My final Year in Review piece and it's books this time. I've managed a fair bit of reading this year and have read titles of varying quality. Not all of these have made the review but of the ones that have, some I have already posted about so I'll get those out of the way first.
Stephen Kotkin's Stalin duo, with still no date on the final volume, proved a tough read but interesting enough, whilst Richard Pike's Phantom brace were good, despite the second volume's change in presentation and The Explorer's Guild didn't live up to its promise.
Other books this year included another due of history tomes, James Holland's The War in the West. Volume three is due next year and is worth consideration. The books take quite a high level view with emphasis on individuals and their course through the war. Focusing as it does on the West, there is only cursory mention of the Eastern Front but the author does tie things neatly together. I would say that there is some repetition of facts within the narrative (Yes, I get it, the MG34 was wasteful to produce), and that the author's key contention, that Britain was never in that much danger due to it's logistical capabilities, is a bit too pat from the start, but overall, these two volumes tell the story of the Western theatre well.
Suez, by Keith Kyle, is considered by some to be the reference work on the Crisis and after reading it, I can see why. It is compelling and authoritative, combines details and grand scale politics and treats everyone fairly, which is not to say that it's kind to them, No. not at all. But there is one key off-putting issue with the book and that is the style of writing. This is purely a generational thing (it's flowery and effusive, a style that hasn't been taught in schools for a long time) but don't let that put you off if you want to know the background and the events of Suez. It just made it harder to read for me that I thought it would be.
Keeping with the period, slightly, is The Doomsday Machine by Daniel Ellsberg. He of the Pentagon Papers fame, Ellsberg writes with some humour about his time working as a nuclear strategist and planner. It's an enlightening tale and one that should fill you with horror at the mentality of those who controlled the nuclear forces of America during the Cold War. There are some factual errors in there and the overall tone betrays a left-leaning political basis but again, as with Suez, don't let a style (or politics but you off). There is much to be learned here.
That could also be said of The Sleepwalkers, Christopher Clarke's history of how Europe came to be in the position it was in during 1914 that led to The First World War. This is a densely packed title and hard going, especially with the focus on Serbian and Balkan politics but as a book to tell you why the First World War happened, it's hard to beat. There are other tomes that provide differing points of view and scale but The Sleepwalkers is an excellent addition to the mass of literature about that horrifying period.
Richard J Aldrich's GCHQ gives the uncensored tale of the eponymous secret agency. It does, especially the early years, and is entertaining in its own right. However, there are a couple of factual errors in there that detract from the authority of the author and the period following the end of the Cold War is patchy at best (the 30 year rule is a massive hindrance here too) so it's a case of buyer beware for this title.
Off the historical track and onto videogames, which tend to do poorly when it comes to books. Somehow, the mediums don't tend to gel too well. In these two instances, they kind of do. Blood, Sweat and Pixels is an anthology book by Jason Schreier, detailing the production stories of ten videogames. Some were massive successes, one didn't even get released. However, in each section, there is a tale of joy, humility, triumph and despair. If you're ever wondered what videogame development could be like, or want a window onto that world of entertainment software development, then this is the book for you.
Then there is Retro Tech by Peter Leigh. Better known by his YouTube channel name of Nostalgia Nerd, Leigh has written a guide to home computer and console hardware in a neat and tidy little package. By his own admission, PC gaming and handhelds get short shrift as they really do need books of their own, but what you do get here is a brief history of each machine, some nice pictures and a selection of three games for each one: a must see title - demonstrating the power of the machine at the time, a must play title - one you must play to appreciate what the machine brought to the table and a must avoid - really, one that should never be touched with a barge pole. What I like about Leigh's writing is that his voice shines through the text and if you've ever seen one of his videos, you'll know straight away what I mean. As a one book guide, this is very good and whilst there are other hardware books out there, this is one of the best.
