. Of the seven main games in the series, it is my favorite. As much as I loved Ezio, I felt he'd worn out his welcome by Revelations and the cartoonishly evil Borgias were fun to fight but less interesting than the more nuanced antagonists of AC1 and 3. Likewise, I was a huge fan of Connor who I felt to be the most fascinating of the six leads.

    So, I was rather nonplussed to find out the novelization of Assassin's Creed 3wasn't going to be a chronicle of Connor's adventures but from the perspective of Haytham Kenway. The, SPOILER ALERT, Big Bad of AC3. I liked Haytham but found him to be overrated when compared to his son.

    For those unfamiliar with the Assassin's Creed novelizations, they're actually quite a bit more intricate than just re-tellings of the games themselves. Assassin's Creed: The Secret Crusade, for example, actually expanded on the story of Altair to the point much of the information within was incorporated into Revelations. So, despite the oddball premise, I decided to give Assassin's Creed: Forsaken a try.

    I'm glad I did.

    The first half of Forsaken is entirely new material, chronicling the life of Haytham Kenway from the time he's eight years old and the child of notorious pirate Edward Kenway to his recruitment into the Templars to a multi-year quest to avenge the death of his loved ones. Haytham Kenway is a decidedly cultured and erudite figure, even as a boy, which contrasts nicely against the occasionally savage actions he's forced to take part in as an agent of the Templars.

    For those who are fans of Edward Kenway, the protagonist of Assassin's Creed: Black Flag, this book provides extremely valuable information. His fate after the events of Black Flag is spelled out, right up until the moment of his death. Admittedly, though, readers should be warned it's not the most uplifting of tales. Oliver Bowden presumably didn't know Edward Kenway would eventually be a protagonist so he has a decidedly atypical ending for a hero.

    This actually increased my enjoyment of the story as not everyone gets to live out their lives in luxury, surrounded by their loved ones, like Altair and Ezio. If a decidedly "downer" ending bothers you, this may not be the book for you.

      Really, my favorite part of the book was how it expanded on Haytham's goals and the power of the Templars in the early-to-mid 17th century. They're not, apparently, a group with much belief in the power of the Precursors. Instead, they treat the legends of them as myths despite owning several pieces of their technology. Likewise, their power over mortal governments is far less than as usually depicted in the games where they seem ubiqutous.

      I'm not sure whether this jives with their depiction in Forsaken but I like it. The Templars are akin to the Illuminati but imagining them as just as belabored as the Assassins is rather pleasing. Likewise, we get the sense the Assassins aren't the primary concern of the Templars but a distant annoyance which never stops reering its ugly head.

    The later half of the book, covering the events of Assassin's Creed 3, are far less interesting. We get few new insights into Haytham's character and even fewer into Connor. Still, there's a good epilogue to with Connor deciding, despite his many setbacks, he didn't regret his actions as he still believed he helped the world take baby steps towards being a more egalitarian one. This makes up for the ambiguous ending of the game proper, where we're not sure if Connor made the situation worse than better. If nothing else, our hero should have the power of his convictions.

    In conclusion, I strongly recommend Assassin's Creed: Forsaken. It's an enjoyable novel well worth the expense for the first half and epilogue. Sadly, the second half is only worth skipping if you've played the game. Which, of course, should be played in lieu of reading the book. I look forward to reading the next entry in the series.

8/10

Assassin's Creed: Black Flag review

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    I'm going to admit, I was actually prepared to hate this game. After being incredibly excited about Assassin's Creed 3, I was bitterly disappointed to discover the sequel would not star Conner Kenway but his grandfather.

    Worse, I was resistant to the idea of a sequel based around the Golden Age of Piracy. I felt this was a blatant cash grab using a time period which was far less interesting than numerous others which had been forwarded by fans from the French Revolution to Tokugawa Japan. As a result, I only put it on my Christmas list to fill it out and got it early due to my illness.

    What's my opinion? I have never been more pleased to be so wrong about my misgivings. I think Black Flag may be my favorite of the series. Not only does it successfully continue the story after the original metaplot of the games was resolved but it does so in style. The character of Edward Kenway is perhaps my favorite one in the entire Assassin's Creed franchise, surpassing Connor and even Ezio.

The Caribbean vistas and use of sailing interacts well with traditional Assassin's Creed gameplay.
    So what is so enjoyable about Black Flag? At heart, I believe it's the fact the game isn't afraid to take a fresh look at some long-standing assumptions about the franchise and turn them on their head. The Assassins, Templars, conspiracies, and importance of the Pieces of Eden all get put under a microscope with a protagonist who can barely bring himself to care about any.

    The protagonist, Edward Kenway manages to bring a roguish charm to the series without forgetting piracy is an activity built on murder and robbery. The darker side of the character comes out in discussions regarding everything from slavery (he's against it but it's not his problem until it impacts him personally) to motivation (profit, plain and simple).

The piracy missions are, as expected, the most enjoyable part of the game.
    The environments are rich in Assassin's Creed 4, invoking the breathtaking sights of the Caribbean in a way which feels far removed from the occasionally claustrophobic-seeming forests of the early United States. Really, this game sold me on a Caribbean vacation more than the hundreds of commercials I've seen of the region.

    The supporting cast is incredible, too. While I missed the constant presence of Desmond's support crew, Blackbeard and other pirates more than make up for the absence. The fact Ubisoft chooses to go with the reality of many historical figures versus their more theatrical reputations (such as Blackbeard actually hating bloodshed) makes the game surprising in numerous ways.

     My favorite characters are, unsurprisingly, Blackbeard and James Kidd. The two characters are nuanced and reflect different aspects of Edward's personality. The real-life relationship between pirates and anarchism is explored through the context of the Assassin's philosophy and it's a surprisingly interesting comparison. It's certainly inspired me to investigate the real life history of piracy more thoroughly.

Characters like Edward Thatch (Blackbeard) add an immeasurable amount of color to the game.
     The change to the gameplay is immense, too. Whereas the main campaign was the chief allure in the previous games, the side-activities were a mixture of fun and a chore. Edward Kenway's adventures, by contrast, are fun the entire way through. The side-activities are every bit as entertaining as the main campaign. Indeed, I can't think of a single activity I didn't enjoy doing unlike previous installment's feathers.

    As to be expected, a chief allure of AC4 is the sailing mechanic. This first showed up as a side-activity in AC3 but takes center stage here. The battles between ships are fun, fast, and tactical with lots of enjoyable twists. Upgrading your ship requires a truly massive amount of gold and resources, which encourages lots of piracy to do both.

You even get the option of whaling in the game.
    Unlike previous games, there's no "gold fountain" option where you can turn on the game for a few hours then have coffers overflowing with wealth. If Assassin's Creed can continue to have enjoyable change-ups like the ones in this volume, its future is fine indeed.

    In conclusion, Assassin's Creed 4: Black Flag is an absolutely fabulous game. One I heartily recommend to not only long-time fans of the series but newcomers as well. Shiver me timbers and swash me buckles, it's a good buy.

10/10

Assassin's Creed 3 vs. Assassin's Creed 4: Which is better?

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     Prior to Assassin's Creed 4, I thought Assassin's Creed 3 was the best of the series. After the cartoon villainy of the Borgias and the horrific disappointment of Assassin's Creed: Revelations, Connor's story was a breath of fresh air. But which is better? The game starring the pirate or the tracker? This is a article which will answer the question from my perspective.

Warning - Spoilers for the series up to 4.

Why I liked Assassin's Creed 3

    I can see why people had a problem with the gameplay, though, because it was seemingly one tutorial after another. Likewise, both Connor and Desmond's stories ended in a way which was bound to be controversial.

