Of all the shooters profiled at E3 2010 the one which stood out the most and looked to be most fun was Epic Games and People Can Fly Studio’s upcoming arcade-like shooter Bulletstorm. The game is developed by Polish game developer People Can Fly headed by Adrian Chmielarz. The game looks to follow in the footsteps of another arcade-like shooter which came out in 2009: Borderlands.
Bulletstorm takes a different approach from the more realistic shooters like Modern Warfare 2 and Bad Company 2. The game goes the way of over-the-top action similar to past classic shooters like Duke Nuke ‘Em and Serious Sam. They marry this with the XP mechanics of an rpg which helps levels up the abilities of the player and allow them to upgrade/buy better weapons and gear.
From the demo trailer shown above the game also looks to add some very Rated-R comedic dialogue in addition to the gory action. The game definitely looks fun and looks great. Like all Epic Games published titles it looks like Bulletstorm will be using Epic’s proprietary Unreal Engine 3.
The game has a tentative release date of February 22, 2011 for the platforms Xbox 360, PS3 and Windows PC.
There has been a complaint which has been getting louder and louder for the past several years from both horror and mainstream film fans. The complaint is that horror films of late have either been remakes or another sequel. While this complaint is not exclusive to the horror genre (non-horror genres have had the same problem) it is more prevalent and happens more often. Once in awhile a film will come out that tries to be different and put out an original story. Spanish director Jaume Collet-Serra has done just that with his second foray into feature filmmaking with Orphan. While the film won’t win many awards and become the critical darling the way Let the Right One In did Collet-Serra’s Orphan does bring a fresh new take on the evil child subgenre. Despite some of the flaws and script problems the film does entertain throughout most of its running time until it loses steam in the final 15 minutes.
Jaume Collet-Serra first got his start directing the 2005 remake of House of Wax. A film more famous (infamous in some people’s eye) for being the first major film of socialite Paris Hilton. A film that deservedly got panned by critics, but still did well enough in the box-office to put horror fans on notice that Collet-Serra might be a filmmaker to keep an eye on. Orphan marks his second full-lenght feature and using the screenplay by David Leslie Johnson, Collet-Serra tries a hand in the evil child subgenre which has more than it’s share of classic titles like The Omen, The Bad Seed and The Good Son. While this subgenre of horror usually means some sort of demonic-possession or some sort of mental or genetic abnormality causing for their psychotic or sociopathic behavior, in Orphan an interesting reason was given to the nature of it’s titual character.
The film begins with a harrowing and quite disturbing scene of the Vera Farmiga’s character pregnant and in labor, but also starting to miscarriage her child. The graphic nature of the scene quickly lays down the hammer that Orphan will not hold things back just because childen will be involved throughout most of it’s running time. We then see Farmiga’s Kate and her husband John (played by Peter Sarsgaard) at the local orphanage as they attempt to fix their family and ease Kate’s emotional turmoil over the miscarriage by adopting a child. They meet Esther a 9-year-old Russian orphan girl who seem to be the perfect child at first glance. Esther’s well-spoken and well-mannered at such a young age. Esther soon becomes part of John and Kate’s young family which consists of a younger deaf daughter named Max and a son named Daniel. While Max accepts Esther as a new older sister Daniel senses something just off-putting about Esther and reacts much more coldly towards his new dopted sister.
The majority of Orphan‘s second and first half of the third and final reel shows Esther’s true nature peek through the facade of Old World genteel and proper behavior. 12-year-old Isabelle Fuhrmann does an excellent job portraying the sociopathic and manipulative Esther. It is difficult to believe that a child actor of her age able to tackle such a dark role and actually pull it off without making the character too over-the-top or campy. In fact, no matter how one thinks of the performances of the rest of the film’s cast (Farmiga does a good job in the Cassandra-role with Sarsgaard an average performance as the hapless and clueless husband) this film is totally Fuhrmann’s and she sticks the landing.
