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Ta-metru_defender

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Blog Entries posted by Ta-metru_defender

  1. Ta-metru_defender
    Essays, Not Rants! 362: Top Nine Movies of 2018
     
    Captain Marvel came out this weekend but I have other engagements and so cannot nerd out intelligently. Instead, please enjoy a curated selection of movies from the past year that I consider exceptional in one way or another.
     
    As always, there are nine because there’s always space for one more.
     
    9. Bumblebee
    Look, I’m as surprised as you are. As much as I am a sucker for giant robots, the Transformers movies have hitherto all been cheap thrills with not much else going for them. Bumblebee, however, is a movie where all that’s got a whole lotta heart behind it. Its 80s set plot draws on John Hughes and The Iron Giant creating a surprising, warm, delight of a film.
     
    8. Annihilation
    When I watch a movie I want to feel something. Annihilation so throughly envelopes you in this feeling of uneasy sublimity that I left the cinema haunted. It’s a beautiful watch, but the beauty within is not always a pleasant one.
     
    7. If Beale Streets Could Talk
    In this film there is nothing more important than the situation its protagonists find themselves in. Gorgeous cinematography and a wonderful score lend themselves to making this specific, tragic story feel epic and yet personal.
     
    6. Set It Up
    I am a sucker for good rom-coms and Set It Up is so charming and so cute it’s hard not to fall in love. I’m sure I could find some intelligent-sounding reason for why this movie is on this list, but screw it, I just really liked it.
     
    5. Crazy Rich Asians
    I have a maddeningly complex relationship with this movie, owing to a complex relationship with Singapore and a dislike of the book it’s based on. And yet there’s so much about this movie I really like, from the changes to the book that improve it considerably to its excellent choice of music. So here it is.
     
    4. Black Panther
    Dude. This movie is proof of the wonder that happens when we let the underrepresented give us their fantastical vision. Unapologetically afro-futuristic, Black Panther is a tour de force in every department. It feels so fresh and, of course, is super cool.
     
    3. Sorry To Bother You
    This movie is weird. Delightfully, freakishly weird. Boots Riley’s movie comments on race, capitalism, and so much more in a surreal world that feels a little too real for comfort. It’s fun, it’s nuts, it’s terrific.
     
    2. Eighth Grade
    Coming-of-age movies are usually gentle affairs, kid gets older, learns something about life, so on. Eight Grade is a brutally honest take on all that, telling a story where something that seems so small in hindsight becomes as important as a superhero showdown with Thanos. It’s honest and full of heart, and truly special.
     
    1. Into The Spider-Verse
    This movie is a triumph. It’s rare that a movie does something quite this outlandish, incorporating so much of one medium (here: comics) to tell its story. It speaks to a masterful vision that it all comes together so well, creating a story that looks like nothing else. And what a story; Spider-Verse fully embraces the everyman nature of the Spidey mythos and soars.
  2. Ta-metru_defender
    Essays, Not Rants! 361: Showing, Not Telling
     
    There’s this saying in writing that you should show, not tell; that is instead of telling the audience about how John is smart, write a scene where we get to see that John is smart. That way the audience can see how smart John is and think to themselves "Wow, John is smart." Idea is because the audience drew their own conclusion (rather than being told such) it’ll resonate more.
     
    A similar rule of thumb applies to video games, except instead of just seeing something it’s better to be able to play it. Watching a character fight a boss is one thing, getting to actually fight that boss is fantastic. Over the years, there have been different attempts by different game designers to figure out how to let players play scenes. Half Life never took control away from the player, allowing them to look around outside the tram car as they made their way into Black Mesa (or muck around in a room as a scientist provided story information). A clunkier solution was the use of quick time events, interactive cutscenes where you’d essentially press a button for your character not to die and the scene to continue. At its worst, these QTEs interrupted the flow of the game/cutscene: throwing in reflex-based minigames when you least expect it, forcing you to do over these scenes again and again.
     
    The rationale behind QTEs – letting the player remain involved in scenes that don’t quite work with the controls – is a good one. Kingdom Hearts II had a really neat solution: Reaction Commands. During some fights with some enemies, a prompt would appear where if you hit triangle you would trigger a special move. If you were fighting a Samurai Nobody, you could trigger a stand-off where Sora and his opponent face off in a samurai movie style duel. Other Reaction Commands have him using an enemy’s abilities against the other bad guys or allowing for some really cool moves in boss fights. It adds depth to combat and, importantly and let’s the player be the one who pulls off that anime-esque move.
     
    It’s been a while since that game came out, though, and in the meantime others have been figuring out how to let the player take a more active role. Uncharted 2 let the player still be in control during big set pieces, like maneuvering through a collapsing building, fighting bad guys, and then jumping through the breaking window into the building next door. It’s a fairly typical trope for an action movie, but what makes it so cool in Uncharted 2 is that you are the one who does it. It’s not a cutscene or even a qte, you’re in complete control of Drake as he scrambles around. The bar was raised and many games followed suit, finding ways to keep the player in control during big moments, further immersing the player into the game.
     
    All this brings me (once more) to Kingdom Hearts III where a lot of the action is not just unplayable but actually takes place off screen.
     
    I’m gonna be talking about the ending here too, so there are spoilers beyond this point!
     
     
     
     
    I have my issues with Kingdom Hearts III, particularly how its pacing feels so darn weird. That so much of the plot happens off screen, including a vital part of the epilogue, leaves the player (me) feeling really unfulfilled. Point is, show, don’t tell; and if you’re making a video game, let us play the important bits.
  3. Ta-metru_defender
    Essays, Not Rants! 360: Frickin’ Damsels
     
    The original Kingdom Hearts follows a pretty typical story structure. Boy is childhood friends with Girl and Rival. Home gets destroyed, everyone gets separated. Boy sets out to find Girl and Rival. Girl is captured by bad guys, Rival turns to dark side. Boy rescues Girl, helps redeem Rival.
     
    In the third game, Kingdom Hearts II (don’t ask about the numbering), the Girl, Kairi, winds up being captured by the bad guys again and the Boy, Sora, sets out to rescue her again. There are turns and twists, more Disney worlds, and stuff.
     
    There’s nothing really ~fancy~ inherent in the broad strokes of the games’ stories, most of the fun comes from its aesthetic of mixing Final Fantasy tropes with Disney characters and worlds. They draw a lot from the Disney canon and Saving The Princess is a big part of that whole thing. Plus, rescuing Kairi isn’t the big climax or resolution of the first game. Even after she’s rescued there’s still Stuff To Do. It’s not an excuse for damseling her, by no means, but it’s something. She also gives Sora the Oathkeeper Keybalde (which is objectively the best Keyblade).
     
    The good news is that even though she does wind up something of a damsel in Kingdom Hearts II, by the end of it she’s using her own Keyblade and fighting bad guys. That’s right, after all this time having Sora and Riku save her, now she can fight her own battles.
     
    Anyway, thirteen real-world years go by, a bunch of other Kingdom Hearts games come out and I play a couple of them. And finally, Kingdom Hearts III, the tenth game in the series (please don’t ask about the numbering) came out last month. Something teased by the prior games is that it’s been leading up to a bunch of heroes fighting a bunch of villains, one of those fighting heroes being a Keyblade wielding Kairi. Which, dope. Let’s have the Boy, Girl, and Rival fighting together against the bad guy in the kind of anime showdown I’ve been awaiting for the past thirteen odd years.
     
    Alright, here there be spoilers for Kingdom Hearts III, as I’m gonna be getting into plot details. I haven’t finished the game yet, but I’m getting real close to that final boss.
     
     
     
  4. Ta-metru_defender

    Final Bosses

    By Ta-metru_defender,

    Essays, Not Rants! 359: Final Boss

    A mainstay staple of video games is the final boss. After a number of levels (or dungeons, chapters, what have you) you finally fight the Biggest Baddest Boss, the defeat of which leads to winning the game and the ultimate resolution. It’s the climax of the game, both from a gameplay perspective and narrative one: everything has led to this.
     
    It’s important that the Final Boss feels like a Final Boss, though. I love Uncharted 3, but one issue the game has is that it’s final boss, a showdown with Talbot, doesn’t quite land. Talbot hasn’t really been Nate’s nemesis, so the fight, though big, doesn’t really feel like That Big Moment. Comparatively, Rafe in Uncharted 4 spends much of the game as a foil for Nate, so fighting him is not just a culmination of the game, but also feels in many ways like Nate fighting his own inner demons.
     
    The Mega Man games, though a series that varies wildly on narrative quality, is a stellar example of mythic storytelling. This extends to its grasp of the Final Boss. After beating the eight (or so) regular bosses and going through the multiple levels of Wiley’s fortress, Mega Man has to reface the eight (or so) prior bosses one after another before finally fighting Wiley. But because you, the player, have already beaten these guys, you know their patterns and their weaknesses and will have a much easier time beating them than long before. In the lead up to the final fight you can see how much you’ve grown; now that you can beat Heat Man easily you’re definitely ready to take on Wiley. Before facing that Final Boss it’s important to remember all that came before and how now, more than ever before, you’re ready for this culmination.
     
    And guess what! The Final Boss principle applies to stories as much as they do to games. Sometimes it’s pretty obvious, the Final Boss in Empire Strikes Back is Darth Vader, whom Luke must face to complete his arc in that story. That one plays out not too much unlike how it would in a video game: it’s a hero against a villain, the hero hoping his training pays off. But it doesn’t have to be a conflict like that. Hot Rod has a Final Boss, and it’s not Rod finally kicking his step-father’s butt. It’s him attempting that massive jump over the busses: it’s his moment, it’s what the movie has led to, it’s what allows him to self-actualize.
     
    Of course, Final Bosses aren’t always so obviously so; just about any good story should have one. Eighth Grade doesn’t have much in the way of villains for Kayla to fight, but there still is a Final Boss. In a nice touch, Kayla’s Final Boss turns out to not be another girl or even the guy that tried to take advantage of her: it’s herself, from the past. When Kayla opens a time capsule she’d left herself a couple years ago she’s forced to reckon with who she thought she’d be by now. Despite not seeming like a particularly big moment it’s a profound one for Kayla that leads to a quiet resolution with her father and a renewed lease on life. It’s the opponent that Kayla must overcome to succeed. We know it’s her Final Boss because we’ve spent the past hour-plus with her, and we know how much this means to her.
     