    Still, I think AC3 managed to revive the moral ambiguity of the Templar vs. Assassins conflict while also showing the latter aren't always going to be the most effective of figures. Connor Kenway is a figure who chooses to support the Revolutionary cause on ideological grounds but the results for him, as a Native American as well as Assassin, are underwhelming to say the least. I much preferred this to the unambiguous triumph of both Altair and Ezio's storylines.

    Likewise, I'm a huge fan of the character of Haytham Kenway who manages to be one of the more intriguing protagonists of the games. He's a Templar of conscience who, while still doing some pretty awful things (organizing the Boston Massacre, plotting George Washington's assassination, and so on), still manages to come off as an anti-hero as opposed to a straight-up villain.

    The "America Yay!" element of AC3  is something I can take or leave. The game comes across with a decidedly mixed feeling toward American patriotism, highlighting the warts and hypocrisy of the Revolution but rarely acting as if Connor shouldn't be supporting them 100%.

    Indeed, I know many players who were disappointed Connor didn't make his own attempt to assassinate George Washington when it was discovered he ordered an attack on their village. The Tyranny of King Washington didn't satisfy my Foundercidal tendencies because the alternate history required Connor not to know the First President or his many personal misdeeds against him.

    I was rather sick of Ezio climbing the ancient structures of Europe and the Middle East, however, with Revelations being particularly egregious. Somehow, they managed to make Istanbul's architecture and its convoluted politics boring. This is quite the accomplishment given both are some of the most notable in the world. So the forests and modest structures of the Americas were quite the improvement for me.

    Overall, I gave Assassin's Creed 3 a 10 out of 10 but this is on a scale which measures the amount of enjoyment I got out of the game. Is it possible for a game to go to the 11? In which case, the answer is yes.

Why I *loved* Assassin's Creed 4


    I wasn't particularly excited about Assassin's Creed 4: Black Flag because I'd felt AC3 was a sufficient ending point for the series. Yes, the series still had the release of Juno but Desmond Miles' story was complete and the conflict between the Templars and Assassins was now thoroughly stale. AC3 had thoroughly deconstructed the battle to the point the Assassins didn't look that much better than their age-old enemies. Which is quite the accomplishment when the first game says Hitler and Stalin were both Templars.

    Worse, the setting was about pirates. I love pirates. Don't get me wrong. However, pirates are an easy cash-in for people. Given I was hoping for a story about a older Connor involving himself in the French Revolution, this was a trifle disappointing. Likewise, having read Assassin's Creed: Forsaken, I can't say I was enthused about playing Edward Kenway. It seemed incongruous to play a figure we know ends ignominiously before having his legacy betrayed by his son.

    I was wrong.

    Assassin's Creed 4 is the best of the series, surpassing AC3  by leaps and bounds. A repeated statement about the game is that it didn't need to be an Assassin's Creed game, which is a sure sign it's actually just a good game period. AC 4 is an awesome pirate game which just happens to be set in the AC universe. Given I have long lamented the lack of a "serious" pirate game, this is a great remedy.

    I admit, though, part of the fun for long-time Creed fans will be the game's extensive ****-take at the entire conflict between the Templars and Assassins. If Connor's story deconstructed the idea of "Assassins Good, Templars" evil then Black Flag shoots it out of the water with Edward's take on the two sides being "Assassins stupid, Templars irrelevant."

    It's fascinating to see the Templars power having waned to the point they can barely keep control over their minions. Likewise, the modern day segment has the Templars in control of a video game corporation and so blindingly incompetent that you have to wonder why we need a secret society of Arabic ninjas to fight them. If this offends your sensibilities about the series and its mythology, the game may not be for you.

    Really, at times, the game feels like "Grand Theft Galleon" with Edward being the most brutal and selfish protagonist in the series. He's a more murderous pirate than the vast majority of the historical pirates he hangs out with, killing hundreds of British and Spanish sailors in cinematic Eroll Flynn and Douglas Fairbanks-like duels. He's interested in coin and pleasure as opposed to freeing the world from supernatural conspiracies.

    The game nicely deconstructs the horrible history of Disney's pirates. Blackbeard is actually one of the most soft-hearted pirates around while the inspiration for Captain Jack Sparrow was one of the most stupid. There's even a bit of fun with Tortuga being one of the most heavily guarded plantations around. History is stranger than fiction with the most famous pirates of history all hanging around and knowing each other.

    Gameplay-wise, the game doesn't hold your hand and while there's no real glorious architecture to climb, that's more than made up for by the excellent parkour opportunities to be found in climbing sailing ships as well as the occasional Mayan ruin. I felt the parkour was also a little easier with there always being something for Edward to climb or run across, making the chases all the more dynamic.

    It is a great-great game.

Assassin's Creed 4: Black Flag: Freedom Cry DLC review

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      Assassin's Creed 4 is, as I've mentioned earlier on my blog, my favorite of the series. I felt it managed to inject a large amount of audacious fun and carefree joy into the narrative, something I hadn't felt since Assassin's Creed: Brotherhood. As a result, I was disappointed with the revelation that Edward Kenway (the game's star) wouldn't be appearing in the game's first major piece of DLC. Instead, the star of Freedom Cry would be Adewale, Edward Kenway's quartermaster and best friend. Still, I'm a huge fan of Assassins Creed so I was willing to give it a shot.

    My overall opinion? Fun but a very different experience from AC4.

The game goes out of its way to give Adewale "brutal" weapons like the blunderbus and machete.
     Freedom Cry's premise is fairly simple. During a routine mission for the Assassins, Adewale is washed overboard and ends up in Port'au'Prince. Given this is the 18th century, the city is a massive center for the slave-trade and all its cruel barbarism. While Adewale is eager to get back to the Assassins, he finds himself compelled to involve himself with the local resistance in hopes of liberating as many people as possible.

    Individuals hoping for a continuation of the main game's pirate theme will be sorely disappointed. There's no joy to be had in Freedom Cry as we are exposed to the horrific dehumanizing conditions of the past few centuries. People are marketed like cattle, whipped like animals, forced to move in heavy chains,. and killed whenever they attempt to escape. The most horrible part of it all? This is all true to life and the conditions depicted in the game aren't even a fraction of the real-life suffering endured by those brought over in bondage.

The interactions between Adewale and the Maroon resistance are short but sweet.
    While no fan of darker and edgier, the stakes feel very high in Freedom Cry. There's numerous opportunities to free slaves spread throughout Port'au'Prince and I felt horrible whenever I wasn't able to do so. Adewale, himself, comments he feels guilty about "playing pirate" whenever he thinks about his past life as a Quartermaster versus his role as an Assassin. Knowing it'll be decades before the nation of Haiti is born and the world's first successful slave revolt occurs, the DLC is slightly depressing.

    Improvements to Assassin Creed 4's gameplay include plantation raids, rescuing imprisoned slaves, and raiding slave ships. The plantation raids are the biggest improvement over the old game as you're often required to kill upwards of thirty Overseers, all without triggering an alarm bell. If an alarm bell is triggered, the Overseers will attempt to kill the slaves around you in order to prevent their rescue. It's a tense and nail-baiting mechanic that makes for some exciting set pieces.

Adewale's brutality would feel upsetting--if not for the fact his victims are slavers. Truth be told, I haven't felt this good about being brutal since destroying Paradise Falls in Fallout 3.
    Unfortunately, the gameplay isn't always perfect. Adewale feels clumsier and less of a badass than Edward Kenway, despite the fact he is significantly more vicious and has brutal combat animations. Edward Kenway was able to effortlessly take out legions of foes with his sword while Adewale seemed to take forever killing his opponents with his machete. Even when the machete was fully upgraded, melee combat felt far less fluid.
   
    Likewise, I can't say naval combat was all that much fun either. Taking down slave ships was a tedious affair given Adewale's stolen vessel was significantly less durable than the Jackdaw. While there's the option to upgrade Adewale's vessel like Edward Kenway, it involves the very sort of piracy the character disdains in his dialogues. I can't help but feel Ubisoft shot themselves in the foot by making this decision.