While the film tries to make something original (and most of it is to a point) out of a tried-and-true model of the evil child storyline the script doesn’t hold up through the length of the film. The story itself is quite interesting when one really steps back to look at it, but there’s several leaps in logic the Kate character makes which will illicit more than a few confused reactions (running away from incoming help and into the dark, unknown being a major one). The dialogue itself is serviceable with none of it wince-inducing. There’s just a sense that the film’s reveal in the end of the film as to Esther’s true nature was just handled in a very clumsy manner. The twist is very original but the execution of that reveal after the tense and very brutal 40-50 minutes before it comes off quite flat. Orphan definitely looked like a script which was in need of several more rewrites to reconcile the first 3/4’s of the film with the final part. Yet, despite the ridiculous manner in which the final 10-15 minutes unfolds Collet-Serra manages to keep the film from dragging along through two hours. It actually plays much faster for a film with such a long running time.
In the end, Orphan marks a decidedly better effort from Jaume Collet-Serra, but one which still shows that he has some polishing to do to join the ranks of better horror directors of his generation. The film is enjoyable enough if given a chance. Most horror fans will enjoy the film and some may even embrace it because of the silly ending. Mainstream audiences looking for a change of pace from the strum und drang of the summer blockbuster season could do no worse than Orphan. It is not a perfect film and not even an above-average one, but it is a good horror film that tried to add something new to the genre, but hampered by a storyline that cannot sustain the tension it built-up and the brutality it showcased. In the hands of a much more seasoned filmmaker with a better hashed out screenplay Orphan could’ve become an instant classic.
The newest Song of the Day is a favorite piece of video game music of mine.
“Suteki Da Ne” is the love theme to Square-Enix’s very popular and long-running rpg series Final Fantasy. The song would mark the point in the game when the lead male and female characters finally realize their love for each other. It’s become a favorite of many game score aficionados and especially those of Japanese game soundtracks. Some consider it one of the best pieces of video game music there is, but that would be going a tad too hyperbolic.
The song is composed by well-renowned game music composer Uematsu Nobuo. He had been instrumental in composing the music for most of the Final Fantasy games until he left Square-Enix in 2004. “Suteki Da Ne” also had other collaborators outside of Uematsu. The lyrics for the song was written by Final Fantasy X scenario writer Nojima Kazushige while the arrangement for the song was done by Hamaguchi Shiro. In the end, most of the credit for the song really belongs to Uematsu-san. He was able to compose a song that worked to not just score a lovely and emotional scene between the two leads in the game but also convey their feelings very clearly through the music.
The lyrics below includes both the original Japanese version as sung by Japanese pop-idol RIKKI and the English translation.
Suteki Da Ne (Isn’t It Wonderful)
Kaze ga yoseta kotoba ni
Oyoida kokoro
Kumo ga hakobu ashita ni
Hazunda koe
(My heart, swimming
In the words the wind has borne
A voice, bouncing
On a tomorrow carried by clouds)
Tsuki ga yureru kagami ni
Furueta kokoro
Hoshi ga nagare, koboreta Yawarakai namida
(A heart, trembling
On a mirror where the moon quivers
A star falls, spills
Gentle teardrops)
Suteki da ne
Futari te o tori aruketa nara
Ikitai yo
Kimi no machi, ie, ude no naka
(Isn’t it wonderful
If we could walk, holding hands
I’d want to go
To your town, your house, into your arms)
Sono mune
Karada azuke
Yoi ni magire
Yume miru
(To your heart
I leave my body
Mixed into the night
I dream)
Kaze wa tomari; kotoba wa
Yasashii maboroshi
Kumo wa yabure; ashita wa
Tooku no koe
(The wind stops; your words
Are a kind illusion
The clouds break apart; tomorrow
Is a distant voice)
Tsuki ga nijimu kagami o
Nagareta kokoro
Hoshi ga yurete, koboreta
Kakusenai namida
(A heart flowing
In a mirror where the moon has seeped in
A star wavers, spills
Tears you can’t hide)
(kurikaeshi)(repeat)
Sono kao
Sotto furete
Asa ni tokeru
Yume miru
(That face
Touch it, just so
And dream a dream
That melts in the morning)
E3 2010 has made some announcements in regards to several MMORPGs set for release in the near future. One game is Square-Enix’s Final Fantasy XIV which is the sequel to their previous MMORPG in Final Fantasy XI. The second is BioWare’s much-anticipated MMORPG based on George Lucas’ iconic space opera franchise, Star Wars: The Old Republic. Both titles have their fanbase looking forward to play them if just to take a break from the 800 lb. gorilla of the MMO-world: World of Warcraft.