    It’s when a Final Boss isn’t particularly clear that a story’s pacing begins to feel wonky. Alita: Battle Angel is a really fun movie that I really enjoyed, but couldn’t help but feel let down by the ending because it turns out I hadn’t realized Alita was fighting the movie’s final boss when she was; something that’s complicated by us not really knowing what it is Alita wants. Luke Skywalker and Mega Man want to defeat Darth Vader and Dr. Wiley, so we know who their bosses are. Rod Kimble wants to be a stuntman, and so accomplishing that is his Final Boss. Kayla struggles with being comfortable as herself, and so she is her own Final Boss.
    For Alita it’s not clear if the big motorball game is the titular character’s Final Boss, or if it’s the giant cyborg who’s been plaguing her throughout. Or the guy pulling the cyborg’s strings. Or the guy pulling that guy’s strings. If Alita is a story about identity (and it certainly feels like one) shouldn’t her Final Boss involve her declaring who she is? That the movie’s Final Boss happened without me realizing (and honestly, I’m still not sure who or what it was) leads to a feeling of hanging threads with the story. 'cuz man, I wanted to see Alita and the Final Boss square off!
     
    Final Bosses and climaxes are similar enough ideas, but I think I like the term Final Boss because it’s clear that that encounter is with the ultimate obstacle. It’s what the hero has to overcome to 'win,' to self-actualize. It can be a big fight or a personal reflection, but most importantly, we gotta know what it is when it happens.
  5. Ta-metru_defender
    Essays, Not Rants! 358: KH3: GOTY 2008ish
     
    As I continue to play Kingdom Hearts III while balancing all these newfound adult responsibilities that have sprung up since Kingdom Hearts II came out thirteen years ago, I’m struck over and over again by how much of a flashback the game is. Not just in the way that it makes me feel like a teenager again, but in how it embodies a game design ethos that’s been eschewed by a more contemporary zeitgeist.
     
    For example: Invisible walls.
     
    Virtual game spaces are limited by nature —there’s only so much world you can code. Figuring out how to demarcate that boundary has been a near-constant tension in game design. Mario cannot go backwards once the screen has advanced, if Mega Man tries to go beyond the edges of the map it’s a bottomless pit and he dies. Classic Pokémon has its hedges and fences that prevent you from wandering off the map. As games progressed into a more proper 3D space, limiting the play area became harder. There was only so much mileage you could get out of high walls and bottomless pits when you’re trying to make these massive, immersive spaces. Invisible walls were one solution; here’s a foot-high fence but try to jump over it and you’ll be unable to proceed. It’s an understandable device, but over time level designers have found more elegant solutions, be it by hiding those invisible walls in a thicket of trees, creating a level so intricate that the player cannot easily find the edge, or using a narrative intervention where the player’s character decides to turn around (and if you don’t you die!).
     
    Kingdom Hearts III is having none of that and is all about those straight-up invisible walls. Not even the sort where they make it look there’s a ~magical~ barrier; nah, these are actual invisible walls that prevent you from jumping on to that rock over there that you could probably almost definitely reach. It’s almost charming in its bluntness, in how no attempt is made to disguise it. It’s positively old fashioned, particularly jarring against the game’s very contemporary graphics.
     
    This probably factors into the nostalgic factor of the game, but there are so many things that make Kingdom Hearts III feel like a much older game. Where many modern games have been trying to find ways to keep players in control as much as possible, Kingdom Hearts III goes all in on its massive combat finishers and the like — these things are long enough for me to put the controller down and take a hefty sip of my beer! And also limited combos in an action game? The Arkham games and more recently Spider-Man let you whale on opponents endlessly, but Kingdom Hearts III still rocks the upgradeable three-hit-combo. When you’re used to being able to chain together hits, blocks, and dodges it’s weird to have to operate within a paradigm that requires a more measured approach that somehow also means mashing 'X' a lot.
     
    Then there’s the animation. Major AAA game studios are all about that motion capture these days: they get actors to actually act out the scenes and then animate based on that. It’s what gives the beautiful cutscenes that Naughty Dog is known for. Kingdom Hearts III makes no attempt at that verisimilitude. Sora, Donald, and Goofy will stand around in cutscenes in their default stance, gesture as part of their dialogue/action, and then return back to their default immediately after. This was par for the course around the time Kingdom Hearts II came out in 2005, but it’s been a while, man. Once again, it’s almost charming to see how much this game harkens back to an earlier time; if anything it’s a marker of how far the ethos of game designed has evolved over the years.
     
    I still don’t know if Kingdom Hearts III is an objectively good game. But what I do know is that I’m having an absolute blast playing it and, had this game been released closer to its predecessor, it’d definitely be a contender for Game of The Year… but, like, in 2008.
  6. Ta-metru_defender
    Essays, Not Rants! 357: Thirteen Or So Years Later
     
    I think it was my cousin who turned me in to Kingdom Hearts, years ago, via a ROM of Chain of Memories. It was a novel game, mixing as it did Disney worlds with a Final Fantasy mentality. I played the original PS2 game later and shortly after rented the third game, Kingdom Hearts II from Blockbuster (remember those?) and subsequently bought it. This was all back around the summer of 2006.
     
    This past Tuesday, the tenth non-remake game in the series came out: Kingdom Hearts III (the numbering system is weird, man). I’ve frequently made the joke that I’ve gotten old waiting for the game to come out, a gag which culminated in a recent Instagram post. It’s been a long time since Kingdom Hearts II and it to finally be holding — and playing — this game feels almost surreal.
     
    I’m not talking about the plot here. Though III is the third numbered sequel and tenth game, all those spin-offs, interquels, and prequels have all been integral to the overarching story. But never mind the scope, length, or complexity of those games; here at last is a big one meant for the PS4 (and XBox One) and meant to be played on a tv. This is Kingdom Hearts freaking III. Not 2.8, not 358/2 Days, and not 3D: Dream Drop Distance, it’s frickin’ III.
     
    So like I said, it’s surreal to finally be playing a proverbial white whale of video games. I’m playing Kingdom Hearts again, man. I did buy and play the remakes for the PS3, so it’s not like I haven’t touched this world in the last dozen-odd years. The sense of the surreal doesn’t stem from an unfamiliarity to it all — I’m quite used to seeing Mickey Mouse discussing the darkness in people’s hearts. It’s that here’s a new game, so long after the last one and yet so familiar. I’m playing this game in my apartment in Queens, and yet in some ways I feel like I’m a teenager back in South Carolina on summer vacation. For all its shiny graphics and the bells and whistles afforded as a major contemporary game, much of Kingdom Hearts feels like an older game; it very much plays like its predecessors.
     
    It’s a good sequel in that it feels like a continuation. But through it all, I’m terribly curious about why this game, at once very new and yet more familiar than just about any sequel I’ve played resonates so strongly. What is it about it that tinges it with such nostalgia?
     
    Part of it, I reckon, is because it’s a video game. Games are, by their nature, interactive and thus there is a level of projection to their immersion. I’m the one who rescued Kairi and teamed up with Donald Duck and Goofy to beat Ansem. Returning to an old series will of course bring back those memories. The other thing is that no other game quite has mechanics like the core Kingdom Hearts games. Sure, I spent a lot of time playing Halo when I was younger, but replaying it or embarking on its sequels reminds me of how great a first-person shooter it is. There’s no other game that plays quite the same as these, even director Tetsuya Nomura and Square Enix’s other Final Fantasy games aren’t quite similar.
     
    Then of course there’s how singular this game is. Where else are ya gonna get Donald Duck, Jack Sparrow, and a kid with anime hair fighting monsters? The nostalgia towards Kingdom Hearts no doubt builds off of childhood memories of Disney stories, retold now in the over-the-top melodrama expected of a quality JRPG. I’ve shot space aliens in Halo, Mass Effect, and a plethora of Star Wars games; I’ve gone treasure hunting and spelunking in Uncharted, Tomb Raider, and Assassin’s Creed. But there’s really no other game quite like Kingdom Hearts.
     
    I’m only five-or-so hours into the game. Unlike the Josh of thirteen years ago, I have a job and other adult responsibilities to attend to. But the game’s a lotta fun. It doesn’t matter too much how ‘good’ it is (and I’m not so sure it’s really that good for a game released in 2019), it’s a new big Kingdom Hearts game and it’s about time.
  7. Ta-metru_defender
    Essays, Not Rants! 356: Colonialism… IN SPACE!
     
    While replaying Mass Effect: Andromeda I’m struck by one particular element of its central narrative: Colonialism. The game’s story sees a bunch of pioneers from the Milky Way, the Andromeda Initiative, arriving in the Andromeda Galaxy, ready to explore and set up a new life and all that. Turns out, their chosen chunk of Andromeda — the Heleus Cluster — is already inhabited, by the native angara and the invading kett. If the Initiative is to set up shop here, they’re gonna have to navigate relations with the other two species here.
     
    All this sounds an awful lot like a sort of colonialism redux. A technologically advanced outsider group arrives in a new place and starts throwing their weight around. Though the angara are as advanced as your typical science fiction race — faster than light travel, holograms, etc — they are also a fallen group, the shadow of a magnificent civilization laid low. There’s no doubt that they are the Other and, when compared to the Initiative and their sleek aesthetics, comparatively primitive.
     
    The comparison here is fair: although the Initiative is composed of humans from a variety of ethnicities in addition to aliens from across the Milky Way, within the narrative they are still outsiders entering into another group’s territory. Sure, it’s all a galaxy away, but it is a story that exists in our world, and so is seen through that lens. Dress the boats as spaceships all you want, colonialism remains colonialism.
     
