In an opinion piece posted on Forbes today, Paul Tassi explores the debate of video game length, especially in regards to the recently leaked gameplay footage that clocks total time for The Order: 1886 at about five hours (the YouTube video has been since deleted, however, and Ready at Dawn has remained quiet on the issue). I thought I’d examine this article in more detail since my last post focused on a similar issue, examining it from the opposite perspective of too much story, writing about the narrative excess in Alien: Isolation–a game I found commendable in many respects, but ultimately far too long.
(Note: This analysis of the narrative of Creative Assembly’s ambitious game does not feature any spoilers until the final few paragraphs. I note in the piece at which point these spoilers begin, so those who have yet to play the game and don’t want to have the story ruined can still follow along until then. Bear in mind that I do speak obliquely about events in both Alien and Aliens, but then if you haven’t seen those films already then you should unplug your internet until you’ve done so.)
There is a moment, towards the finale of Ridley Scott’s Alien, as Ripley is making a last-ditch effort to escape the impending destruction of her ship, that she rounds a corner to find the titular creature blocking her only means of reaching the lifeboat. Frantic, Ripley abandons her plan, returns to the command deck and attempts to override the auto-destruct sequence. A moment too late, Ripley realizes in a furious panic that she must risk the corridor or die. The moment is one of utter terror and dread, complemented by the dazzling mise-en-scene of the spaceship in its turbulent death throes. Now imagine if Ripley had gone back to the lifeboat to discover its door sealed, and imagine also that she improvises a new plan, one that takes her down an elevator shaft, which leads to a new section of the ship, in which a maintenance android patrols the grounds, and she must run around turning off switches and logging into terminals to override doors, before getting into a spacesuit and walking along the outside of the hull to manually force her way into the lifeboat, which is carrying an alien that she then has to defeat. The scenario would be absurd, overdone, and would exchange the viewer’s panic and terror for tedium and frustration. Nonetheless, this contrived scenario roughly approximates the exercise in excessive paces that Alien: Isolation puts the player through.
A few weeks ago Digital Trends posted a useful, layman-friendly guide to the emerging technology of quantum dot technology and its impact on future TVs. Essentially the technology improves upon existing LCD screens by using semiconductive nanocrystals to produce faithful representations of colours (especially white). Though black levels still pale (pardon the pun) in comparison to OLED, quantum dots nonetheless improve the colour reproduction of those less costly LCD screens. Whatever the benefits or drawbacks, I find the technology behind the screens utterly fascinating.
Here’s the link for Digital Trends article:
Back in 2013, CNET offered its own jargon heavy guide to the same technology for those interested:
So let me get this straight: North Korea insists it had nothing to do with the cyber attacks against Sony, nor with subsequent threats against theatres daring to show The Interview—that piece of purposefully political piffle–and then, in a bid to prove its innocence, demands to the US that it be involved in the investigation using the same threatening rhetoric as the hackers?
If for no other reason than its fully working model of a black hole (that required 800 terabytes of data to capture), Nolan’s Interstellar will undoubtedly secure a vaunted space in the realm of science-fiction (or is it now more appropriate to label it as science-fact?):
I am certainly looking forward to the scientific articles that Kip Thorne, the movie’s scientific consultant, is set to write after seeing the fruit of thirty years of work modeled before his keen and scrutinizing eyes. Whether I’ll understand any of it is a different subject to anticipate.
Darren Aronofsky’s been making the rounds on the internet recently more for a piece of environmental writing published on The Daily Beast than for one of his films, so it seems to me the only logical next step would be to combine the two. Did anyone else notice that an incredible story readily discloses itself in Aronofsky’s diary? It reads almost like an environmentalist version of Joseph Conrad’s Heart of Darkness, with environmental violations taking the place of slavery, the oil-profiteering Suncor dutifully filling in for the tyrannical slave-dealing Company, and things looking bleaker and grimmer for the human race as Aronofsky and his team travel upriver.
After establishing himself amongst horror lovers as a quirky, smart and genre-literate director with You’re Next, Adam Wingard resists the easy request to imitate himself and instead makes an action thriller that blasts open the horror film highlights of the 70s and 80s to extract a post-modern glimmer of what made those films so cool. Continue reading
Catherine Deneuve at the train station, begging her lover to stay, promising she would wait for him, knowing it couldn’t possibly be true: Jacques Demy’s fantastically grand musical The Umbrellas of Cherbourg broke my heart. An ambitious musical on a limited budget, Cherbourg covers a half-decade span of time in the lives of two young lovers separated by time. Entirely sung, with lyrics that range from the inessential to the unforgettable, Cherbourg is an intimately scaled epic.
Here’s an English version of the song, covered innumerable times by numerous artists, sung here by the gorgeous Connie Francis (Futurama fans might already be familiar with this song from a rather appropriate appropriation). But don’t forget it was Michel Legrand who created its original French incarnation, a devastating duet between a teary-eyed Deneuve and a stoic Nino Castelnuovo in Cherbourg‘s most emotionally climactic scene. Deneuve was never more lovely or more beautiful.
If it’s your cup of fine Earl Grey, Rodgers and Hammerstein are on sale today only at Amazon.ca for the bargain rate price of $56 CAD. Even if you’re only interested in two of the included 6 films, at this cost its cheaper than buying them individually. And from what I’ve read and seen the transfers are terrific.
Though today is not the fifth of November, one still would be well served to remember the importance of the nursery rhyme which bears this date. Remember, remember the fifth of November, the gunpowder treason and plot; the sentiment of these simple lines is pushed to its utmost in Alan Moore’s and David Lloyd’s incendiary agitprop anarchistic graphic novelism in the form of the anarchistic terrorist-cum-ideologue V.
Though published in the internecine political warfare between the Labour and Conservative parties from 1982 to 1989, it was not until the equally fraught period of British society in 2005 that the material was eventually adapted into a film starring Natalie Portman and Hugo Weaving, directed by James McTeigue. Or rather, 2005 would have been the release year of the film, on the 400th anniversary of the Gunpowder Treason Plot no less, had WB Studios decided not to delay the release in the wake of London’s horrific 7/7 bombings.
Though the missed opportunity to have the film premiere on this precipitous and propitious date is regrettable, more regrettable still is that the film does little to engage with the very brand of ideological violence which provoked the bombings and which the graphic novel examines (hereafter referred to by the less pretentious designation of “book”). Had it done so, perhaps the film might have retained its original date, or at least the filmmakers and studio could have embarked on a much needed and undoubtedly valuable discourse on the politics of this century. Instead, those involved squandered their chance, as the film squandered its full potential. Though perhaps my criticism is unwarranted, since the book answers questions the film doesn’t dare to ask: What is the measure of villainy? Of heroism? The depths of compassion and the heights of our capacity for cruelty? But then, ought any text dealing with the political strive to grapple with just this dimension of our humanity? Continue reading