    The DLC's signature new weapon in the blunderbuss is another failed experiment. Whereas Edward Kenway's four pistols always gave you plenty of extra ammunition to kill your enemies, I felt the blunderbuss was near worthless. The weapon was only effective at ultra-short range and it seemed to do precious little damage when I wanted to use it at anything further than spitting distance. The weapon also took forever to reload, meaning I was inclined to rely on either my blowpipe or machete for the majority of my fighting.

Freedom Cry mercifully replaces AC4's constant tailing missions with slaver-murder.
     One thing I did like about Freedom Cry was the fact the DLC shies away from the Templar vs. Assassins conflict. Adewale does some fighting against the former at the start of the game but, for the rest of the conflict, he's against unaligned slavers. These enemies proved far more enjoyable to kill than the increasingly sympathetic Templars. Much like killing Lauren Prins, I think Ubisoft should look into killing evil historical figures over the Assassin's traditional enemies.

    Storyline-wise, Freedom Cry is one of the strongest in the series. Despite containing only about six-hours of gameplay, Adewale's journey is surprisingly nuanced. The penultimate mission is also perhaps the darkest and most moving in the whole of Assassins Creed. Adewale's story, or something very like it, easily could have been its own 40 hour game. It's a pity the liberation of Haiti probably won't be its own story now.

Raiding slave plantations gives a real sense of accomplishment--until they return to operation just a few turns later.
    I would be remiss if I also didn't comment on the DLC's racial politics. It's nice to see a black lead in a Triple AAA game (even if it's only a spin-off). Ubisoft has shown its commitment to breaking the "brown-haired white guy" stereotype of video game protagonists. With an Arab, Mohawk Native, French woman of color, and Adewale--we've got a fairly diverse collection of protagonists.

    Is it perfect? Not quite. As much as Ubisoft deserves being lauded for its progressiveness, Adewale fits some uncomfortable black stereotypes being the most vicious and physically intimidating of Assassin's Creed's heroes. I would have preferred to have this element toned down or eliminated, to be honest, as I preferred Adewale the Pirate to Adewale the psycho-killer (even if his victims have it coming).

    Should you pick up Freedom Cry? Yes, yes you should. It's a very different experience from Black Flag, however, so gamers should be warned. The relentless darkness and grim subject matter can wear on the soul. Likewise, the gameplay is significantly less fluid than in the main game.

8/10

Assassin's Creed: The Fall (Deluxe Edition) review

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    It's a simple fact most adaptations of works from one media to another suck. Video games made out of movies stink, novelizations of movies are as bad as the reverse, and comic books made out of video games have a history of being cheap tie-ins with little relation to the story within. This isn't a hard and fast rule but it's generally true. This is why I wasn't too enthusiastic about reading the Assassin's Creed comic book series.

    Still, I was intrigued by the prospect of the comic which deals with the backstory of Assassin's Creed 3 character Daniel Cross. The comics were also said to be "canonical", which doesn't really interest me as long as a story is well told but made me consider Ubisoft might be serious about this story being good.

    Apparently, the folk at Ubisoft shared my misgivings since opening the trade paperback, I was exposed to a letter talking about how cross-media material usually sucks. So, I give kudos to Ubisoft for addressing the issue head on.

    So, is The Fall any good?

    Yes, yes it is.

The covers are quite beautiful.
    The premise is Daniel Cross, a troubled twenty-something, is having flashbacks to the memories of his ancestor, Nikolai Orelov. At the very beginning, we know Daniel's memories are linked to something more than the nebulous genetic memory pseudo-science at the heart of Assassin's Creed but how and why unfolds throughout the story.

    I find The Fall to be unique amongst Assassin's Creed media in that I actually preferred the modern sections of the story to the past. This isn't because the past sections are boring, quite the contrary, they deal with one of the more intriguing periods in world history with the Russian Revolution.

The transitions between modern day and 19th/early 20th century Russia are quite powerful.
    Instead, it's due to the fact the Daniel Cross mystery is intriguing and well-paced. I also liked seeing how the modern-day Assassins functioned. We only got a hint of that in the video games. I particularly liked the depiction of the camps which are implied to be the same as the one Desmond Miles grew up in and the discussion of the Mentor's role in the modern Brotherhood.

    The character of Daniel Cross himself is a nice contrast to the somewhat bland Desmond Miles, being a schizophrenic and unstable adult who is recruited into the Assassins only because of the value of the data in his head.

    Watching him transform as he comes to accept the Assassin ideology and his role in the world was good, as well as vaguely foreboding. How the story plays out is both shocking as well as satisfying. I doubt I would have enjoyed it half as much, either, without the cute character of Hannah backing up Daniel's journey.

    The sections regarding Nikolai Orelov, Russian anarchist turned Bolshevik revolutionary, are petty good themselves. The comics are able to add a layer of moral ambiguity to the struggle between the Templars and Assassins, highlighting the cause for freedom has created as many villains as heroes.

    Nikolai tries to liberate Russia from the yolk of the Czars but is continually pushed to more and more extreme actions by the Brotherhoood--even as he just wants to live a normal life. It's an excellent contrast to Ezio Auditore and Connor, who both were wholly committed to the Assassin cause. Knowing someone like Lenin was allied with the Assassins makes perfect sense but also darkens up the game's perennial champions.

It's hard to do the right thing when everyone you care about is telling you to do what's against your conscience.
    I also loved the book's all-too-brief cameo by Nikola Tesla. Which brings me to the book's only major flaw, which is the fact that it's six issues to cover one of the most extraordinary periods in human history plus a storyline set in modern times. The book makes good use of economic storytelling but really just feels like "snapshots" of the period versus something approaching a coherent tale. I think at least twice the issues were necessary for this story to be told properly.

    I bought the Deluxe Edition and while this is the only one readily available, I can't say it was particularly better. There's some extra drawings and artwork but the biggest additions are entries from the Assassin's Creed Encyclopedia. Which, unfortunately, mostly deal with the very same characters from the comic book. This wouldn't be a problem if not for the fact all of the information in these entries comes from The Fall itself.

    Assassin's Creed: The Fall is a good comic and worth my money but it's hardly essential. I recommend it only to those fans of the franchise who are really into the setting's mythology. Otherwise, there's better stuff to pick up.

8/10

Assassin's Creed: Black Flag (Novelization) review

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    I recently read (and reviewed) Asassin's Creed: Forsaken and enjoyed the novel tremendously. While I was hoping for a review of Connor Kenway's adventures, what I got was even better with the complete history of Assassin-child turned Templar Haytham Kenway. Assassin's Creed: Black Flag is my favorite of the multi-part saga and it was my hope that its novelization would expand upon Edward Kenway's life in the same way that Forsaken expanded on his son's.

    Sadly, this is not the case.

    I wouldn't say Assassin's Creed IV: Black Flag's novelization is bad, but it's certainly underwhelming. Edward Kenway is a multi-faceted character who undergoes a large number of changes both morally as well as spiritually throughout the titular game. Unfortunately, the novelization simplifies these changes and introduces a number of unnecessary subplots and justifications which muddy an already excellent story. In short, Oliver Bowden's story does not add to the story of Edward Kenway but takes from it.

    Which is terrible.

    The novelization begins with Edward Kenway's origins in the town of Bristol. Immediately, the novelization takes pains to establish Edward Kenway is "technically" English as opposed to Welsh--something I automatically reduced the book's score for. Edward's status as a Welshman not only has historical resonance for his role as a pirate but is a major part of his characterization.