    Of course, this is Mass Effect, a series too self-aware to blithely reenact Columbus. The Initiative is splintered, the same Scourge that brought down the angara throws a massive wrench in the Initiative’s intricate plans. The garden worlds are wastelands and attempts at settling has proven deadly. The narrative in Andromeda is changed: the colonizers aren’t quite marching in triumphant; they’re a ragtag group trying to pull it all together. The Initiative isn’t here to conquer the angara, they want an alliance.
     
    It helps that there’s also the kett, the de facto villains of the game and, narratively, the actual force of colonialism. Like the Initiative, the kett hail from beyond the Heleus Cluster. Unlike the Initiative, these guys have no use for cultural exchange. The kett are conquerors, exterminating the angara or exalting them — assimilating their DNA into their own and transforming the angara into drone-like footsoldiers. Within the context of the game’s narrative, exaltation is seen as monstrous and barbaric. On a meta level, the complete annihilation and absorption of a race seems not unlike a science-fiction reinterpretation of the conquistadors.
     
    The enemy of my enemy is my friend, and so the Initiative winds up allied with the angara against the kett. The folks from the Milky Way aren’t the colonizers, how could they be when the kett are here following a page from Cortes’ rulebook? The dynamic between the kett and the angara — along with the Initiative being on their off-foot — means Andromeda can safely tell a story about exploring colonizers without having to really confront the problematic nature of colonialism. The Initiative, and therein the game itself, is absolved of malicious colonialist undertones because the villainous kett are the bad colonizers; the Initiative is allying itself with the locals!
     
    Yet the game does fall into the trap of the White Savior narrative. No, the (human) members of the Initiative aren’t all white, and the player’s Pathfinder can be whatever race you want them to be; but just as the undertones of colonialism play out within the relationship between the angara and Initiative, so does this one. At the start of the game, the angara are in a limbo: their civilization has fallen and they’re losing a war of attrition with the kett. It’s the Pathfinder and the Initiative — and their technology — that both turns the tides of the fight and helps the angara reclaim some of their past. The Pathfinder is the outsider who helps — teaches — the natives their own ways.
     
    At the end of the day, of course, this isn’t all terrible. There is a lot of leeway afforded science-fiction, and Andromeda does do good work to avoid ascribing the more problematic aspects of colonialism to its heroes. If anything, I’m fascinated by the way this game dances around with the topic and its ramifications. Because I could just play the game, or at least that’s what I tell myself as I think way too much about it.
  8. Ta-metru_defender
    Essays, Not Rants! 355: War Games But Without The War
     
    I’m playing Mass Effect: Andromeda again, trying to polish off my second playthrough and nab that elusive Platinum trophy. With the sheen of "Oooh, it’s new" worn off, the game is decidedly a buggy mess, UI popups stay on screen long after they should have disappeared and I’ve spent an entire cutscene viewing my character as a party member blocked the camera (after we walked through a door whose opening animation didn’t happen).
     
    It’s a bummer, really, because there’s such promise in it as an idea. A group of explorers, millions of lightyears away from everything they know, strike disaster and have to make do with what they’ve got. There’s first contact with a hostile alien society, and then again with a friendly one. One thing that makes Andromeda really stand out, though, is that for all the fighting and all, the Andromeda Initiative is a fundamentally civilian organization. They ain’t trying to be conquerers, nor are they an army outfitted with warships and other such weaponry — most all of the Initiative’s ships are unarmed.
     
    You play as the Pathfinder, Ryder, and yes, you’re fighting outlaws, genocidal Kett, and ancient Remnant robots, but the narrative as a whole is less about a war than it is exploration and setting up colonies to find a new life. You’re not a member of a group of warfighters, you’re explorers (who are good at fighting, yes). Compare this to the prior Mass Effect games. In the second, you were putting together a team to fight an existential threat, and the third saw you fighting said existential threat. It’s less pronounced in the second, where Shepherd is former military, though one who has thrown in with a militant pro-human organization whose leader believes Shepard is the only one who can stop a mysterious alien threat. There’s a lot of emphasis put on Shepard’s military background and how he’s the one who can fight this war.
     
    It is a pleasant change, then, that Andromeda eschews a militaristic outlook. Even though the Pathfinders are military trained, they’re no longer part of an army; their skills now used to protect the colonists. Though there is a big fight against the Kett, the main drive of the Initiative is to establish a home in the strange Andromeda Galaxy. As much as you’re fighting Kett, defeating them is the goal than is exploring the galaxy and terraforming planets to support life.
     
    A lot of big operatic science fiction tends to revolve around, well, war. Halo and Gears of War are both Thames that revolve around war — but in space! This is not a criticism; setting these stories in space frees them from a measure of baggage. One reason that Halo’s narrative works is that its existential fight is against a genocidal alien alliance so that militaristic rah rah is less rooted in xenophobia (see: most Call of Duty games and other ‘realistic’ militaristic shooters). All the same, when everything is skewed one way, it’s pleasant to see a narrative that goes in another direction.
     
    It’s less an issue of one necessarily being better than another, and more the need to have different narratives. I love Star Wars, but I enjoy watching Star Trek because it’s a fun change to see a group of characters trying to solve the Problem of the Week (but in space!) rather than fighting an out-and-out war. Though the Trek has its Admirals and Captains, Starfleet isn’t a military organization so much as one that’s about exploration. Generals and such need not apply.
     
    All this to say, there’s an enjoyable relief when it comes to these different narratives. For Andromeda to feature a space explorer trying to overcome the challenges of the galaxy and doing stuff instead of being the hardcore military commander is a nice change — one that you don’t really see much in video games. Such a shame that the game itself is so lackluster.
  9. Ta-metru_defender

    Ahistoricism

    By Ta-metru_defender,

    Essays, Not Rants! 354: Ahistoricism
     
    I went into The Favourite like I do with many movies: knowing very little and having seen maybe a part of a trailer. I knew it was a period piece (duh) and there was a Queen in it (also: duh). Anyway, after watching the movie I read up on it on Wikipedia and found, to my immense surprise, that it was somewhat based on actual historical fact. It makes sense enough that I thought this movie was fabricated wholesale: there’s a Queen in power, nobles are vying for power, and England is at war with France; it’s the proverbial typical Tuesday. And yet, Queen Anne actually did have a pair of rival handmaidens, and many of the characters had their own Wikipedia articles detailing their real-life stories.
     
    It was all quite fascinating, but, ultimately, also quite irrelevant.
     
    Unlike many historical dramas dealing with heads of state, The Favourite is not terribly concerned with the major political movements of the time. Rather the focus is on Anne and the machinations of Abigail and Sarah that take place behind the scenes. There is some influence on the larger political landscape, but we see very little of life beyond the lush estate the action transpires in. Court life is ruthlessly savaged in this satire, the politicians reduced to overdressed men slathered with makeup in foppish wigs racing ducks.
     
    Now, there is some criticism of The Favourite for playing fast and loose with history. Anne’s husband was still alive at the time all this drama went down, and the idea of there being lesbian liaisons between the Queen and her ladies-in-waiting is dismissed by some historians as nothing more than contemporary slander by the opposition. Despite being about real people and set against real events, The Favourite is an out and out lie.
     
    Which is great, since the movie doesn’t purport to be anything but. There’s no fancy title card letting us know what century we’re in, there’s no real reference to the actual geopolitical situation at the time (let’s face it, England and France are at war in basically every period piece, and there’s always an opposition party). All the temporal trappings of the movie serve its central story and all the schemings therein.
     
    The Favourite’s detachment from historical fact is what makes it all the more scathing. Since the exact time-period is indeterminate to the layperson (ie: me), I’m not gonna get caught up wondering about the exact details about the time and can instead happily get lost in the film. The world of The Favourite is the world the filmmakers want to use to tell their story. It is a world where men are useless and relegated to the background while the women with their plots and aspirations are far more important. We don’t need to care too much how accurate to the contemporary social mores it is, the way things happen is how they happen. It’s fantasy.
     
    That’s the real pleasure of period pieces: they feel like another world with another set of rules and another life that’s very much not that of 2019. There’s a different set of rules, one that’s foreign yet familiar. Though the Queen may rule in The Favourite, some words in her ear from Abigail or Sarah can sway her mind. We go along with it because it makes enough sense not to break our suspicion of disbelief. Consider how most Westerns play fast and loose with reality, or the ersatz 80s-ness of Metal Gear Solid V; it doesn’t matter how accurate things are, so long as they feel real.
     
    And so, despite its lack of historical accuracy, The Favourite really works so well because its world feels right and its characters real. For Anne, Abigail, and Sarah the world is deathly serious, and we buy in and get to enjoy the hijinks as they unfold.=
  10. Ta-metru_defender
    Essays, Not Rants! 353: The Joy of Exploring
     
    I continue to be endlessly fascinated by Breath of The Wild’s open world. Since the last time I talked about the game I’ve taken on one more Divine Beast, but I still spend so much of my time exploring Hyrule and trying to find everything.
     
    Which of course makes me wonder why I find this wandering so satisfying. I have a completionist streak in me, a part of me that wants to finish everything. Get all the dang feathers in Assassin’s Creed II, unlock every character in LEGO Avengers, get the Platinum Trophy in Burnout Paradise. Open world games are thus a scary beast for me; sure, it’s fun to explore and stuff, but I also want to Do All The Things. I’m terrified of missing something, of there being some little nugget of fun that I glossed over.
     
    In many ways, I’m very grateful for the map and its icons in Spider-Man. One glance and I know if there’s still stuff to do in any given neighborhood, I know if I’m missing anything. There’s a bit of a freeing feeling when you have that reassurance that you’ll be able to get to it later and there’s no harm in running up the Empire State Building again. Since it’s so clear what I 'have' to do in the game, the potential shenanigans are too.
     
    Conversely, Breath of The Wild is absolutely taciturn with its goals. Sure, there’s a quest tracker, but beyond that you’re in the wind. The map is barebones, displaying only region names and the occasional marker for towns once you discover them. Those shrines and Korok scattered everywhere? Yeah, they’re only added after you find them. Massive monsters, treasure, and all those other little secrets will forever remain unmarked, unless you manually add a note to the map.
     
    Hyrule is yours to explore, there’s very little in the way of guides to where things are or even how many of something there is (how many Shrines are there? I haven’t a darn clue). It’s kinda terrifying, there’s So Much to this world, and no way to know how much there is — unless I break out a guide or something.
     