Finally, we have Persepolis Rising, book 7 of The Expanse series. If you've read previous posts, you'll know how much I like the TV series which is based upon the books. The TV show is only up to the third book and I do wonder how they'll continue given the scale of the books. Even after seven volumes, the characters remain fresh and the story interesting. It helps that the planned nine-title series is split into three books of three. Seven kicks off another fight for the crew of the Rocinante and this time, you do get the feeling it's the end of the line for some, even if they don't know it yet. If you've not picked up The Expanse from the beginning, it's no good starting here, but I do recommend you do start. It's grand scale sci-fi and a good read too.
Well, that's it for the Year in Review series. I hope you've enjoyed them and if you have any comments, I welcome them all. May you all have a happy new year, and a healthy and prosperous 2019.
Showing posts with label Year in Review. Show all posts
Showing posts with label Year in Review. Show all posts
Monday, 31 December 2018
Sunday, 30 December 2018
Year in Review - Games
Videogames in 2018 this time and I have to admit that there aren't many worthy of remark. Not because there weren't many good games released this year, just that I simply haven't had time to play much.
First up, we have Kingdom Come: Deliverance. An action role-playing game set in Bohemia in 1403, KC:D offers an open world experience with period accurate weapons, architecture, clothing and politics. I picked this one up as it had been reviewed with a tag-line of "like Skyrim, but without the Dragons". That got my interest. That it is also as historically accurate as it can be in an entertainment medium also piqued my curiosity. What it delivered was a decent, though not spectacular experience that was a bit rough around the edges, had more than a few bugs and a god-awful save system (there were conditions required for you to save your game and you could die a lot!). It did deliver on the history and the developers must be applauded for that. It just felt right and if you have even a passing interest in the period, give it a try.
We Happy Few was one of the most anticipated titles for me in 2018. Set in an alternate 1960's England where we lost World War 2, people are controlled by a substance called Joy, WHF is steeped in English history and Shakespeare in particular. With a unique art style, intriguing story and three playable characters, I took to this game immediately. Then stopped. The melee combat is practically broken, there are game-breaking bugs, general graphical and sound issues and even the story left so much up in the air, it kind of made me question why I had bothered at all. I suppose if you can pick it up on the cheap, then give it a go, but for a full-price title, it's disappointing.
The Shenmue Collection brings two classic Sega Dreamcast titles that surely deserved a greater audience back in the day to modern gaming consoles. Whilst not true re-masters, the Collection is a welcome return of Yu Suzuji's seminal due ahead of the much anticipated Shenmue 3 due in 2019. The lack up much of an update to the graphics isn't that bad a thing, they're still functional today but it's the character animation that really is showing its age. However, despite being nearly 20 years old, they still deliver the goods. What has dated are the gameplay mechanics. There really are from a different era and the slow, nay glacial pace at the very beginning of the first game does draw you into the story if you give it time. The gameplay can be a tad unforgiving and there is a lack of polish in some areas that younger gamers may not be used to but even now, the Shenmue Collection is evidence of a master of the trade showboating a technical and story-telling ability that even with the passage of time, astounds today.
Oh Strange Brigade, I so wanted to like you. With your 1930's pulpy story and funny characters, you promised to be a shooter that would be just the bill for a Saturday afternoon session. And you almost were, but with gunplay that was a smidge too loose and the game really needing co-op play (I know it was advertised as an up to four player co-op experience but you still permitted single players), it snatched defeat from the jaws of victory. True, you have a likable swagger and the premise is worthy of Rebellion Studios continuing it with it's comic or movie/TV wing, but as a game, this lacked that vital spark to make it a must play.
Similarly disappointing was Shadow of the Tomb Raider. The final part of the most recent re-boot's trilogy, SotR is a polished and enjoyable experience with a couple of issues that stop it being a truly great game. The base story is decent and most of the performances are good, with just Camilla Luddington as Lara Croft coming across as a bit bored of it all (which is a shame as her previous two appearances have been excellent). The exploration sections are challenging enough and the shooting is as good as the series has had, but the key fault in the game lies in the silly turns in the story makes to keep it moving. One example is Lara donning a disguise and questioning the Peruvian locals in her plummy English accent and no-one realising it's Lara. Hmmm...