    Oliver Bowden adds a completely unnecessary revenge element to his early story. This version of Edward Kenway is opposed to the Templars before he even knows what one is. Finally, I felt the game's unromanticized and surprisingly real relationship between him and Caroline Scott was made needlessly sentimental.

    Really, the book comes at Edward Kenway's life with an apologetic tone. It treats the protagonist of the game, which is unflinching about the fact he's a complete bastard, with a series of excuses and half-measures. Edward Kenway, who practically jumped at the chance to become a privateer, is forced into it at literal swordpoint within the book. Given Edward Kenway is on a road to redemption, it undermines his story arc by making it so there's very little for him to actually atone for.

    There's some decent parts to the novel, particularly in the relationship of Edward Kenway to Mary Read and Anne Bonny but I can't say any other characters benefited. Edward's relationship to Ben Horningold is undermined and his partnership with Blackbeard is altered, making the protagonist more of a subordinate. It just doesn't feel like the game and that's tragic when the game was awesome.

    I won't spoil the novelization's ending but I actually had to stop myself from throwing the book against a wall. Oliver Bowden undermines Edward Kenway's final decision in the game and ties the novelization with Forsaken in an extremely heavy-handed way. For those who are fans of both the video game and Forsaken, this is the worst of both worlds.

    I suggest readers save their money.

5/10

The Secret of Monkey Island: Special Edition review

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    I never was much of a PC gamer. I think my experience was limited to Wing Commander, TIE Fighter, and Knights of the Old Republic. As a result, I missed out on the entire adventure game phenomenon with all of its quirks and qualities. One of the games I missed as a result was the Monkey Island series.

    Most of what I knew about this series was from my fellow gamers' constant comparison of the series to the Pirates of the Caribbean movies. Discovering only recently the series' first two games had been released on Xbox Live sometime ago, I decided to give them a try.

    The premise of the game, for those of us who have been living under a rock for two decades, is Guybrush Threepwood's quest to be a "mighty pirate." A likable young man, Guybrush doesn't exactly inspire people to take him seriously as a swashbuckler. As a result, Guybrush goes on a number of quests in order to impress the local ne'er-do-wells and later the beautiful Governor of Melee Island. Along the way, Guybrush runs afoul of the ghost pirate LeChuck and his crew of skeletal nasties.

Guybrush doesn't look like a pirate, act like a pirate, or have any piratical references. Sounds like a challenge!
    Much like Maniac Mansion, much of the game is built around picking up everything you can and figuring out how to apply them to puzzles in bizarre and frequently nonsensical ways. You need to get into a prison cell? Well, obviously the only way to do so is to get a bunch of foul-smelling pirate beer to melt the lock off. You need to get past a bunch of feral poodles? Well, clearly, the only way to do so involves picking flowers and stewing meat.

    The lack of common sense to any of the solutions was, at times, actually more amusing than genuine puzzle-solving. I admit, however, I made frequent use of the "X" button to give me increasingly more clear tips. A cute feature of the game is the first time you ask for a tip, the game coyly gives you a hint. The next time, it gets a little clearer. The third time you ask, the game just tells you what to do next. Most games don't have that level of honesty.

Insult-based sword-fighting is awesome.
    Guybrush is a likable enough protagonist and his complete lack of respect from the rest of the game's piratical rabble makes for plenty of interesting conversations. You can see Guybrush's role in inspiring characters from Will Turner to Order of the Stick's Elan. I, especially, loved Guybrush's style of swordfighting. Being too small and weak to fight most pirates head-to-head, Guybrush learns to supplement his sword-fighting skill with insults. Some of these are so bad, his enemies surrender immediately.   

    Unfortunately, not all of The Secret of Monkey Island's humor is funny. The character of Stan the Used Ship dealer has a voice so annoying I wanted to reach through time and murder his programmer retroactively for inserting him into the game. Likewise, I didn't much care for the Cannibals of Monkey Island. The game's jokes based on outdated racial stereotypes from the 17th century were eye-rolling rather than hilarious.

    Worse, the interface for The Secret of Monkey Island has gotten more unwieldy with the transfer to Xbox. You can switch back from the original early-graphics version of Monkey Island and the modern updated version at will but this only illustrates the interface is now much harder to use. You have to click on the top of the controller to do the majority of actions and this takes forever, slowing down the gameplay to a crawl. Likewise, Guybrush's travel times between locations feel ridiculously padded and hurt the game's overall enjoyment.
Governor Mallory and Guybrush's romance is delightful to watch. Mostly, because she's wonderfully snarky.
    With the exception of Stan the Used Ship Dealer and the Monkey Island Cannibals, however, I really enjoyed the supporting cast. Governor Elaine Mallory is a nice contrast from nearly every Damsel-In-Distress since video games began and the Dread Pirate LeChuck is a constant source of amusement. Unfortunately, these two characters don't get nearly as much screen-time as I think they deserve. At least in this game. I was also a fan of Carla the Swordmaster and the Shopkeeper, individuals who were a never-ending source of amusement.

    So is it worth it to pick up The Secret of Monkey Island in 2013? Yes, but only because it's ten dollars. The game has a bunch of rough spots and hasn't aged well in certain areas. Likewise, the port to the Xbox isn't perfect. I had to switch to the older graphic style and interface several times in order to get the game working right. I also nearly quit several times because of annoying characters.

8/10

Far Cry 3 review (Revised)

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    It's been over a year since my original Far Cry 3 review. I wasn't very flattering to the game and considered it to be nihilistic, racist, and exploitative. I had the nagging question in the back of my head whether I was missing something, though. Ubisoft was not a developer known for making racist or stupid games. They also weren't a developer known for putting out garbage and while I didn't enjoy playing Far Cry 3 the first time around, I had the nagging sensation I was missing something.

    The second time around, I attempted to take the story at a slower pace. While the premise of the game was that my friends were in danger and I needed to rescue them, I decided to take time exploring the island and dealing with the many myriad problems facing it. This allowed the story's speed to slow down to a more reasonable pace than my original playthrough. I also realized I'd been doing stealth wrong and correcting this made missions significantly easier.


The action is excellent. Violent but excellent.
    As mentioned in the previous review, Far Cry 3 is the story of Jason Brody and his transformation from a over-privileged California slacker into a ruthless survival-orientated killer. Marooned on a tropical island with his college buddies, he's forced to learn the ways of war as well as how to live off the island's many plants and animals. Jason intends to rescue his friends but he's torn between a number of factions who want to use him for his own ends, as well as those who simply don't care about his plight.

    When I originally reviewed this game, I was uncomfortable with what I perceived to be an insensitive portrayal of Pacific islanders as savages with Jason Brody being a "Mighty Whitey" who learns their ways before saving them from an outside threat. It's an overused Hollywood cliche which has been seen in everything from Avatar to Dances with Wolves.

    I may owe the writers an apology because exploration of the island indicates the 'savage' elements of the islanders have been long abandoned. Jason's adoption of their warrior ways is specifically an anachronism in modern times, brought about by the encouragement of a semi-sane NPC. Likewise, Jason's role as the "White Savior" is actually questionable as it's clear the islanders never really warm up to him all that well. He's an outsider and his attempts to integrate himself fail miserably.


Rook Island is gorgeous.
    The storyline is still problematic in areas, both because of the underdevelopment of the Rook Islanders and several places where they could have developed the heroes better but chose not to. I found myself entranced by Rook Island's history once I started exploring and was irritated to find out the developers didn't put nearly as much effort into realizing its setting potential as, say, the writers of Tombraider (2013) did their location.

    Far Cry 3's NPCs, however, are very memorable. There's not many of them, at least with speaking roles, but they're a delightfully despicable bunch of rogues with the occasional decent one mixed in. This makes sense, since the game is another variant on Joseph Conrad's Heart of Darkness. Unlike Spec Ops: The Line, however, the game has a semi-satirical take on the story which prevents it from being completely depressing. I will say, however, the ending doesn't feel entirely earned and could have been better done.