    Yet I’ve made peace with knowing that I might not be able to find Every Last Thing. Wandering Hyrule and discovering its secrets is fun enough in and of itself, plus there’s usually one of those Koroks hiding on the top of that really-hard-to-reach pillar. In Breath of The Wild I’m enjoying the journey.
     
    Maybe this is because the Switch doesn’t have Trophies, and I know that it won’t make a difference if I’m missing one or two shrines in the run of it. I don’t have the pressure of a checklist of things to do while I play. Now, I do like Trophies; I like challenges to do on the side as I play the game. But the lack of them in Wild means I can really do whatever I want and not have some background concern that I’m not doing everything as it should be.
     
    There’s also not really too much of an overbearing narrative in Breath of The Wild. Sure, there is the whole assemble the Divine Beasts and fight Ganon thing; but there’s little pressure beyond that. Link doesn’t say to himself "Hm, I oughta get to saving Hyrule." In practice, doing whatever you want may as well be the story as it happens, and it’s so much better for that.
     
    Hyrule is a world for you, as Link, to explore as you please. It’s baked into its DNA in a way that no number of expertly crafted side quests could ever muster.
  11. Ta-metru_defender

    2018 in Review

    By Ta-metru_defender,

    Essays, Not Rants! 352: 2018 In Review
     
    2018 came and, as years are wont to do, went. Stuff happened, I wrote blog posts; you know the drill. It’s time to look back on the year and stop writing this silly excuse for a preamble.
     
    Five Most Popular/Viewed Posts
     
    #5: On Crazy Rich Asians
     
    As someone who’s spent a good deal of his life in Singapore, it stands to reason that seeing a big movie about Singapore would be a bit of a deal. Crazy Rich Asians is that movie and it’s one that I have a lotta complex feelings about. Hence this post.
     
    #4: Star Wars as an Anti-Capitalist Discourse
     
    Oh I was really hoping this would be here. I love getting to go on and on about a relatively silly premise that actually bares some merit. I maintain my argument that the Star Wars saga contains an inherently anti-capitalist narrative; if you don’t believe me then read this post.
     
    #3: A Celebration
     
    Ready Player One is a bit of an odd beast, but the movie is certainly a delight, due in a big way to how much it plainly loves the material it deals with. For all its flaws and foibles, the movie’s a whole lotta fun.
     
    #2: Reframing A Narrative
     
    One of the neatest things media can do is change the way we look at things. Black Panther took a lot of elements not usually present in futurism and sci-fi and threw it in. And it is wonderful.
     
    #1: Wakanda Forever
     
    This post is nothing more than me enthusing about Black Panther and how it’s a potential watershed. Can’t wait to what this portends for movies in the future.
     
    Josh’s Pick of Three
     
    #3: Exploring Worlds
     
    My Switch tells me I’ve sunk over 70 hours into Breath of The Wild and I’ve only taken on one (of four) Divine Beast. It’s a gorgeous, gorgeous world to explore, and I’m delighted in games that let me do that.
     
     
    #2: The End of (Star) War(s)
     
    Again, I absolutely love reading a little too much into things that usually don’t necessitate it. The demilitarization of the New Republic present in the new Star Wars canon is such an interesting choice that I absolutely had to dig into it.
     
     
     
    #1: Poking Around
     
    It took me way too long to realize I was playing One Night Stand wrong. Not that I wasn’t hitting the right buttons or anything like that, but rather the approach I took to it. This isn’t a game that you’re supposed to win, it’s a game to be experienced.
     
    **
     
    Alright, that was this year. Tune in next to hear me geeking out incessantly about Captain Marvel when that movie finally comes out.
     
    Cheers.
  12. Ta-metru_defender

    Spiders

    By Ta-metru_defender,

    Essays, Not Rants! 351: Spiders
     
    Comics are weird. Especially superhero comics. There are people who come back to death, people with weird powers, people who lose those weird powers but then get them back when they come back to life. Also, y’know, aliens and monsters and crazy science ######.
     
    Like I said, weird.
     
    There are also multiple universes, and so multiple versions of characters. There’s a version of Captain America where she’s the biracial daughter of Luke Cage and Jessica Jones and beats up a version of MODOK who looks like a certain American politician. There’s one where Mr. Fantastic is a villain, like, the villain.
     
    And, of course, there is a ridiculous number of variations on Spider-Man. A lot of them are, of course, Peter Parker in one form or another. Spider-UK is a British Spider-Man. The Ultimate universe saw a return to a younger Peter, one who, incidentally, dated Kitty Pryde for a while. And out there somewhere is Spiders-Man, wherein Peter Parker’s consciousness was passed on to a horde of spiders (it’s weird).
     
    The Spider-Verse event from a few years ago saw a whole mess of Spiders teaming up to fight the Inheritors, a group of pseudo-vampires who feed on the essence of spider-powered beings across the multiverse. A variety of new (and old) Spiders were (re)introduced; including Spider-Gwen, from Earth-65, where Gwen Stacy was bitten by the radioactive spider and so got the powers. Spider-Verse saw these Spiders teaming up together, so the Spider-Man from Marvel VS Capcom used fighting moves, and the Spider-Man from an old Japanese show had a giant robot.
     
    Essentially, the Marvel universe has a bunch of different Spider-People, and sometimes they hang out (and one version of Gwen Stacy gets to complain about getting, and I quote, "fridged off a bridge"). It’s definitely pretty outlandish, and also something pretty unique to comics.
     
    And now we have the movie Enter The Spider-Verse. I’m going to forgo talking about how the film’s animation style is a love letter to comics and just focus on the story of it all, namely how multiverses play a huge role and we’ve a bunch of different Spiders.
     
    Quick rundown of the dramatis personae: in addition to Miles, the Spidey-in-training, you’ve Peter Parker, an experienced Spider-Man from his universe; Gwen Stacy, Spider-Gwen who knows what she’s doing; Spider-Man Noir, a hard-boiled guy who’s literally in black and white; Peni Parker, who’s basically from an anime; and Peter Porker, who’s, um, a pig, but also Spider-Man (Spider-Ham, to be exact).
     
    Miles, our protagonist, gets to interact with four alternate versions of Spider-Man, each of whom provide a different take on the character, and, for Miles, a different version of who he could be. Much of Miles’ arc revolves around him learning how to be Spider-Man and what all that means. For a good chunk of the movie, that means he’s trying to emulate a Peter Parker, wearing a knock-off of another Spider-Man’s costume, playacting at being someone else. He is not his own hero yet, rather he is attempting to be someone else. It is no spoiler, then, that Miles’ self-actualization sees him making his own suit; one that is uniquely him. He’s the only one who can really decide what to do with the powers that’s been given to him — and with it the responsibility.
     
    The central tension in so many great Spider-Man stories is that of power and responsibility. How does Peter (or Gwen, or Miles) navigate that space between the two, that fatalistic flaw of needing to use that power to protect, but at the cost of one’s own well-being? The multiversal nature of Spider-Man allows for a multitude of interpretations and interactions, tackling these themes from a host of different angles. Events like Spider-Verse let these characters team-up and has their takes on power and responsibility clash or feed off each other. So then we have Into The Spider-Verse, where Miles sees these different takes on who he could be. It’s up to him to figure out just who that is, what is expected of him and what he will do. By having all these different versions of Spider-Man, Miles is given the space to create his own.
  13. Ta-metru_defender
    Essays, Not Rants! 351: Exploring Worlds
     
    I have a complex relationship with open-world games. On the one hand, it’s real neat to get to go explore a big world and do stuff. On the other, I really like the more catered, narrative experience offered by more linear games. On the other other hand, open-worlds are kinda the genre du jour for single-player video games, so I’m gonna end up playing them no matter what.
     
    But first, a definition of open-world games. The idea here is that rather than having a series of levels or stages to play through, open-world games offer players a big map to run rampant around, with various missions/quests scattered about. In between missions, players have the opportunity to explore the world, usually leading to power-ups or fun narrative diversions.
     
    My feelings probably stem from the fact that most open-world games tend to fall into one of two problems. Either the worlds, for all their massive play space, end up being kinda brining and repetitive, without too much variation in quests or landscape; or they end up with too darn much to do. I approached Metal Gear Solid V with some trepidation, given that this was a series known for excelling in linear games. I was pleasantly surprised to find a gorgeous world to explore, and missions that put the sandbox of the world to great use. There’s a multitude of different ways to achieve your goal (Sneak in? Gallop in on horseback, grab the target, and escape? Roar in, guns blazing, in a massive tank?), and so much to be found in the world that it’s overwhelming. I finished the story, and eventually had to make the decision that I was 'done' with the game and to stop trying to check every darn box. There was just so much.
     
    I’ve been playing The Legend of Zelda: Breath of The Wild for a few weeks now, and I have no idea how far I am into the game. I think I’m still relatively early narrative-wise, but that’s probably because I’m having so much fun exploring Hyrule.
     
    Breath of The Wild’s Hyrule is gorgeous, evoking memories of Horizon Zero Dawn’s post-post-apocalyptic Colorado. Which makes sense, Wild is set a century after a massive cataclysm; ruins dot the world alongside the husks of ancient war machines. It’s a desolate world, rendered in a wondrous stylized palette. It’s a beautiful world to explore, devoid of the heavy bleakness that’s made some others laborious.
     
    It helps that Hyrule is brimming with things to explore. Shrines all over the map hold puzzles and challenges that yield power ups (and are also just plain fun in and of themselves). Creatures called Koroks can be found under rocks, up trees, and, amongst others, by throwing rocks in ponds. These guys offer you seeds which in turn can be used for — you guessed it — power-ups. There’s always something new to be found, maybe just over that ridge. It could be a Korok or a shrine; maybe that group of monsters down there have a new weapon you can use.
     