Flying under the radar, but no less anticipated by their own legions of fans is Vigil Studios and THQ’s foray into the MMORPG genre. I am talking about their MMORPG title based on the very popular Games Workshop IP, Warhammer 40,000. Building upon the success and popularity of THQ’s own Dawn of War franchise (also based on the 40k universe), this MMORPG is to be called Warhammer 40K: Dark Millenium Online.
I’m not a huge fan of MMORPG titles since despite how well they play and how much they really look they’re major timesinks that require almost complete dedication from the player to really get into the game. This means almost leaving other games by the wayside and as a gamer that’s a big decision. Either play one game all the time and ignore other great games or only play casually the MMO title and not really get into it.
With this title I may have to rethink about how I feel about MMORPGs since this is one IP that even I am excited over. I have been a huge Warhammer 40K fan since 1990 when I was a senior in high school and my interest has never waned one bit. Now that the franchise has successfully made it’s transition over to video gaming I’m excited for the prospect of enjoying the franchise even more than just reading the lore and playing the tabletop.
The game looks to be like your typical persistent-world MMORPG with two opposing factions having their own unique classes. What I like from looking at the trailer is how heavily it’s based on combat and from the looks of things it might be similar to another scifi-based MMO of the past and that’s Sony’s very own Planetside. I like that vehicles are something that a player can use to fight NPCs and other players of the opposing faction. The only question I and other fans probably have is whether Vigil and THQ will avoid the mistakes Mythic made with Warhammer Online by actually creating a game with an endgame for people to use as their goal.
I’m sure more details will follow as the months pass by. Here’s to hoping that a release date or, at the very least, a beta date for people to participate in, gets announced in the near future. I already know what I shall play and that’s as a Space Marine and hopefully of the Dark Angels Chapter.
Another game from one of Microsoft’s internal game studios, Lionhead, is the upcoming third game in Lionhead honcho Peter Molyneaux’s Fable rpg series. This rpg series has been one of the big guns in Microsoft’s exclusive 1st-party titles since the Xbox and now the Xbox 360. It is also the one game franchise which has polarized the gaming community into hardcore supporters and vehement detractors. This major extreme split is due to the fact that Molyneaux has had the tendency to overhype the greatness of each game in the franchise as game-changers for the industry. While each game has been great and fun they all fail to live up to the most extreme boasts by Molyneaux which the franchise’s detractors like to point out with relish.
I’ve been a supporter of the franchise right from the beginning and while I am disappointed that the games never really live up to the rose-colored heights Molyneaux hypes them to be, in the end the games when given a chance to stand on their own merits are some of the best action-rpgs and actually bring new things to the table. IF one was to ignore the hyperbolic rantings of the studio’s head honcho then the games really stand great on their own merits.
This third game (hopefully won’t be the final one in the series) continues the storyline from the two previous games but advances the setting several hundred years into the future. The first game was based in a medieval-type fantasy world while the second game jumped ahead to a Renaissance-type fantasy setting. This third game, if one was to base their observations from the trailer, looks to have the series jump forward to an Imperial Age-type of fantasy setting. Just think of it as 17th to 19th century alternate universe.
The game looks to continue with the series excellent use of morality-based decision making affecting the world around the player, but this time around not just whether a player decides to be hero or villain, but benevolent ruler or despotic tyrant. I like this progression in the series as it should bring new kinds of moral decisions which could affect hundreds of thousands and actually end or cause wars.
While the trailer doesn’t really show pure gameplay scenes it does look to be using the game engine to craft the trailer (something Lionhead has done in the past so no pre-rendered scenes). This is one title for 2010 that I am very excited to purchasing and playing.
E3 2010 is just a day away from starting but that doesn’t stop all the announcements from being made by all the gaming companies. These pre-E3 press conferences are usually the highlight of the Expo for those who cannot attend. Pretty much all the biggest news in gaming are done during these press conferences while the official E3 days are left for people able to attend to try out the games announced. One of these games happens to be Bungie Studios very final Halo game for Microsoft before 343 Studios takes over. The game is Halo: Reach and it looks to be Bungie Studios best offering to date.
The game just recently completed a massive multiplayer beta where millions participated and checked out the beta build of the game’s multiplayer. From how people have reacted to the multiplayer it looks to be mostly positive with Bungie building on the past mulitplayer success of previous Halo titles. This time around Bungie has finally shown what the single-player and co-op campaign looks like. The trailer above shows the game to be squad-based with different types of Spartans outfitted with varying weapon and armor types depending on their roles.