Next up, Broken Sword 5: The Serpent's Curse. Not a new release per se this year, but it was ported over to the Nintendo Switch and it was on this format that I revisited the game since originally purchasing it on the X-Box One a couple of years back. This is point and click adventuring in the true Revolution Studios style and sees the welcome return of George Stobbart and Nico Collard. The move to switch suits the slow pace of the gameplay and the port is well handled. The story is intriguing and the puzzles are mostly sensible (but all point and click adventures throughout the years have suffered from weak puzzling at one point or another. The quality of the voice acting, animation and artwork make the fifth of the Broken Sword series feel like a comfy blanket, to be enjoyed and savoured. I'll honestly say it's not the best in the Broken Sword series (that would be the first game), but The Serpent's Tale shows the series still has what it takes and is well worth purchasing. Hopefully, they'll get round to number six at some point.
Finally, we have Forza Horizon 4. Another sequel, yes, but one that continues the drive (see what I did there) of the Forza Horizon franchise to become the most polished and fun driving series available anywhere. Moving to an idealised Britain after number three's Australian tour, FH4 introduces seasons, changing on a weekly basis, more enhanced weather effects and what I can only describe as amazingly accurate facsimiles of British geography given the limitations of storage and playability. Derwent Reservoir is identifiable by shape, Bamburgh Castle is correct and present, as is the car park opposite it and the village is pretty spot on. Ambleside is a bit smaller than I remember but the bits that are there are correct, and Edinburgh is Edinburgh (well, at least the city centre bit). It's one of those kind of cool things when a videogame developer aims to recreate the real world and does so with such a degree of fidelity that being there in-game brings back vivid memories of being there in the real world. I will add that real world beats computer world every time (just in case anyone was wondering :-)) The driving remains sublime and there is enough freedom and challenges to keep you occupied for weeks, if not months. The first of the DLC packs, Fortune Island, adds even more and I eagerly await the second DLC pack in January 2019. Are there any issues? Some, maybe a hint of slowdown in really busy sections, but they are few and far between. That and the wheelspin prize function which, as it brings in clothing and accessories alongside the traditional credits and cars, tends to give you a fair bit of unwanted crap. However, there are no micro-transactions and that should be applauded.
Well, only one more to go, so next time, it will be books for 2018.
First up, we have Kingdom Come: Deliverance. An action role-playing game set in Bohemia in 1403, KC:D offers an open world experience with period accurate weapons, architecture, clothing and politics. I picked this one up as it had been reviewed with a tag-line of "like Skyrim, but without the Dragons". That got my interest. That it is also as historically accurate as it can be in an entertainment medium also piqued my curiosity. What it delivered was a decent, though not spectacular experience that was a bit rough around the edges, had more than a few bugs and a god-awful save system (there were conditions required for you to save your game and you could die a lot!). It did deliver on the history and the developers must be applauded for that. It just felt right and if you have even a passing interest in the period, give it a try.
We Happy Few was one of the most anticipated titles for me in 2018. Set in an alternate 1960's England where we lost World War 2, people are controlled by a substance called Joy, WHF is steeped in English history and Shakespeare in particular. With a unique art style, intriguing story and three playable characters, I took to this game immediately. Then stopped. The melee combat is practically broken, there are game-breaking bugs, general graphical and sound issues and even the story left so much up in the air, it kind of made me question why I had bothered at all. I suppose if you can pick it up on the cheap, then give it a go, but for a full-price title, it's disappointing.
The Shenmue Collection brings two classic Sega Dreamcast titles that surely deserved a greater audience back in the day to modern gaming consoles. Whilst not true re-masters, the Collection is a welcome return of Yu Suzuji's seminal due ahead of the much anticipated Shenmue 3 due in 2019. The lack up much of an update to the graphics isn't that bad a thing, they're still functional today but it's the character animation that really is showing its age. However, despite being nearly 20 years old, they still deliver the goods. What has dated are the gameplay mechanics. There really are from a different era and the slow, nay glacial pace at the very beginning of the first game does draw you into the story if you give it time. The gameplay can be a tad unforgiving and there is a lack of polish in some areas that younger gamers may not be used to but even now, the Shenmue Collection is evidence of a master of the trade showboating a technical and story-telling ability that even with the passage of time, astounds today.