    Once, while exploring, I saw a huge dragon flying in the distance. Some time later, I was exploring a region to the north and, lo and behold, there was that dragon again. I eventually got close enough to see it barreling towards me in all its fire-enshrouded majesty. And then it was gone, flying up away. The game told me very little about this dragon; the in-game encyclopedia just telling me Dinraal, the dragon, was thought to be a myth and bore no ill-will. Later, I used a scale from it for a side-quest, but there was still that awe of the sublime that finding the dragon gave me.
     
    It’s neat because that experience is almost entirely my own. It wasn’t scripted by the game, it just happened because of how and where I was exploring. Breath of The Wild is a game that invites exploration. Not just because it benefits your in-game character, but because there’s so much wonder to be found.
  15. Ta-metru_defender
    Essays, Not Rants! 349: Playing Together
     
    Easily the highlight of my time playing Destiny was Vault of Glass. It’s a raid, that is a really difficult mission that requires serious teamwork and a pretty major time investment. It took work to even find a group to play with: I play on the PS4 and didn’t know anyone else who played Destiny. So I had to the internet to find a group who wanted to run Vault of Glass and were okay with bringing someone along who hadn’t done it before (me).
     
    It took us around five hours.
     
    Destiny’s raids are notoriously Big Deals. There are enemies to fight you won’t find anywhere else in the game, some fights necessitate really specific strategies to get through, and the final boss is really, really hard. It’s also the most fun thing in the game. The five others and I were all mic’d up, coming up with plans on the fly and, y’know, teamworking our way through it. Lots of calling out plans, asking for help (or telling the other to not help us as it was a lot cause), and so on. There was also a great deal of banter; complimenting each other’s work and comparing gear. Part of the fun was certainly the challenge of it, but much of it came from the camaraderie of spending that much time working together.
     
    Teamwork is an aspect of multiplayer games that often gets downplayed in favor of competition. A game like Battlefront II isn’t so much about working as a cohesive unit as it is about beating the other faction and, ideally, playing the objective. Super Smash Bros. is all about beating each other up. There’s a bit of a reason for this; pitting human players against other human players allows for more complex games. There are things that AI is simply not good at doing in games, whether it’s balancing objective completion with combat or the on-the-fly countering that Smash lends itself to. It’s one reason why I gravitate towards games like Lovers In A Dangerous Spacetime or Overcooked; yes, I love on-the-couch multiplayer, but I also enjoy having to figure out how to work together to do something.
     
    Overcooked is frustratingly hectic, as everyone’s running around the virtual kitchen trying to serve up orders while not falling off the iceberg the kitchen happens to be on (or dealing with ghosts moving kitchenware about, or not letting rats steal your ingredients). Maybe this means assigning people roles or just constantly yelling about what needs doing and all, but most times we’ve managed to get all three stars on a particularly hard challenge was when we somehow started to really gel as a team.
     
    My brother’s been playing Destiny since the game came out in 2014. But since he had an XBox, we couldn’t play together as there’s no cross-platform multiplayer. Courtesy of a recent sale, though, he picked up his own PS4 and with it, of course Destiny. Because now, after four years, he and I can finally play the game together.
     
    And it’s like Vault of Glass all over. Granted, he’s still early on in the game and I’m piggybacking along while he gets back in the realm of where he was on his old account, but there’s still those elements of teamwork ("Let me know when your Super’s charged and we’ll tag-team them") and plenty of banter — I’ve lost count of the amount of times one of us has yelled "Yoink!" into the mic upon stealing the other’s kill.
     
    Destiny, despite all its narrative foibles, is a really fun game. One of my biggest disappointments is how, up to now, I’ve essentially been playing it alone. Now that I’m not, I’m reminded of how much darn fun the game is — especially when sharing it with another person. It’s an annoying amount of hoops to have to jump through, but now that I’m here, yeah, it’s pretty great.
     
    Which means I’ll have to grab Destiny 2 at some point in the future to continue these adventures.
  16. Ta-metru_defender
    Essays, Not Rants! 348: The Mythics of Mega Man
     
    I cut my teeth on the Mega Man series of video games. Legendary for their difficulty, mastery of the games comes from getting a handle on their mechanics and memorizing stage layouts and the patterns of boss fights. They’re tough, and oh I love them so. Getting through each stage is such a magnificent moment of catharsis; and the good entries in the series are so well designed that victory isn’t because of a lucky break but from actually skill.
     
    They’re also fantastic examples of some elements of the Hero’s Journey.
     
    All stories follow specific beats; there will be a moment when the hero is chosen, the hero will be tested, the hero will face a (maybe metaphorical) death. They’re vague moments, but appear in everything from adventure stories to a romcom. Call it structure, call it motifs, these elements are a part of stories.
     
    And, like I said, video games. The structure of Mega Man, at its most basic, is the same throughout all entries in the Classic series. The hero, Mega Man, shows up in a place, fights eight Robot Masters, then lays siege to Wiley’s Castle which inevitably includes a rematch with all those prior Robot Masters before fighting Wiley himself. The X series is essentially the same, just swap Mega Man out with X or Zero, Robot Masters with Mavericks, and Dr. Wiley with Sigma. The actual 'stories' depend on the game, from the very barebones of Mega Man 2 to the much more grandiose Mega Man X5, but that structure remains essentially the same.
     
    Two of the games’ trademarks are being able to tackle the stages/bosses in any order and getting a bosses’ ability upon defeating them, which in turn is the weakness of another boss. The weapon you get from defeating Magma Dragoon in Mega Man X4 does a chunk of damage to Frost Walrus. It’s like rock-paper-scissors, but with spiffy robot weapons.
     
    A vital part of the Hero’s Journey, as emphasized by Joseph Campbell and Christopher Vogler, is the Threshold Guardian. The idea is that every time a hero moves forward into a new space, there is someone guarding the way. To meet Old Ben, Luke Skywalker must first confront the Tusken Raiders. Lara Jean has to talk to Lucas about the letter she wrote him. In many situations, the hero will assimilate attributes of the encounter into themselves. The run in with the Tusken Raiders brings Luke closer to Ben. Talking with Lucas gives Lara Jean a new ally in her quest to restore some normalcy to the chaos that her life has become.
     
    In Mega Man? The hero gets an ability from the boss which is then useful against another boss. In other words, Mega Man’s fight against a Robot Master makes him stronger and more able to take on the next challenge. It’s a learning curve too for you, the player; just because you’ve a boss’ weakness doesn’t mean the fight will be a walk in the park. But by the time the big rematch happens in Wiley/Sigma’s castle, going through all eight fights again will be a comparative breeze because not only is Mega Man stronger, but you’ve overcome a series of challenges to get to this point, enough challenges that fighting these guys again isn’t all that hard anymore. You’ve figured out their weaknesses and have mastered the techniques needed to dodge their attacks. And now you’re ready for the Final Boss, who you will inevitably lose to several times before finally, finally, emerging victorious.
     
    The narrative of the game would hardly work near as well without those bosses. Going straight to the final castle and all the dangers that lurk within would not just be ridiculously difficult, but would also be too much too soon. As a player, you relish that feeling of accomplishment that comes from getting better and being able to take on harder challenge. Story-wise, even if the story is as barebones as some of the Mega Man games, there’s that need for a rising action (as Freytag paced is out. Beginning slow makes the final climax all the more exciting.
     
    The Mega Man games are, in my opinion, definitely worthy of being among the canon of video games. They’re exemplary platformers, but also present a particularly fun twist to their gameplay via a probably-subconscious application of mythic structure. If you care for that, anyway; I won’t judge you for just really enjoying the games.
  17. Ta-metru_defender
    Essays, Not Rants! 347: Mary Jane Watson
     
    One thing I love so much about Spider-Man is how so much of the narrative can be stripped down to its archetypes. Peter Parker is an unlucky kid who’s suddenly had this great power thrust upon him. Otto Octavius is a genius scientist doomed for tragedy. And Mary Jane Watson is the girl next door.
     
    A lot of the fun of the various incarnations of Spidey, be it different adaptations or reimaginings across the multiverse (see: Spider-Punk or Spider-Ham), is seeing how the play with the familiar narrative. Spider-Man is so deeply embedded in the popular consciousness that it’s a barrel of fun seeing what each new story will do.
     
    All this to say I absolutely love Insomniac’s take on Spider-Man in the eponymous video game. Peter is a wisecracking twenty-something who always seems at the very end of his rope. Octavius is a down-on-his-luck scientist who genuinely wants to make the world a better place. And Mary Jane, well she’s a particularly great part.
     
    The classic Spider-Man mythos is has a bit of a problem with its women. Gwen Stacy was, up until recently, best known for getting fridged by a death that haunts Pete. Mary Jane’s primary feature is that she’s the hot girl Peter has longed for for ages. This has been rectified a bit recently: an alternate universe Gwen Stacy was the one who got bitten by a radioactive spider and, upon finding out about the main universe’s Gwen’s fate, outright expresses disgust at being, and I quote, “fridged off a bridge.” The Spider-Gwen comics also had her confronting the fact that so many versions of Gwen Stacy die falling from a bridge and reclaiming that aspect of her character’s history. It’s all really cool and Spider-Gwen has long been one of the comics I most look forwards to.
     
    Insomniac’s Spider-Man does work to make MJ more of an interesting character (though not to the extent that Spider-Gwen remains instructs Gwen Stacy). In this story, she’s not a model or actress, but rather an investigative journalist for the Daily Bugle. She’s someone who’s decidedly good at what she does, and her job gives her opportunity to get up close with the action.
     
    In fact, it’s some such investigation into the rise of a new gang in the city that leads to her and Peter running into each other again. You, as player, are also given the opportunity to play as Mary Jane as she sneaks around. So not only is she given a more active role in the narrative, but the mechanics of the game are used to put MJ front and center. In games like Spider-Man playing as ay character is an important thing. Strong characterization is mixed with the immersive nature of games; the goals and fragility of the character become your own (consider how powerful it is in The Last of Us to play as Sarah during the opening).
     
    Gameplay-wise, the MJ segments aren’t perfect. Compared to webzipping Spidey, MJ’s sneaking and waiting varies a lot in how good it is. Much of the action is very scripted, with there usually being one way to get through the stage which leaves little room for player creativity or choice. But they are heavy in atmosphere and shine the spotlight on MJ who, as it happens, is quite wonderful.
     