    The story isn't where the chief appeal of Far Cry 3 lies, however. No, the best part is the gameplay. While the kill animations are a bit too violent for my tastes, the actual mechanics are quite fun. Far Cry 3 manages to combine animal hunting, gun play, stealth, and exploration to create a multilayered gaming experience. With 34 pirate outposts to liberate and miles of jungle to explore, I had an excellent time just wandering around. Indeed, Far Cry 3 reminds me strongly of Fallout 3.

Slowly, Jason Brody transforms from a scared kid to a man who can kill without remorse.
    Sadly, Far Cry 3 lacks the deep character interaction of Fallout 3 and the tattoo interface isn't a very fun experience mechanic. I also found the map to be difficult to understand at first and it took me several hours to master it. Worse, the save system in the game is completely broken. There's only one quick-save slot and the automatic saves often do so at very bizarre times. I managed to kill a pirate chief as part of a mission, only to get gunned down seconds later, which the game qualified as successfully completing the mission.

    Really, you could play Far Cry 3 over and over again without ever really dealing with the main plot. I argue, in fact, that might actually be a more fun way to play it. It's not the story is bad but it's inferior to the gameplay. I feel bad about this because I know Ubisoft can do so much better. A little more attention to detail would have made things much better.

    In conclusion, Far Cry 3 is a much better game the second time around but it's still not perfect. Play it for the exploration and shooting, rather than the story.

8/10

Grand Theft Auto V review *LONG*

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    The Grand Theft Auto series is the most successful video game series of all time, surpassing Mario and Pacman for importance to the medium. Grand Theft Auto V has made over a billion dollars since its release and while it's the most expensive video game of all time to produce, surpassing the production costs of Star Wars: The Old Republic, it's more than made back its money and will continue to do so as time passes.

    As usual, there were plenty of individuals calling it the greatest video game of all time while others said it was a massive disappointment. I'm not at the forefront of those reviewing video games but I'm going to throw in my two cents as to whether the hype was lived up to.

The graphics are beautiful, even during gunfights.
    The trailers for Grand Theft Auto promised a massive open world experience with numerous new activities to enjoy. Rather than tell you about it in laymen's terms, I'll address it as a long-term fan of the series. Everyone can tell you what the game is like to the causal gamer but does it live up to the hype of Grand Theft Auto IV and its predecessor, Grand Theft Auto: San Andreas.

    Is Grand Theft Auto V equal to the two most well-regarded entries in the series?

    Yes and no.

    Grand Theft Auto V is incredibly ambitious with a truly massive map, creating a stylized version of Los Angeles and Blaine County with a truly massive wilderness surrounding both. Not since San Andreas, ironically, have I felt there was so much to explore and see around the surroundings. On a purely visual level, Grand Theft Auto V is a technical achievement without equal (though Skyrim and Fallout: New Vegas are rivals in terms of ambition).

I wasn't a fan of the mini-games in GTAIV and I'm not a bigger fan of them here.
    Unfortunately, the game actually feels rather empty despite its massive size. I was reduced to making ample use of taxis to travel across the game world quickly. This eliminates some of the simple joy to be had traveling around locations, taking in the sights. Unlike Liberty City in GTA V, I felt Los Santos and Sandy Shores were too large to memorize. This is somewhat disappointing as I very much enjoyed doing so in previous games.

    The storyline for Grand Theft Auto V is one I'm going to have to rank behind Grand Theft Auto IV and above San Andreas but just barely. The story is significantly lighter and softer than GTAIV, with as much humor and zaniness as Vice City. Unfortunately, it lacks the emotional highs and tightly written plotting of its predecessor. Michael de Santa is a fascinating and fun character but his story doesn't have nearly the same level of resonance as Niko Bellic's. Michael is also the most interesting of the three major protagonists, too.

    I liken Grand Theft Auto V to a series of vignettes than a single linear plot. If Niko Bellic's story is one long tragic story of his (failed) attempt at fame and fortune, GTA V tells a bunch of stories about three protagonists who have vaguely related adventures. It's more like a television series than a movie if I were to draw a comparison. In the ending, everything is wrapped up but they never really come together like previous adventures. Stuff happens, stuff gets resolved, and life goes on. I can't even say the characters go through that much of a character arc, pretty much ending in similar positions where they started.

    Only richer.
The NPCs in GTAV are loud and obnoxious, which is appropriate for the world but sometimes wearying.
    That doesn't mean the characters aren't entertaining, however. All three characters are archetypes with Michael de Santa filling the role of the smoothe professional criminal who finds money isn't all there is to life, Franklin as the young up-and-comer wanting to taste success like Michael, and Trevor serving as the comedy sociopath who does whatever he wants when he wants. Watching them interact is never boring and if Rockstar wanted to make Grand Theft Auto VI with the exact same protagonists, it'd probably be just as enjoyable.

    The missions reflect the episodic nature of the story. While there's missions which relate to Franklin's desire to become a bigger player, Michael's desire to cure his ennui, and Trevor's need for revenge--most are simply for fun. Franklin can spy on celebrities for the paparazzi, Michael can join the Epsilon program (Scientology) out of boredom, and Trevor stalk the famous to steal memorabilia. If you're expecting a deep examination of their tortured psyches and how they feel about being killers, like Niko or Johnny Klebitz, this isn't the game for you.

The three protagonists allow a wide-variety of stories to be told but aren't particularly deep.
    The most enjoyable missions in the game are the heists, which is to be expected since they were advertised as the heart of the game. Unfortunately, despite the hype, only a few of the heists were as well-designed or enjoyable as the initial jewelry store robbery. If the game had more choices in terms of personnel and options during these missions, I think the heist section would have been much better. This is, however, complaining about something I really liked. The bank robbery in GTAIV  was one of my favorite parts of the game and even the worst of these missions blows that away.

    Ironically, one of the most interesting uses of game mechanics in storytelling is a subtle one. Almost none of the missions in GTAV pay rewards. In previous entries, all of the missions pay cash for a job well done. The majority of missions in GTAV do not, often leaving our heroes cheated for their efforts. This is compensated for the massive paydays from successful heists but feels more authentic as well as highlights the game's theme. Which is, much like in Niko's journey, about the American Dream.

Sadly, the minigames like yoga and tennis were not very fun. 
    All of the characters in Los Santos, not just our protagonist, are searching for some form of meaning to their life. They attempt to find this through money, fame, or spiritual enlightenment. Others, like Trevor, abandon any quest for self-improvement and just attempt to live for the moment until they're killed. A stylized Los Angeles is the perfect place for this sort of analysis of America as it's the archetypal place for people to become victims of their own success.

     Which, come to think of it, explains why a disproportionate number of the game's targets are rich douchebags.

    The fact the game has three major protagonists should have impacted the story but, in my mind, they're all connected. Really, it's not too dissimilar to playing GTA IV with the DLC in rapid succession. The only difference is you'd have the ability to switch between Niko, Johnny, and Luis at will. Grand Theft Auto V feels like three video games in one and that's not counting the potential of Online (which is a separate review).

Thankfully, we have Trevor's (repeatable) rampages to entertain us.
    Now, how was the customization in GTAV? Honestly, I'm of the mind a lot of it is hit and miss. In San Andreas, you could be fat or thin with all manner of tattoos and clothing choices. Much of that comes on but the game feels like it wants to "steer" you in certain directions. While I was able to get Franklin looking the way I wanted to, Michael and Trevor were much more limited in their appearance.

    Also, the characters frequently changed out of the clothing I'd spent time picking out for them. Even the much-welcomed car customization options were irritating as my modded cars would frequently disappear with the exception of the character's signature cars. The fact one of the characters loses his signature car for a significant portion of the game didn't give me any warm fuzzies either.