Oh Strange Brigade, I so wanted to like you. With your 1930's pulpy story and funny characters, you promised to be a shooter that would be just the bill for a Saturday afternoon session. And you almost were, but with gunplay that was a smidge too loose and the game really needing co-op play (I know it was advertised as an up to four player co-op experience but you still permitted single players), it snatched defeat from the jaws of victory. True, you have a likable swagger and the premise is worthy of Rebellion Studios continuing it with it's comic or movie/TV wing, but as a game, this lacked that vital spark to make it a must play.
Similarly disappointing was Shadow of the Tomb Raider. The final part of the most recent re-boot's trilogy, SotR is a polished and enjoyable experience with a couple of issues that stop it being a truly great game. The base story is decent and most of the performances are good, with just Camilla Luddington as Lara Croft coming across as a bit bored of it all (which is a shame as her previous two appearances have been excellent). The exploration sections are challenging enough and the shooting is as good as the series has had, but the key fault in the game lies in the silly turns in the story makes to keep it moving. One example is Lara donning a disguise and questioning the Peruvian locals in her plummy English accent and no-one realising it's Lara. Hmmm...
Next up, Broken Sword 5: The Serpent's Curse. Not a new release per se this year, but it was ported over to the Nintendo Switch and it was on this format that I revisited the game since originally purchasing it on the X-Box One a couple of years back. This is point and click adventuring in the true Revolution Studios style and sees the welcome return of George Stobbart and Nico Collard. The move to switch suits the slow pace of the gameplay and the port is well handled. The story is intriguing and the puzzles are mostly sensible (but all point and click adventures throughout the years have suffered from weak puzzling at one point or another. The quality of the voice acting, animation and artwork make the fifth of the Broken Sword series feel like a comfy blanket, to be enjoyed and savoured. I'll honestly say it's not the best in the Broken Sword series (that would be the first game), but The Serpent's Tale shows the series still has what it takes and is well worth purchasing. Hopefully, they'll get round to number six at some point.
Finally, we have Forza Horizon 4. Another sequel, yes, but one that continues the drive (see what I did there) of the Forza Horizon franchise to become the most polished and fun driving series available anywhere. Moving to an idealised Britain after number three's Australian tour, FH4 introduces seasons, changing on a weekly basis, more enhanced weather effects and what I can only describe as amazingly accurate facsimiles of British geography given the limitations of storage and playability. Derwent Reservoir is identifiable by shape, Bamburgh Castle is correct and present, as is the car park opposite it and the village is pretty spot on. Ambleside is a bit smaller than I remember but the bits that are there are correct, and Edinburgh is Edinburgh (well, at least the city centre bit). It's one of those kind of cool things when a videogame developer aims to recreate the real world and does so with such a degree of fidelity that being there in-game brings back vivid memories of being there in the real world. I will add that real world beats computer world every time (just in case anyone was wondering :-)) The driving remains sublime and there is enough freedom and challenges to keep you occupied for weeks, if not months. The first of the DLC packs, Fortune Island, adds even more and I eagerly await the second DLC pack in January 2019. Are there any issues? Some, maybe a hint of slowdown in really busy sections, but they are few and far between. That and the wheelspin prize function which, as it brings in clothing and accessories alongside the traditional credits and cars, tends to give you a fair bit of unwanted crap. However, there are no micro-transactions and that should be applauded.
Well, only one more to go, so next time, it will be books for 2018.
Saturday, 29 December 2018
Year in Review - Films
Another Year in Review post, this one covering the cinematic releases I managed to catch in 2018.
I'll start with the Marvel trio of Black Panther, Avengers: Infinity War and Ant-man and the Wasp. Another three slickly produced and well made blockbusters, demonstrating how good the Disney-owned Marvel movie factory actually is. Black Panther nails the origins story, Infinity War brings the Thanos story line along nicely and Ant-man 2 gives us more character background and a chance to see CGI Michael Douglas as a young man again. And yes, it's still a little freaky! Each ties in with the on-going narrative that Marvel started all those many films ago (the original Iron Man - it feels like an age since that first came out) and whilst each was successful at the Box Office (especially Black Panther - $1.34 billion for effectively an origin story is tremendous), I think the steam is running out of the series.