    Her journalistic chops and contacts make her a valuable ally of Peter’s (she knows he’s Spider-Man in this one, which also means for a complex and interesting dynamic). She’s a bold character, someone who willingly sticks her nose in trouble, even when it’s inarguably a bad idea. Her relationship with Peter is a complex one; they were together for a while and have been broken up for a while when the game begins. What’s real neat though, is that even still there’s a mutual attraction; MJ isn’t some unattainable goal for Peter, they’re both really into each other and things just didn’t work out last time. This distinction is important: MJ’s not the prize for Peter being good at Spider-Man and/or life, she doesn’t date him because he does x-y-z to impress her; she’s into him, she likes him for, well, him. Their whole chemistry is very mutual. All in all, she’s an interesting character and is a delightful reimagining of her.
     
    It’s always interesting to see how stories reinvent themselves. You’ve the retcon of how Captain Marvel got her powers from a few weeks ago that was really cool, for example. And Insomniac’s Spider-Man puts a spin on Mary Jane that made her into one of my favorite characters in the game. Her and Spider-Man’s friend in the NYPD, Yuri Watanabe. Also Aunt May’s really cool in the game too.
  18. Ta-metru_defender
    Essays, Not Rants! 346: A Normal Teenager Name Lara Jean
     
    To All The Boys I’ve Loved Before really feels like a classic 80s teen romcom, except it was made much more recently. It’s delightfully sweet, and has that uncynical honesty that readily calls back to fare like Sixteen Candles or Can’t Buy Me Love. Honestly, this movie is almost an anachronism, but a delightfully refreshing one at that.
     
    Now here’s the thing, unlike all those 80s teen romcoms, To All The Boys I’ve Loved Before’s protagonist is Asian-American. Lara Jean Covey, played by Lana Condor, a Vietnamese-American actress, is one of three sisters. Their Dad’s white, their passed-away mother Korean. This isn’t really relevant to the plot, it’s mentioned in passing here and there, and their dad makes a decided effort to blend some Korean culture (namely: cuisine) into everyday life. But beyond that, Lara Jean and her sisters are just typical Americans.
     
    Point is, she’s really pretty normal.
     
    Which is actually pretty unusual. Lara Jean’s narrative has nothing whatsoever to do with her identity. She just happens to find herself in the midst of some romantic comment shenanigans after some love letters that were never meant to be sent got sent.
     
    To All The Boys I’ve Loved Before is based on a book of the same name by author Jenny Han. Apparently, there was a few groups interested in adapting it to a movie, but they all wanted to make a change: make Lara Jean white. Han stuck to her guns and eventually a studio came along that was alright with keeping Lara Jean Asian (as, let me remind you, she is in the books) and so we got the movie.
     
    Let’s focus in on just how ridiculous this is. You’ve a bunch of movie studios game to adapt a book, on the condition that the protagonist be white. Only one of the ones that approached her agreed to keep Lara Jean as an Asian-American. Sure, the story’s got basically nothing to do with her race, but that’s all the more the reason why it’s important for her to be Asian.
     
    If you’ve read this blog for a while you probably know that I am a really big proponent for representation in fiction. So of course I want a character who’s a minority in the source to remain such for the adaptation. Especially when it’s a story where her race doesn’t come into play.
     
    Yes, there’s a time and a place for 'Asian stories' and all that, but there’s also a space for stories about people-of-color getting to be normal. Look at all those classic 80s teen romcoms we love so much, everyone’s white. Kevin Bacon in Footloose, Molly Ringwald in Sixteen Candles, John Cusack in Say Anything. There’s the implicit suggestion that those stories are their stories; sure, they’re meant to be everyman, characters who the audience can see themselves in, but there’s still this undercurrent of the everyman usually being a white dude.
     
    To All The Boys I’ve Loved Before isn’t exactly reinventing the wheel with any of its plotting. Yet it’s a delight of a movie, especially coming in an age when we really don’t have much in the way of romcoms anymore (Set It Up, also on Netflix, is wonderful too, by the way). Having an Asian-American woman as the main character, adds a small, cosmetic spin on things and makes these stories just a little more inclusive. So if we’re in the middle of a romcom renaissance, I’d like more of that too, thank you very much.
  19. Ta-metru_defender

    Poking Around

    By Ta-metru_defender,

    Essays, Not Rants! 346: Poking Around
     
    Games have rules and expectations. If you’re playing a first-person shooter, violence is the expected solution to most problems. A puzzle encountered in an RPG is going to have a solution, though it may be one you need to progress a little further in another direction to be able to solve. The rule of thumb in point-and-click adventures is that everything you can click on and inspect is gonna hold something of interest.
     
    Say you’re playing Monkey Island and you’re stuck in a room. Somewhere in there is the key to your freedom. So you’re gonna click on everything you can to try and find the right stuff so you can say the right things in a conversation and get on with it. It’s the way it works, check all the things for things to use to advance.
     
    Now, One Night Stand is usually classified as a dating sim, what with it dealing with the aftermath of a one night stand and having lots of conversations with choices for you to make that will net you one of several endings. Though there are strong elements of point-and-click adventures in it, as you are frequently given opportunities to poke around in the room you wake up in, and what you inspect can then unlock new dialogue options.
     
    It’s a short game, and so befitting many playthroughs. The basic premise is you wake up in bed with someone after a drunken one night stand with no memories of the night before and have to figure out what to do. Do you just leave? Do you try to piece together what happened and play it off? Or are you forthright with her and admit you don’t remember anything? What’s gonna get you the 'best' ending?
     
    Here’s the thing, although taking on the guise of an adventure game or dating sim, One Night Stand isn’t quite either. Sure, it’s got the mechanics of them, but the contract between the game and the player isn’t nearly the same.
     
    One Nigh Stand has a decided rhythm. The girl leaves the room for some reason, you look around the room, she returns, you two talk. Repeat. You can only inspect so many objects while she’s out of the room, and they range from grabbing your clothes to leafing through her wallet to try and figure out her name. You have to choose what to prioritize in order to create the most meaningful interactions.
     
    As I played the game it became apparent that there seemed to be a lot under the surface. One time I sneaked out of the house and saw her crouched over a toilet, throwing up. I figured that there had to be a way for me to help her out next time since that’s a rotten position to be in. On her bedside table are some earrings in a box, which she’s cagey about when asked. Same with the pills there. She has an interest in writing (as you can tell if you look at her notebook underneath the book she’s reading) but she doesn’t really engage if you ask her about it. Which, okay, got it, clearly I’ve gotta say the right things to get us close so she’ll feel comfortable talking about these things. Presumably then I’ll be able to get the Best Ending which, also presumably, would be a romantic one.
     
    Yeah, no.
     
    I played through the game being completely honest and was awarded with an ending where we parted ways as friends. But no matter how I played my cards I couldn’t get her to open up about her writing or earrings — in fact she would get straight up mad if I kept asking about it to the point where she’d throw me out. This threw me for a loop: those things are there, they’re meant to be investigated, why am I being punished for poking around? Why won’t she tell me what’s going on? I did the thing you do in these sort of games, so where’s my reward? They’re right there on her nightstand, why’s she made at me for looking through her personal stuff—
     
    Ah. Right. It’s rude to go poking around like that in a relative stranger’s room. One Night Stand isn’t interested in creating some wild romantic fantasy, rather it lets you experience an awkward situation and the best result is for you to not be a jerk. You’re not gonna get brownie points for snooping, nor will gaming the system and faking a memory of the night before yield any outstanding results. Rather, being honest about not remembering the night before, getting dressed, and leaving as friends (without any romantic subtext) nets you the 'best' ending.
     
    I think this is why I’m so charmed by One Night Stand. It subverts much of what you’d expect from a dating sim or a point-and-click adventure in lieu of letting you inhabit that awkward space — the game discards fantasy for quiet discomfort. The girl is not a prize for playing well; pretending to know more than you do won’t get you points. The point of the game isn’t to 'win,' but rather to be there and try and make do. It’s a unique experience, the sort you can really only get from a video game.
  20. Ta-metru_defender

    A New Origin

    By Ta-metru_defender,

    Essays, Not Rants! 345: A New Origin
     
    Captain Marvel’s new series, The Life of Captain Marvel, sees Carol taking some time to reassess. In the aftermath of infighting with Tony Stark and some other less than great events, she goes to her family’s summer home in Maine to spend some time with her mom and injured brother. There’s a lot of self-reflection, some reveals of family secrets... and a Kree hunter after, presumably, Carol. Because who else?
     
    The Kree hunter closes in on the Danvers house and prepares to wreak havoc. Carol steels herself for a fight, only for her mother to reveal that the hunter is here for her. Turns out her mother is a Kree warrior, who for years has been living a quiet life on Earth. And she has superpowers.
     
    As the next issue reveals, Carol’s Mom, Mariel (or Mari-Ell, as she was once known) was a Kree special operative, sent to Earth to asses it as a potential threat. But she met Carol’s dad, fell in love with him and Earth, and abandoned her mission. So Carol’s not the only superpowered alien-ish woman in the family; her mom is too. Flying and punching hard is in her blood.
     
    This is a significant retcon of Carol’s old origin story. Originally, she was caught in the blast of the Psyche-Mangnetron, a Kree device that gave her the powers of the original Captain Marvel (Mar-Vell… yeah, Kree names are weird). Now, Mar-Vell was, at the time, an on-and-off-again love interest for Carol. She was up to her own things, of course, but in this skirmish she was the bait Yon-Rogg used to lure Mar-Vell in — essentially, she was the damsel. Long story short, Psyche-Mangnetron goes boom, Mar-Vell saves Carol, she gets Mar-Vell’s powers. All because of an accident that’s essentially caused by two men fighting over her.
     
    Now, Kelly Sue DeConnick’s run on Captain Marvel saw this get changed a bit; now there was a time-traveling Carol Danvers (long story) watching the fight play out, all the time knowing that she could jump in there, stop it all and never have to deal with the powers and responsibility. She chooses to let it play out, to let herself become who she now is. The difference this makes is pretty neat: Carol now has a measure of agency in her powers. It didn’t just happen to her randomly, it’s as a result of (future) her making a choice. She has a hand in her own creation.
     