    One area where Grand Theft Auto definitely improved was the handling of vehicles. The cars took forever to master in GTAIV while air vehicles were impossible to use. While air vehicles are still extremely difficult to master, cars are much more fun to use. They aren't glued to the road like the vehicles in Saints Row or Sleeping Dogs, either, giving them a sense of challenge too.

The torture scene is brutal and nasty--as it should be.
    Weirdly, I also feel the need to praise Rockstar for its satire. GTAIV gave a nasty rebuttal to consumerism in America as well as the War on Terror but GTAV gave it a gigantic kick in the nuts. The infamous "torture" mission that has so many fans up in arms felt to me one of the few times gaming actually went into the "art" category because it firmly conveyed a message--and the message was done well. GTAIV was written so you could point at America and laugh while GTAV treated it more as a crashing wreck. Given a man who is passionate about certain issues in his country, I have to say I approve.

    Other gamers may not.

     I particularly liked the game's controversial handling of torture. A large number of gamers complained about the scene with the caveat, "I didn't finish it." The irony is the game goes out of its way to say how torture is pointless and ineffective--after you finish it. The visceral disgust Rockstar instills in players for the process is powerful and goes to show the developers think there's nothing "badass" or "cool" about causing another human being horrific pain.

     Finally, I'm going to have to say I think Rockstar overextended themselves in the music department. I found the radio was hard to use to get to my favorite radio stations using the D-pad and there were only a few songs I genuinely liked. In Niko's case, the Russian and Jamaican music complemented the missions as did more traditional rock. While the licensing costs for something like Vice City are prohibitive, I think they should have trimmed down things and kept a bigger emphasis on talk radio. It was frequently hard to find Lazlow Jones' trademark commentary, which is just awful.

     So, overall, what did I think? Great-great game. One of the finest ever made for consoles. Still, as with all games so massive, there's room for improvement. GTAV's lesson, for me, is bigger isn't always better--but it sure gives a lot more choices in a sandbox game.

10/10 (with a 8/10 and a 9.5/10 game in there as well)

Grand Theft Auto V and its treatment of women

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Warning - this essay will contain spoilers for Grand Theft Auto V.

    Grand Theft Auto is a series which is no stranger to accusations of sexism and misogyny. The original "prostitute refund" controversy, where you have sex with one before killing her to retake your money, was one of the early means by which Jack Thompson mischaracterized the series as a "murder simulator." Worse, Grand Theft Auto 3 ended with the possible execution of Maria Latore after she begins discussing her new life with Claude. This is in addition to the games including a bevy of strip clubs, psycho ex-girlfriends, and victimized housewives.

    On my end, I've always felt Grand Theft Auto was a series with slightly progressive attitude to the double X chromosome set. At least compared to the rest of the video game industry. Women are never prevalent in GTA's character roster and are, more often than not, objects of lust. However, Catalina and Asuka were major figures in their respective games. GTA IV lacked female villains but possessed an ample number of upper-class professionals to round out the prostitutes and strippers. I even maintain a special fondness for Mercedes Cortez who has no role in Vice City other than kinda-sorta being Tommy's girlfriend before turning to porn.

Not appearing in this game.
    In short, I've always liked the fact Rockstar has bothered to give the women of their games voices. Accusations of sexism may have a ring of truth but this is in an industry where there are hundreds of games where women wear fetish wear yet have no personalities and the vast majority exist as the hero's girlfriends --Rockstar stands ahead of the curve.

    So, what about Grand Theft Auto V? What is its stance on women? Are they treated well in the game? Are they dismissed as sex objects or shrill harpies? Are they simply as bad as the men in the game (who are boorish at best and psychopaths at worse)? Are there a mix of good and bad elements which need to be taken together? This essay will attempt to answer that objectively, coming from a long time feminist as well as GTA fan.

    Before I begin I should clarify what I am looking for. I'm not looking for positive female characters in the game. Looking for positive characters of either sex in GTA is missing the point of the games. They're a very colorful set of Noir games, where there is no good and everyone is one sort of scumbag or another. Kate McReary is, arguably, the only positive character in the entire series and she's boring compared to the colorful characters who surround her.

It's kind of hard to classify a character feminist or not when she's torturing a man just as much as the men.
    No, instead, I'm going to handle the portrayal of women in the game and ask if they are defined by more than their gender and stereotypes. Likewise, I'm going to examine whether the game is sexist or whether they're portraying a sexist world. The latter is necessary if one is satirizing sexism but not sexist itself. Quite the opposite.


    The world of Los Santos is a hyper-stylized and exaggerated depiction of Los Angeles. Sexism is prevalent throughout the setting but not necessarily supported. When aging movie producer Solomon Richards laments the loss of three secretaries he was having sex with, it's meant to reflect both his fall from grace and the creepy way he merged material success with sexual prowess. Radio personality turned talent show contest host, Lazlow Jones also highlights how the 'perks' of being a celebrity include sex and how it goes away as you grow older and less relevant.

    Yet, curiously, GTA V is one of the few games which doesn't normalize this. Major character Tracey de Santa is both annoying and obnoxious but an examination of her storyline reveals the tragic underpinnings to her life. Tracey was raised in a city where fame is all everyone ever aspires to and the only commodity she has is her body. By making the character a protagonist's daughter, the game lessens her sex appeal while illustrating how degrading the whole thing is.

A peverted middle-aged man with a schoolgirl is treated as creepy. This is actually something new for video games--elsewhere, Lazlow would be the hero.
    Tracey is walking into a life of casting couches, subservience, and pornography with her eyes wide open. One might argue this is her choice but the game shows Tracey is neither mature enough to understand her actions' consequences nor reaching her full potential. It's not that Tracey isn't allowed to enjoy sex or even that pornography is wrong, it's that she's doing both out of a desperate need for attention. So, already, I'm inclined to note Rockstar is better aware of the exploitative nature of the system than most video game developers.

    The next major female character of the game is Amanda de Santa, Michael's wife. Amanda is a character who has compelled many a gamer to want to swear off marriage. As a parody of an over-the-top nagging wife, Amanda makes Michael's life a living hell. Virtually all of Amanda's dialogue is never-ending stream of insults, barely letting up until the end of the game.

Her eyes terrify me.
    The game has a more nuanced depiction of her than it could have been, however, illustrating Amanda's complaints are largely spot-on. She's deeply unhappy with Michael de Santa but he is a murdering thief who neglects his children. Likewise, she cheats on her husband but he does the exact same thing with her.

    GTA5 shows something which almost never happens in fiction involving the "nagging wife" stereotype and that's said woman leaving her husband when things get sufficiently bad. The stereotype is based on the nagging wife being a leech on a male provider and while Michael accuses Amanda of being so, she leaves because of emotional reasons rather than financial. As a character, Amanda's certainly not progressive, but the anger is more justified and her actions are self-driven rather than reflecting her husband.

    Sadly, the other character's relationships with women are not as in-depth as Michael's family. Franklin's relationship with women is, IMHO, the worst in the game. Franklin pines for his ex-girlfriend Tanisha, a character who exists primarily as a voice in the game. Tanisha is a character who is depicted as a gold-digger who has used marriage as a means of escaping the gang-lifestyle. While seemingly the only other sensible person in Strawberry aside from Franklin, her use of her sexuality as the only means of leaving poverty is troubling.

    I have less of a problem with the crack-addicted prostitute Tonya. While a complete mess, Tonya is desperate to survive and reduced by circumstance to doing whatever she needs to do. She attempts to use her sexuality on Franklin but is soundly rebuffed, the latter pitying rather than aroused by her. Much like the character of Big Bear in GTA:SA, she is a illustration of crack cocaine's dangers. She also is a good deal more responsible than her husband, trying to keep things from reaching complete destitution.