Let me explain. Black Panther gave us the origin story of the character and one of the best secondary villains in a Marvel film (Andy Serkis showing that he's more than just a bloke in a mo-cap suit), so far, so good. The thing is it's only the second of the origin films (from Iron Man, Thor, Captain America, Ant-Man, Dr Strange and even Guardians of the Galaxy), that's been great in every respect. Spiderman - Homecoming is about equal here. We have another origins movie next year, Captain Marvel that, when I saw the first trailer, I thought it looked decent. Then the second trailer dropped and I found I couldn't care less. Maybe it's just me, but once we get the Infinity Wars story line finished in Avengers: Endgame, I'm not sure how much more effort I want to put into these films. Another by the book origins story with an overly CGI'd final battle and character redemption is not something I really want to see again. That's been done already. I could be wrong, but at it's current standing, Captain Marvel might be the Marvel film that hits "Peak Superhero" for me.
Of course, whilst fans will say it's great bringing new characters and new story lines in, it's all just about the Benjamins and I am increasingly cynical about Disney. They bought Marvel and have so far managed a frankly embarrassing high level of quality releases. That surely can't continue forever? They bought Star Wars and have pretty much ridden that one into the ground - I would like to see Episode 9 to see how the story ends but that's about it. Now they have the 20th Century Fox-held Marvel licence, so that's the X-Men, Fantastic Four and Deadpool. Lord knows what the conservatively minded studio execs will do with the Merc with a mouth.
Speaking of him, Deadpool 2 saw a sequel that, while it didn't hit the heights of the first film, provided a worthy and fun follow up. Yup, they pushed the boundaries with the humour again, but that's what makes Deadpool quite refreshing. Of course, the success of this one means calls for a third but I'm in two minds about this and even Ryan Reynolds has been honest about saying unless there is a good story, they're willing to leave well alone. As I said above, who knows what Disney will do with the franchise.
The final superhero (or anti-hero) movie is Venom. Nominally part of the Spider-verse that Sony holds the rights to, Venom had some challenges to overcome, with both production fights and questions as to whether Sony could produce a decent superhero movie since the last decent one they made, Spiderman 2 in 2004. Well, they produced a corker, most of which I am crediting to Tom Hardy who once again demonstrates his ability to put 100% into any project he's involved with. A serviceable story, coupled with all-round good performances and a decent line in humour, the only thing that detracts from Venom is the CGI-fest finale, but that's a staple now of the genre. Feeling more fresh that Deadpool 2 and less "manufactured" than the Marvel series, Venom was the superhero film of the year for me.
On to what can only be described as the most unnecessary sequel ever produced (unless you are the studio execs who saw the first film take $1.67 billion worldwide), Jurassic World: Fallen Kingdom was advertised as a new adventure and ended up being a bit of a re-tread with an oddly small-scale third act. That didn't harm its box office success too much, raking in $1.3 billion and more than justifying a third film in the Jurassic World series. And that's the disappointing thing here - Fallen Kingdom exists merely to bridge the gap. The story is lazy, the actors look bored and it's likely the film will be remembered only as something you have to watch to keep up with the story. The worry here is that the third film will suffer from the same malaise that has gripped the second. Time will tell.
Before I get to my final film, a quick note about The Greatest Showman. The Hugh Jackman-starring musical loosely based on PT Barnum (loosely based is about the right level to describe this movie - there is a guy called Barnum and he had a circus - the rest is purely for entertainment), is a rip-roaring crowd-pleaser with enough ear-worm songs that you'll be humming them for hours after the end of the movie. My opinion is based purely on the entertainment value of the film, not its historical accuracy and you could do far worse than give up a couple of hours for this.