    But it was still an origin intrinsically tied to a male character. Those powers weren’t inherently
    hers, rather a byproduct of wanting to be like Mar-Vell. It’s not the end of the world, by no means, but it’s still a pretty lackluster origin, especially given that Carol’s tenure as Captain Marvel has pretty much eclipsed Mar-Vell’s.
     
    The new explanation for her powers reframe all of it. All this time she had latent Kree warrior abilities, but it took the Psyche-Mangnetron to activate them. As Mari-Ell tells Carol, her powers are "Not borrowed. Not a gift. Not an accident… They’re not anyone’s but yours. They never have been."
     
    It’s a huge change in a comic that’s full of them (For example: Carol’s father’s alcoholism and controlling nature was because he was scared of Kree threats coming for them; during the night he told Carol he wouldn’t pay for her college [that led her to run away and join the Air Force], Mari-Ell was pawning her wedding ring to pay for Carol’s tuition [hey, look, more female agency!]). Carol Danvers’ powers are innately hers, passed on to her by her mother. It mayn’t seem like a really big deal but it puts Carol front and center of her own narrative. This is important since Carol, as a character who’s been around for ages, has a lot (and I mean a lot) of baggage with her. By placing Carol and a maternal legacy at the center of her genesis her story is able to be that much more hers from the get go; Marvel’s major female hero’s backstory is no longer based around a male character. This retcon isn’t the Biggest Retcon in Comics Ever, but it’s still a really cool step forwards and one I’m totally onboard with.
  21. Ta-metru_defender
    Essays, Not Rants! 344: First Man(liness)
     
    I’m a little tired of manly manliness in cinema. Don’t get me wrong, I’ll always have a soft spot Predator, Die Hard, or a good Spaghetti Westerns. But it’s 2018 and I’m kinda tired of that being the MO for male characters, especially manliness for the sake of manliness, like that 50s stoic, silent masculinity. In short, I’m really tired of 'traditional' masculinity, especially when it’s idolized and unquestioned.
     
    Which leads me to First Man, the new movie by Damien Chazelle, director of Whiplash (excellent!) and La La Land (ehhhhh). First Man centers on one of my favorite topics: space exploration, particularly the effort to put a person on the moon, hence, y’know, the title. I like space. I think the Apollo Missions were terribly exciting, always have — I was one of those kids who absolutely consumed space stuff. That love of space was enough to beat out my trepidation about watching another Chazelle movie after La La Land.
     
    Now, First Man is a very well made movie. It makes space travel terrifying in the best way possible, it’s claustrophobic and there is so little under your control. The movie really makes you feel that terror, and oh, it’s such a thrill. It’s such a shame, then, that square in the middle of that is Ryan Gosling’s Neil Armstrong.
     
    I don’t know much about Armstrong as a person; I haven’t read biographies and I only know him for his role in space exploration. I don’t purport to really know what he’s like as a person. I do know, however, that I found Gosling’s portrayal to be very frustrating. See, in First Man Armstrong is a very stoic character. We see him crack once or twice — in the aftermath of his daughter’s death, for example — but beyond that he’s borderline emotionless. Maybe there’s a world of emotion going on behind his face, but we’re never afforded a glance inside.
     
    Throughout the film, Armstrong’s stoicism is portrayed to the point of blandness, he doesn’t really seem to feel much (which again, could be argued away as being due to his daughter’s death, but we’re never really allowed to know) and instead his main quality is that he is a driven, quiet man. While other astronauts are bantering about space he is silently committed to getting to the moon. He’ll take part in some family stuff, but at the end of the day, he is Quiet and Manly, focused on going to space. Other astronauts dying just makes him more committed, in addition to having Manly Fear so we know he’s scared (but not too scared). Gosling’s Armstrong is the epitome of that silent, stoic, 50s masculinity, and, as far as the movie is concerned, all the better for it.
     
    First Man doesn’t say much of anything about Gosling’s version of masculinity, aside from extolling it (the other astronauts don’t have the right attitude, his wife [like all of Chazelle’s female characters] just doesn’t understand). Because, as the movie implicitly argues, Armstrong did such great things, and because he embodied this brand of masculinity, clearly it’s great. Underlying the movie is an adoration of his stoicism and drive.
     
    And I am so sick of that brand of masculinity. I’d be fine with Armstrong in First Man being a selfish prick if he got called out on it and it was recognized as being a flaw; but instead the movie loves him for it. I’d be okay if we saw some more self-doubt behind that heroic facade, but he is constantly in the zone, never weak, never emotional, always masculine. There’s no real antagonist for that masculinity to butt heads with; no warring factions for Clint Eastwood’s Man With No Name to outdo in A Fistful of Dollars, no equally over-the-top villains for John Matrix to vie against in Commando. Rather the doubts raised by his wife and friends fall like the words of a straw man on Armstrong’s manly, too-determined-to-listen ears. It’s frustrating, especially when recognized as the predecessor to the modern toxic masculinity that’s so problematic today.
     
    And it’s 2018, for crying out loud! Masculinity doesn’t have to be so narrowly defined! Consider Chris Evan’s Captain America/Steve Rogers. There’s no doubt that he’s a Manly Man; dude’s jacked, he fights for AMERICA! and is a superhero. He’s also the nicest, sweetest member of the Avengers, the one who sees the best in everyone and supports those around him. He has his doubts and questions; he’s weak at times, but he presses on. His strength isn’t so much his muscles and physicality, but his gentle heart and belief in others. Michael B. Jordan’s Adonis Creed in Creed is a boxer and the inheritor to both his father and Rocky’s legacies. But for all the machismo you’d expect in a boxing movie, we also see him doubt ridden, trying to make relationships work, and being called out on his masculine nonsense. In my beloved Pacific Rim, is Raleigh, a male main character whose primary role is providing the emotional support so other characters (particularly the Japanese woman Mako) can reach their full potential. None of these characters are any less 'manly' for these traits, rather in them we see a more complex, fuller, and more welcoming depiction of masculinity.
     
    In the same way that a feminist approach to storytelling challenges the teller to create narratives where women are given agency and allowed to appear in a variety of roles, so too does it desire an allowance for male characters to take on more interesting dimensions. If Neil Armstrong was the embodiment of that style of stoic, selfish masculinity, couldn’t First Man have explored what was beneath that outer shell? Was he a husk of a man so bound by his need to be in control? Or was there genuine, painful emotion behind it? Could the narrative have questioned whether having all that to get to the Moon was worth it, rather than ending with him and his wife reconnecting? We’ve gotta get over this old-fashioned, idealized sort of manliness. It’s 2018, there’s more than one way to be a man.
  22. Ta-metru_defender
    Essays, Not Rants! 342: Classically Petty
     
    Don Quixote is a pretty important book, to put it mildly. Often counted one of – if not the – greatest book ever written, it’s definitely something you can categorize under Serious Literature. It’s also home to some outstanding pettiness and a magnificent take that to fan-fiction.
     
    The book was hugely popular right from when it was first published. It didn’t take too long for another writer to think there was something to this delusional adventurer and faithful pseudo-squire and write his own sequel under the name Avellaneda. Miguel de Cervantes, Don Quixote’s author, clearly didn’t take kindly to his characters being used like this, and took several shots at the unofficial sequel when his Part Two came out a decade later.
     
    Notably, Part Two sees many of the characters Don Quixote and Sancho Panza encounter both aware of and fans of Part One. The book was published in this fictional world too, and when he sallies forth on his new adventure, Don Quixote must reckon with the reputation of his fictionalized self. Not only that, but Don Quixote discovers that there is another book out there (by Avellaneda!) about him and his adventures, and this one is patently false. Quixote is very unhappy with this version of himself as it gets details about him wrong. He’s so mad about it that he ups and cancels his plans to go take part in the jousts in Zaragoza. You have to realize, that at this point in Part Two one of Don Quixote’s big goals has been to go and compete in these jousts (as a noble knight like [he envisions himself] himself would). All that is tossed aside because the fake-fictional version of Don Quixote jousted in Zaragoza and the real-fictional Don Quixote wants absolutely nothing to do with his fake-fictional self. Don Quixote (and by proxy, Cervantes himself) doesn’t want to give any credence to Avellaneda’s sequel and so the book makes it abundantly clear that Don Quixote did no such thing.
     
    That, in and of itself, would be a nice meta attack on Avellaneda’s fan-fiction, but Cervantes goes further. On his way home, Don Quixote meets a Don Alvero Tarfe — a character from Avellaneda’s Part Two. They get talking, and Don Alvero claims to be a good friend of Don Quixote, which Don Quixote says is impossible because he is the real Don Quixote. Over the course of their conversation, Don Alvero — a character originally from Avellaneda’s unofficial sequel, remember — takes back any statement about having met Don Quixote prior to this encounter. And then a notary is summoned and Don Alvero makes a sworn affidavit, because as far as Cervantes is concerned, there’s no such things as overkill when it comes to discrediting Avellaneda.
     
    Seriously, there isn’t. Don Quixote returns home, and vows to become a shepherd. That’s it, Don Quixote’s done, no more adventures with our errant knight-errant. Oh, and then, lest some wannabe-Avellaneda wants him to take up the mantle again, Don Quixote promptly falls sick, recants all his knightly desires, and dies.
     
    Yep, Don Quixote dies at the end. Spoiler. And the narrator firmly states that Don Quixote went on no other adventures than those in Part One and Part Two and any piece of fiction that suggests otherwise is a liar.
     
    That’s right, Cervantes straight up kills off his famous main character just so no one else can play with him.
     
    Look, I’m sure there’s something to be said here about Cervantes’ overly tight protection of his creation and some valid fuel for an in-depth discussion of Death of The Author as it pertains to fan-fiction and adaptations. Maybe even something about metafiction as it pertains to Don Quixote. But honestly, the whole point of this rant essay was to tell you about what a petty rascal Cervantes was. Would’ve thought Serious Literature could be so catty?
  23. Ta-metru_defender
    Essays, Not Rants! 341: A Dearth Of Asians
     
    I was talking with a friend at work the other day about Silk. The superhero, not the fabric. I’ve mentioned her on the blog before, and I do really like her, and am bummed her book ended. My friend quipped that I should be, she’s, like, the only Asian hero in Marvel. I protested, there was also Shang-Chi, and Amadeus Cho, and, and, well.
     