While this squad-based gameplay is not new to the shooter genre what looks to be very new is the fact that space combat looks to be part of the gameplay. SPACE COMBAT!
The space combat scenes showed in the trailer is part of the campaign, but Bungie and Microsoft hasn’t officially said that it won’t be part of the multiplayer. Multiplayer space combat would definitely make this game a fitting send-off for one of the bright stars in the Xbox franchise’s alpha franchise.
The latest song of the day is one of the best example of 1970’s classic rock. It’s “Turn the Page” by Bob Seger and was originally released in 1973 as part of Seger’s rock album, Back in ’72.
The song really didn’t enjoy very early success once it was released. It wasn’t until he performed the song live for his 1976 live album, Live Bullet. His performance of the song for that live recording and future live performances at concerts made it a favorite for classic rock stations which continues to give the song consistent radio airplay. Seger’s performance has been called a mixture of mournful and soul-shattering as he sang about the hard and difficult life of the on-the-road musician. It has been quite the influential song for other musicians down the years.
Metallica even covered the song for their 1998 cover album, Garage Inc. It is this Metallica cover of Seger’s song which introduced me to it. The Metallica cover pretty much stays along the same pacing and keep the lyrics intact, but giving the whole production a decidedly heavy metal tone.
Turn the Page
On a long and lonesome highway
East of Omaha
You can listen to the engine
Moanin’ out his one note song
You can think about the woman
Or the girl you knew the night before
But your thoughts will soon be wandering
The way they always do
When you’re ridin’ sixteen hours
And there’s nothin’ much to do
And you don’t feel much like ridin’,
You just wish the trip was through
Here I am
On the road again
There I am
Up on the stage
Here I go
Playin’ star again
There I go
Turn the page
Well you walk into a restaurant,
Strung out from the road
And you feel the eyes upon you
As you’re shakin’ off the cold
You pretend it doesn’t bother you
But you just want to explode
Most times you can’t hear ’em talk,
Other times you can
All the same old cliches,
“Is that a woman or a man?”
And you always seem outnumbered,
You don’t dare make a stand
Here I am
On the road again
There I am
Up on the stage
Here I go
Playin’ star again
There I go
Turn the page
Out there in the spotlight
You’re a million miles away
Every ounce of energy
You try to give away
As the sweat pours out your body
Like the music that you play
Later in the evening
As you lie awake in bed
With the echoes from the amplifiers
Ringin’ in your head
You smoke the day’s last cigarette,
Rememberin’ what she said
Here I am
On the road again
There I am
Up on the stage
Here I go
Playin’ star again
There I go
Turn the page
Here I am
On the road again
There I am
Up on the stage
Here I go
Playin’ star again
There I go
Turn the page
There I go
There I go
That trailer is the debut of what looks to be another — as the trailer captions even flashed across the screen — “epic masterpiece” from video gaming’s rare “rock star” developer, Tagaki Tomonobu.
Devil’s Third will be the first game from Itagaki’s newly formed development studios Valhalla Game Studio. Itagaki was formerly of Tecmo’s Team Ninja studio where he had been instrumental in developing the very successful Ninja Gaiden and Dead or Alive franchises. Both franchises were fan-favorites (also polarizing just like it’s developer Itagaki.) and sold in the millions with each release. With the falling out between Itagaki and his publisher’s bosses at Tecmo, the mercurial and mad-genius developer left Team Ninja and went on a year sabbatical before finally starting up his own studio in Valhalla. Other top designers and developers from Team Ninja would soon leave Tecmo and join Itagaki at Valhalla. With Valhalla Game Studio now established and publishing agreement made with THQ, it looks like Itagaki is back to doing what he’s best known for: making over-the-top games for the console systems.
Devil’s Third will be Itagaki’s first foray into the shooter-genre. His previous franchises were either in the fighting game (Dead or Alive) and/or the action (Ninja Gaiden) genres. This upcoming title for THQ and Valhalla looks to take the shooter genre into the very same over-the-top aesthetics as Itagaki’s previous titles. From the trailer it looks to be as violent and bloody as his previous titles, but now with guns in addition to the usual melee and bladed action.