No, that's not bad graphics. That's how she's supposed to look.
    Unfortunately, the women in Franklin's life are rounded out by his aunt Denise. Denise is a parody of "Hollywood Feminism" which she uses as a justification for her abuse of Franklin throughout the early part of the game. In a game filled with nuanced characters doing horribly bad things for justifiable reasons, she's just a irritant. I would have much preferred her character to be written out entirely than include this bizarre Peggy Bundy analogue.

    Trevor Philips rounds out the main trio of protagonists by having the most out-there relationships with women. The implied survivor of sexual abuse by his mother, Trevor's Oedipus issues are just one of the several dozen major problem his psyche suffers. At one point, Trevor outright hallucinates his mother's ghost and we're subjected to a sense of how far psychosis goes. Ironically, I don't think any of this is sexist--Trevor is a lunatic and his mommy issues are portrayed as serious once you get past his maniac rampages.

   Indeed, I liked Trevor's relationship with Patricia Madrazo, the long-suffering wife of Martin Madrazo. Much like Solomon Richards, Martin considers beautiful younger women to be a perk of being rich and powerful. Patricia is treated sympathetically, much more so than Amanda de Santa, in how this has affected her emotional stability. Her affair with Trevor Philips is sweet and the fact she is not a cover-model makes the relationship all the more poignant.

    Other female characters exist in the game as well, reflecting the position of male antagonists like Molly or underscoring the sexism of Los Santos like Mary Anne and Poppy Mitchell. Molly is a committed professional but her role in the story is undermined by Franklin's implication she's in love with Devin Westin. Mary Anne constantly spouts insecurities about being objectified sexually but, obviously, worried about her fading looks and sexual desirability as she approaches middle-age.

    Poppy Mitchell is enough of a Lindsey Lohan figure that the lawsuit proposed by the latter's lawyers is only 99% completely without merit but the idea of a woman in her 20s forced to act like a wholesome teenager is bizarre enough to not need satirizing. Yes, we catch her literally in the most compromising sexual act possible but it's with someone in the exact same social position. What does it say about society both with and without, we only remember Poppy than him?

    Yes, the fact she tried to run us down is a viable answer.

    Returning GTAIV character Marnie Allen underscores the long-term consequences of sexism while making an interesting point about religion. Stripped of her looks by the sexual abuse and drugs she used as a Liberty City prostitute, the Scientology analog of Epsilon managed to restore some of her dignity. Even if the entire religion is a sham, she found both spiritual fulfillment as well as personal value in its ludicrous teachings. After Michael's betrayal of the cult, she actually sends him a phone call expressing worry for him and his spirit--showing herself to be one of the nicest people in the game.

Kifflom, my brothers.
     Yet, no review of Grand Theft V and the sexism issue would be complete without addressing the Vanilla Unicorn. The game provides the opportunity to receive in-game lap dances from topless strippers you can fondle your way into your bed. There's not that many ways to spin that as anything other than sexist and I'd sincerely recommend gamers don't try the protagonist's behavior in any actual X-rated establishment.

    Even the strippers get a bit more characterization than is strictly necessary, though. In something obviously tossed in to appeal to Grand Theft Auto's massive testosterone-fueled fanbase, not all of the strippers are interested in sleeping with the protagonists. Even better, they're not for sale. While I would have appreciated the dating system from GTAIV and San Andreas making a return, the game highlights each of the strippers as an individual with different lifestyles and personalities. Sadly, their presence doesn't have anything but a cursory contribution to the story and is what it is: a chance for gamers to look at pixelated nudity.

    So, overall, what is the level of sexism in Grand Theft Auto V? Overall, I'm going to give it a C+ and maybe even a B- because I'm a ridiculously generous human being. Yes, it's a game with topless strippers, nagging wives, caricatured feminists, and old men trying to recapture their glory days by buying younger women. It's also a game which shines a light on the nastiness of youth and beauty obsessed culture. Women are objectified and misused in Grand Theft Auto V but so are the majority of people in the game--the game showing its dark side as unglamourous and sad.

    Now, if we could just get a female protagonist outside of Online...

The Vampire Count of Monte Cristo review

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    Literary Mash-ups are a genre which was popularized by Pride and Prejudice and Zombies. It's since gone on to become something of a new minor sensation, inspiring many aspiring authors to posthumously collaborate with the great writers of the past. These efforts are hit and miss but a rare few gems have emerged since the original audacious creation.  

    The Vampire Count of Monte Cristo is one of the latter.

    This mash-up is different from P&P&Z by being a serious take on the premise. It is a supernatural revenge tale treated serious despite its titular change. This is helped because the Count of Monte Cristo is frequently compared to a vampire in the original text while the connection between blood thirst and vengeance is an easy one to make.

    Almost everyone is familiar with the original story: Edmond Dantes is hideously wronged by three jealous associates, he spends a decade imprisoned, he makes the acquaintance of a monk who knows of a hidden treasure, Edmond escapes and uses the money to wreck a horrible vengeance on the wrong-doers. Most adaptions alter the story by removing one or more of the conspirators while setting up Edmond with his lost-love Mercedes rather than the Greek slave Haydee.

    The Vampire Count of Monte Cristo veers closer to the novel than most adaptations, including both the Count's romance with Haydee as well as the entirety of the conspirators. Indeed, it is quite entertaining to realize how close to the text the book veers when it could have done a great deal differently.

    Fans of the original novel will not be disappointed with the new content. The fidelity of the novel to the original lulls original novel fans into a sense of complacency only to veer in new directions at the most opportune moments. I salute Mathew Baugh for not only fastidiously studying the original manuscript but also incorporating many period-appropriate pieces of supernatural lore into the text.
   
    The altered content begins when Edmond Dantes discovers his fellow prisoner, Abbe Faria, is acquainted with ceremonial magic amongst many other sciences. Using a forbidden spell the man wrote down on his linens, Edmond conjures the Angel of Vengeance (who is possibly the Devil) and makes a pact to gain his revenge. Imbued with the power of a vampire, he proceeds to wreck his vengeance in a much more supernatural fashion than in the original novel.

    There are other changes too, including the addition of a ghost, a magical talking head, more vampires, and a homunculus designed to take revenge on Dante's enemies. All of this seamlessly fits into Edmond Dante's adventures and there were times I couldn't tell where a substitution was made since the original Count was a figure of theatrical trickery himself.

    Another benefit to The Vampire Count of Monte Cristo is it serves as a fairly decent abridged version of the novel. The original novel clocks in at over a thousand pages while this novel is roughly about a third that much. Despite this, the story doesn't suffer and trods along with a minimum loss of story. Mathew Baugh does his best to make sure his additions fit with Alexandre Dumas' style and, for the most part, he succeeds.

    Without a photographic memory of the original content, its difficult to say which parts of the story (which aren't supernatural) are Baugh and which parts belong to the Dumas. The greatest change to the story is towards the end. Fans of the original may also object to the slightly less triumphant tone of the novel but, given Edmond Dantes is now a bloodthirsty creature of the night, I believed this was an appropriate change. I won't spoil the specifics but leave them for readers to discover on their own.

    In conclusion, I heartily recommend readers pick up The Vampire Count of Monte Cristo. Vampires and tales of revenge are a natural fit and this is certainly no exception. It deserves a spot amongst other literary mash-ups and I hope it gets the attention it deserves.

10/10

Man of Steel review

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   The story of a troubled young man who, after suffering a terrible loss, travels the world learning to cope with it. Eventually, he decides to become an incorruptible symbol that he turns against the evil people who helped create the symbol in the first place.

    Wait a second, I've heard this before.

    Jokes aside, Man of Steel does have a lot of thematic similarities to Batman Begins. Surprisingly enough, it has a lot of thematic similarities to Spiderman too. Both are stories about how seemingly ordinary young men are tortured by guilt and learn "with great power comes great responsibility."