    That’s about it.
     
    We decided to include Kamala Khan, after all, Pakistan is in Asia and we have a bad tendency to think of 'Asian' as meaning only East-Asian. There’s also Jubilee of the X-Men, and that’s about where we ran out of steam, concluding that, dang, there really is a dearth of Asians in Marvel comics.
     
    I did some googling while preparing for this post, and found a couple lists of Asian Marvel characters. There’s a small number of minor characters like Wendy Kawasaki who serve as support for the major heroes. There are definitely a good helping of Asian villains, with The Mandarin, Ezekiel Stane (he’s half-Asian!), and Silver Samurai being the most obvious. Then one list I found cited Mantis as an example which is weird because, well, she’s green and has antennas. But apparently she’s half-Vietnamese (and played by a half-Korean actress), so, I guess she kinda counts?
     
    But the point stands; it’s really, really disappointing when you can count the major Asian heroes in Marvel Comics on your fingers. It’s not like I don’t have a horse in this race, what, my whole being half-Asian and all; but c’mon, it’s 2018. Surely there should’ve been an Asian Iron Fist by now or some such. In all of Marvel’s alternate realities, why don’t we get an Asian Tony Stark (you would literally have to change nothing about his story), why not have Shang-Chi a founding member of the Avenger on another Earth?
     
    There’s pushback on these so-called 'legacy' characters: "Why make Iron Man or Jessica Drew Asian when you could just create A Whole New Character?" The problem with making A Whole New Character is that it takes a lot of work for them to become as wedged into the public consciousness as, say, Spider-Man. Sometimes, it works — take Kamala Khan who took up the Ms. Marvel mantle but has very little in common with the original Ms. Marvel — but then Silk remains woefully under-appreciated and even Amadeus Cho flew under the radar until he became a Hulk. Giving new characters — particularly minorities — the keys to a flagship means they get a huge PR boost: Look at Carol Danvers as Captain Marvel! I say this a lot, but oftentimes representation means giving up your seat at the table. It means in this universe Tony Stark is Chinese and 'Stark' is a lousy transliteration of a Chinese name. Or maybe when someone gives up the mantle they give it up for good (I’m looking at you, Thor).
     
    I’d be remised if I neglected to account for the improvements that have been made. Kamala Khan and Silk are both relatively recent additions, and the former is wildly popular. Shang-Chi and Amadeus used to be, well, less than ideal. Shang-Chi’s power was Being Really Good At Kung-Fu and Amadeus’ was Being Really Smart, two abilities which, well, for a Chinese and Korean-American character, are really kinda stereotypical. But! Recently that’s changed! Shang-Chi is still Really Good At Kung Fu, but Jonathan Hickman saw him join the Avengers and shine. More recently, Gail Simone has had Domino training with him who in turn sees him as a) aspirational, and 2) really hot. Meanwhile, Amadeus became the Hulk and has joined the Champions and goes on adventures where he’s not just known for his smarts. We may still have precious few Asian superheroes, but, hey, the ones that we have are getting better.
     
    Folks, I talk a lot about diversity and representation on this blog — to the point where I’m probably starting to sound like a broken record. And while I do celebrate Marvel and all the forward motion they’ve made, I do still want, well, more. Silk will always have a special place in my heart, not only because she gets to do the Spider-Man thing, but because her comic had a distinctly Asian-American bent to it. Big Hero Six is a movie that makes me smile when I think of it, not just because of how heartwarming it is, but because Hiro is someone like me. Stories are personal, and I want to get to be a superhero.
  24. Ta-metru_defender

    Spidey's New York

    By Ta-metru_defender,

    Essays, Not Rants! 340: Spidey’s New York
     
    Narratives are a two way street. What you bring to them is what you get out of them.
     
    So let’s talk Spider-Man, the video game (again).
     
    Spider-Man, of course, takes place in New York. Because, well, duh. Now, I happen to live in New York and have lived here for most of the past six years. I went to college at NYU Gallatin down in the Village and lived in a semi-lousy apartment (okay, pretty lousy, it was a six floor walkup and there was no sink in the bathroom, but, hey, roof access!) on 14th for a couple years and have called Astoria, Queens home for over a year now (this apartment has a sink in the bathroom, but no roof access — the tradeoffs you make). Needless to say, I have a bit of a soft spot for New York.
     
    That Spider-Man offers up an open world with a terrific approximation of Manhattan is an absolute delight. It mayn’t be a 1:1 recreation, but it captures the idea of the island well enough that that I instinctively know my way around and get momentarily lost when things aren’t quite where they should be (the distance in between Union Square and Stuy Town is a touch too long). As such, right off the bat, I feel a personal connection with the virtual city, thereby creating a bit of an emotional narrative to my swinging around the city.
     
    When I go through Washington Square Park I’m also going through a park where I’ve worked on homework and had snowball fights. I instinctively recoil when I realize I’m going through Times Square; Lincoln Center is where I graduated from college. In many ways, this open world is loaded, I’m not just exploring and beating up bad guys in 80s Afghanistan or a post-apocalyptic Colorado, I’m in the place I’ve lived and worked. Alongside that, I’m in a place that Peter Parker himself loves.
     
    Though I will wax poetic about how wonderful Spider-Man’s open world is, it’s no real slouch in the narrative department either. Throughout the game it’s reinforced how much Pete loves the city; yes, he bears a burden to protect it — a burden that often interferes with his personal life — but it’s also a city he protects out of love. This can be small things like the quips he makes when taking photos of certain landmarks (Empire State University — the game’s ersatz NYU — is home to some of the best years of his life… and loans), or his dialogue while crimefighting. As players, we come to love the city because Pete loves it. There’s also the experiential nature of video games. Because you spend so much of the game swinging through Manhattan, you come to get to know the city and take a modicum of ownership over it (you chased out the Kingpin’s goons!). So when villains start trouble, they’re threatening your city. You get invested in the place, simply by being there.
     
    That said, this is a place I know, and because I bring my own New York-related baggage to the game, it all takes on another level of import to me. Characters walking along the Highline isn’t just window dressing, it’s something I’ve done and so has personal meaning. Consider a tv show like Stranger Things; though it’s science fiction and something of a period piece, someone who’s lived in small town America will relate to a bunch of kids navigating the world; anyone who’s spent too-many-hours on an RPG campaign will immediately latch onto the kids with their all-day D&D campaigns. These little bits of projection/empathy aren’t necessary to enjoy the story, but they add another layer of depth to the story that, often times, makes it a little more personal.
     
    I adore Spider-Man’s open world in a way I don’t usually. Part of that is probably due to how well crafted it is; but most of it is definitely because, hey, I’m exploring my city. I’ve talked with some friends who also have the game, and we’ve spent as much time nerding out about getting to explore the city we know as we have the more game-y side of it. My often lament about open world games is how they don’t really end, how there’s always something more to do and completion is less narrative closure and more 100% and a Platinum Trophy; but as I watch my completion percentage in Spider-Man steadily rise (I just passed 90%) I’m starting to dread the game ending. I want to spend more time in this virtual New York.
  25. Ta-metru_defender
    Essays, Not Rants! 339: Captain Marvel Trailer
     
    It’s happening.
     
    It’s finally freaking happening.
     
    On Tuesday we finally got a
    for Captain Marvel, a movie I’ve been looking forwards to quite incessantly since it was announced way back in 2014. And now, at long last, we’re getting a glimpse of the movie itself and what all it’s gonna be. 
    Needless to say, I’m somehow even more excited.
     
    Trailers are tricky beasts. Sometimes they give away the entire darn plot. Sometimes they misdirect you all over the place. Sometimes they’re better than the actual movie (hello, Man of Steel). A lot of the time, though, they give you an idea of the theme of the movie. You’re not gonna be given a plot breakdown, but rather the Central Question of the movie gets raised — or at least hinted at — within the trailer. Trailers for the original Avengers asked if they would be able to work together as a team, the trailer for Sorry To Bother You immediately brought to the forefront questions of race and class that the movie went on to tackle.
     
    The trailer for Captain Marvel hints at what the movie’s gonna be about: identity. It’s heavily implied in the trailer that Carol’s an amnesiac, who doesn’t remember growing up on Earth before becoming a part of Starforce. She crash lands (in a Blockbuster of all places) and, presumably, plot happens. Given the flashbacks in the trailer, it stands to reason that a major part of the movie is Carol rediscovering her roots and coming to terms with the earthling side of her.
     
    In the movie — and this is all speculation — we might end up seeing Carol, a renegade soldier as Nick Fury calls her, creating an identity for herself outside of the one she’s had in Starforce. Take the whole space ranger thing away from her; what’s left? Who is Carol Danvers? If Captain Marvel is gonna be an origins story (and it might have to be), a far more refreshing narrative is how Carol became Captain Marvel, rather than how she got her powers. As the trailer asks "what makes a(her)o."
     
    A Carol who doesn’t remember her past is an interesting starting point. In the comics, Carol sacrificed much of her memory to defeat Yon-Rogg as part of “The Enemy Within.” She pushes herself further than she’s ever gone before in an effort to sever the psychic connection between them and, in doing so, defeat the villain. Much of Captain Marvel’s adventures after that involves a lot of her trying to figure out who she is, some of it through friends helping her rediscover her identity, some of it through her friends, some of it through her own self-determination.
     
    I realize so much of this blog post is pure conjecture. All we’ve gotten has been this two minute trailer that’s been precious light on our details. Sure, there’s been vague hints about the movie’s story in the press and all, but there’s some room for guesses about the theming for narrative. And if it’s a story about identity, which it sure seems like, they made a really good choice. Because at the end of the day, Carol is the sort of person who keeps picking herself up again and again. Can’t wait to watch her discover she is and has always been that person.
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