Even though the game is still at least two years away from a release date the trailer looks to show Itagaki’s plans at adding some fresh new lifeblood at a genre which has become staid and bereft of anything new and innovative. Devil’s Third looks to be Itagaki’s chance to show that his success while at Team Ninja wasn’t just a fluke and that he could branch out to other genres even one as crowded with very good games as the shooter genre.
Despite the game being still two years away from being completed and released I have a feeling this trailer, once it makes it appearance at this year’s E3, will become one of the most anticipated games for both the Xbox 360 and the PS3.
Gaspar Noe’s Irreversible is filmed in the same style as Christopher Nolan’s excellent Memento. With the story unfolding in reverse sequence, the audience’s first impression of the story doesn’t end up being the same once it finishes.
Everyone has made it a point to mention the disturbing and hard-to-watch sodomizing that Monica Bellucci’s character goes through at the hands of a random, strung-out stranger. This 10-minute sequence is as disturbing as any film sequence I have ever had the chance to watch. There is absolutely no feeling of lust or sexiness this scene brings up. A sense of shock, disgust and pain is more appropriate reaction to seeing the lovely Ms. Bellucci’s character go through a very inhumane experience. This scene goes a long way to explaining the film’s beginning where a brutal and equally inhumane murder takes place inside a murky, red-lit, underground gay S&M club.
As the film continues to move backwards in time and shows the viewer the earlier and happier time of Bellucci’s and Vincent Cassel’s characters, the earlier scenes of violence take on a more poignant and sad note. In a space of a day many lives are broken and destroyed, and in the end all because of a random night occurrence in an dingy, lit underpass.
Gaspar Noe’s film is not for everyone and even those daring enough to take a chance to view it will have a hard time sitting through the first half of the film. The film itself takes on a dream-like quality as it begins to unfold. From its nightmarish tone and look to a dreamy last reel. I have heard people call Noe’s film as exploitive and misogynistic in its treatment of its main female character. In the end, Noe’s choice to shoot the rape scene in a realistic fashion and have it linger and linger shows the viewer that evil and ugly things do happen in real life. One either takes it and learn from it or turn away and pretend it never happened.
Irreversible is a film that people will either love or hate. This film doesn’t straddle the center when it comes to viewers reaction to it. Gaspar Noe’s film is not perfect, but overall it provokes the viewer to think on what they’ve seen and felt as the story unfolded.
It is once again time for another offering of The Daily Grindhouse. This time around our latest grindhouse flick comes straight from Spain. I speak of the classic zombie flick, Tombs of the Blind Dead.
The film was shot and filmed wholly in Spain in 1971 by one of Spain’s foremost horror directors, Armando de Ossorio. His film became part of what he became famous for in the horror circles and that is his Blind Dead Tetralogy. This first film in the series I still consider the best of the bunch. While it helped bring about the renaissance of the European zombie cinema craze of the 1970’s this film by Ossorio takes on a different tack from its more gross-out and gore-laden Italian cousins.
Ossorio’s film was all about supernatural and less about zombie apocalypse. His zombies were the ressurected Templars (evil in the way the film portrays them) whose eyes were plucked out by birds during their executions by way of the gallows. The film described them as demon-worshipping knights who performed Satanic rituals to gain power and immortality (propaganda pushed by the French king of the 13th Century and the Catholic Church in Rome to paint the knightly order in a bad light). These zombie knights never did get a full explanation why they rose from their tombs during the film, but for films such as these the scant explanations were always part of their charms. One either bought into the premise in the first 10 minutes or they didn’t. I, for one, bought into it hook, line and sinker the moment the first zombie knight rose.
The film was gory but not in the flesh-eating variety most zombie flicks tended to be. Tombs of the Blind Dead in its international version also showed a lot of sexuality in some of the scenes with nudity part of the norm. The film also was quite good in establishing dread and horror by the use of a creep atmosphere not just from the dark Spanish countryside but from the way the zombies hunted. Being blind they hunted by the sound of the living victims’ breathing and heartbeat. This premise led to some very tense moments as those trying to escape the zombie knights would try to stay silent as the zombies approached their hiding places.
It’s a shame that Ossorio never got the budget to truly pull of what he envisioned with this film and the rest of the tetralogy, but for having as low-budget that he had to make them he definitely created some of the higher-quality grindhouse flicks of the 1970’s.