    This is part of a larger issue many fans have with this film because it represents a different age of comic books than the one traditionally associated with the Big Red S. The Clark Kent of this story seems like he'd be more at home within the pages of Marvel comics than DC, being a tortured outcast who is isolated from the rest of the world by his powers.

I wonder if they're building Anti-Superman Sentinels and restraining collars. Damn mutants! Err, aliens.
     I fully expected to see Hugh Jackman's Wolverine pounding down beers at the Alaskan truck stop Clark Kent briefly worked at. Superman by way of Bryan Singer's X-men is certainly more enjoyable than Bryan Singer's actual take on the Man of Tomorrow but the thematic dissonance was pretty severe throughout.

    Still, I'm going to judge the movie on the Man of Steel we got rather than the Man of Steel I wanted. I'm not innately opposed to a darker take on the adventures of Clark Kent, even if I think this version would be more at home with Doom Patrol than the Justice League. Seriously, it's a weird-weird world where the Marvel stories are bright and optimistic while Superman's story is how afraid he has to be about revealing himself.

    Lest we HATE and fear him!

    *pause*

    Okay, now I'm going to judge the movie on the Man of Steel we got rather than the Man of Steel I wanted.

You can tell what Superman's thinking here. Hot.
    Overall, I felt the movie was pretty good. Everything was dark, dreary, and depressing in both colors as well as presentation but it's a story about a man struggling for acceptance. It's one of the few times I actually liked the Superman=Christ metaphor because Jesus' story was pretty bleak until the end. Superman, in this version, passes through numerous terrible trials and emerges stronger for the experience.

    A persistent theme throughout the movie is the deconstruction of comic book morality and the hard choices one has to make in real life. In a bit of what is almost certainly unintentional humor, Clark Kent decides to become a moral ubermensch who makes his own ethical decisions  You could even argue Zod and company are the people who don't get Nietzsche's philosophy. Superman is forced to make hard moral choices and the fact he does so is not something that should be shied away from. Being a moral paragon means you try to do the best you can with what you're given and Henry Cavill's Clark pulls that off.

    I'm less enthused about Amy Adam's Lois Lane. This is sad because she's written very well, being the same sort of sassy no-nonsense reporter I've come to love in the comics. She also gets to subvert one of the biggest cliches about Lois Lane since the 1930s. Unfortunately, I could never quite get past it watching Amy Adams play Lois Lane versus watching Lois Lane (as played by Amy Adams). There were just too many of her trademark mannerisms and she took me out of the movie whenever she was onscreen.

Poor Smallville. Bet you're glad Superman grew up in your town now!
    Michael Shannon's General Zod, however, is a treat and one of the major reasons to see the movie. While megalomaniac villains are nothing new in cinema, let alone comics, he plays a more subdued version of madness than most. While Zod's implied to be a brutal fascist even before Krypton's destruction, the movie also goes a long way to giving him sympathetic motivations as well as understandable aims. It may be lunacy to want to destroy the Earth for no reason but is it in order to resurrect your race?

    I was also a fan of Antje Traue's Faora-Ul. While the comics version is little more than a typical femme fatale and love interest/second-in-command for Zod, the movie's Faora is more like his version of Darth Vader. It was nice to see a woman in the role of the Heavy in a major action movie and she carries it off with aplomb. At the risk of sounding superficial, she's also quite striking to look at and I approve of her casting.

    Don't take it as damning with faint praise but the biggest reason to see this movie is the action sequences. They're kinetic, exciting, well-designed, and go in unexpected directions. The damage from them is a bit too close to the kind suffered by Metropolis during the Death of Superman story, leaving nowhere to go, but I was still impressed.

    In conclusion, I recommend the Man of Steel but only if you set aside any preconceptions about who Superman is, what he's about, or what sort of limits he should have. The movie has a very clear idea of who they want Clark Kent to be and they achieve it. I leave it up to you, the viewer, to determine if that's someone you want to know.

8/10

Thor: The Dark World review

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    Bland but kind of entertaining.

    Kind of.

    Thor: The Dark World is a sequel that's technically competent, reasonably well-acted, and filled with fun action. There's also oodles of Marvel comics fanservice that makes me smile. It's also a movie which might have been made with a random plot generator.

    The original Thor movie was a surprise because Kenneth Branagh managed to turn what everyone expected to be a big dumb action movie into a surprisingly nuanced family drama. Thor: The Dark World, instead, uses the nuanced family drama to pad out a big dumb action movie.

    The premise of Thor 2 is an ancient relic of the Dark Elves has been found by Jane Foster and they want it back to kill everyone in the universe. That's it. Already, this shows repetition as the first movie was all about a Doomsday Device and both the Avengers as well as Captain America: The First Avenger dealt with a different one.

It's a pretty big and dumb action movie.
     The original Thor managed to subvert audience expectations by making it clear the Frost Giants weren't pure evil monsters but this movie makes it abundantly clear the Dark Elves are. As a result, it not only is a boring depiction of alien life but makes the original movie less entertaining.

    Chris Hemsworth does a serviceable job as Thor but doesn't have much material to work with. He's required to be exceptionally noble, crush on Jane Foster, and hit things with his hammer. The only decent plot, that Thor is not happy with all the moral compromises he'd have to make as a monarch, is dealt with in an off-hand manner.

    Natalie Portman's Jane Foster is less entertaining than in the first movie, serving first as a Maguffin to start the plot off and later a plucky adventuress. Her romance with Thor is paper-thin but it's enjoyable for what it is. Likewise, it's nice to see her given something to do other than simply moon over Thor.

    Tom Hiddleston has a reduced role as Loki but I'd say his is the best story arc in the movie. After his depiction as a straight-up villain in the Avengers, he regains some of his previous ambiguity but maintains a nasty edge that lightens up the movie considerably.

Loki's treatment as a prisoner is simultaneously degrading and hilarious.
     Unfortunately, Thor and Loki's motivation in the movie requires the death of a major female character and this is the very definition of fridging (see TV tropes.org for an explanation). Worse, it's unnecessary since they already have the destruction of the universe to bring them together.

    Christopher Eccelston is utterly wasted as Malekith, mostly existing to stand there and look menacing. His henchman, Kursed, exists to serve as his Darth Vader figure and the two of them don't amount to more than the kind of villains you'd find on an old He-man cartoon. Actually, not even that, since Frank Langella gave an amazing performance as Skeletor in the Masters of the Universe movie.

    Special mention also goes to Kat Dennings who serves as unnecessary but very welcome comic relief. The Darcy Lewis character is a bright spot in a movie which, otherwise, would have taken itself far too seriously. I love superhero comics being taken seriously as much as the next man but, really, life needs more comedy. It's a pity they've already used divine possession in this movie since she'd make an excellent Hel.

No one will ever accuse the Marvel Cinematic Universe of failing on the action.
    The special effects in the movie are impressive, no surprise there, with the best moments being the battles between the Dark Elves and Asgardians. They involve lasers, swords, space-ships, and superpowers to the point I felt like I was watching Knights of the Old Republic: The Movie. If they can get Star Wars: Episode VII to be like this, I'll be satisfied with it.

    A small complaint for a dedicated Thor fan is the continued marginalization of the Warrior's Three and Sif. Admittedly, there's not much room for expanding on everybody but they barely get enough room to be introduced before they're out of focus again. If they could only include one, I wish they'd focus on Sif and give her something coherent to do.

    In conclusion, Thor: The Dark World is a thoroughly okay movie. Do I think they could have done better? Yes, by Odin, I do. However, there's something to be said for not doing worse and they did very well in not doing worse. Let's just hope the next volume in Thor's story isn't quite so unambitious.

7.5/10
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