Right, the final film of the post and it's undoubtedly the best of the films I have seen this year, so much so that we went to see it twice (once at the chain cinema in the MetroCentre and once at the local independent cinema in Consett - you use it or lose it). That film, Mission Impossible: Fallout. Entry number six in a series that started in 1996, MI: Fallout continues the quality trend since MI: Ghost Protocol. With regular cast members back in place (Ving Rhames, Simon Pegg and the seemingly immortal Tom Cruise) plus returning cast from the previous entry MI: Rogue Nation (Alex Baldwin, Rebecca Ferguson and Sean Harris), MI: Fallout also brings in a few nods to the older entries and celebrates the fact that they've been doing this kind of thing for so long. Some might say this entry is a little too long but it never really sags and the action sequences are the best the series has had yet. The HALO jump and the toilet fight scene are two stand outs among the many set pieces. Part of the success is the acknowledgment of Cruise's advancing age and yet he still puts in maximum effort on screen - even to the point they kept the shot from a roof top jump where he breaks his ankle on contact with the side of a building and then hobbles off. That is a tad mental! Mention must also be given to the soundtrack which is simply sublime. People generally take little interest in the music used in action films - this soundtrack will make you sit up and take notice. That this series still feels fresh and exciting after 22 years is very much down to the right production teams, writers, directors and actors and I for one look forward to the inevitable follow up. How Cruise beats the spectacle he's already provided will be the big question. Space, anyone?
That's films out of the way. Let me know what you think of my choices and if there are films you have seen in 2018 that caught your interest. Next up, it'll be videogames.
I'll start with the Marvel trio of Black Panther, Avengers: Infinity War and Ant-man and the Wasp. Another three slickly produced and well made blockbusters, demonstrating how good the Disney-owned Marvel movie factory actually is. Black Panther nails the origins story, Infinity War brings the Thanos story line along nicely and Ant-man 2 gives us more character background and a chance to see CGI Michael Douglas as a young man again. And yes, it's still a little freaky! Each ties in with the on-going narrative that Marvel started all those many films ago (the original Iron Man - it feels like an age since that first came out) and whilst each was successful at the Box Office (especially Black Panther - $1.34 billion for effectively an origin story is tremendous), I think the steam is running out of the series.
Let me explain. Black Panther gave us the origin story of the character and one of the best secondary villains in a Marvel film (Andy Serkis showing that he's more than just a bloke in a mo-cap suit), so far, so good. The thing is it's only the second of the origin films (from Iron Man, Thor, Captain America, Ant-Man, Dr Strange and even Guardians of the Galaxy), that's been great in every respect. Spiderman - Homecoming is about equal here. We have another origins movie next year, Captain Marvel that, when I saw the first trailer, I thought it looked decent. Then the second trailer dropped and I found I couldn't care less. Maybe it's just me, but once we get the Infinity Wars story line finished in Avengers: Endgame, I'm not sure how much more effort I want to put into these films. Another by the book origins story with an overly CGI'd final battle and character redemption is not something I really want to see again. That's been done already. I could be wrong, but at it's current standing, Captain Marvel might be the Marvel film that hits "Peak Superhero" for me.
Of course, whilst fans will say it's great bringing new characters and new story lines in, it's all just about the Benjamins and I am increasingly cynical about Disney. They bought Marvel and have so far managed a frankly embarrassing high level of quality releases. That surely can't continue forever? They bought Star Wars and have pretty much ridden that one into the ground - I would like to see Episode 9 to see how the story ends but that's about it. Now they have the 20th Century Fox-held Marvel licence, so that's the X-Men, Fantastic Four and Deadpool. Lord knows what the conservatively minded studio execs will do with the Merc with a mouth.
Speaking of him, Deadpool 2 saw a sequel that, while it didn't hit the heights of the first film, provided a worthy and fun follow up. Yup, they pushed the boundaries with the humour again, but that's what makes Deadpool quite refreshing. Of course, the success of this one means calls for a third but I'm in two minds about this and even Ryan Reynolds has been honest about saying unless there is a good story, they're willing to leave well alone. As I said above, who knows what Disney will do with the franchise.
The final superhero (or anti-hero) movie is Venom. Nominally part of the Spider-verse that Sony holds the rights to, Venom had some challenges to overcome, with both production fights and questions as to whether Sony could produce a decent superhero movie since the last decent one they made, Spiderman 2 in 2004. Well, they produced a corker, most of which I am crediting to Tom Hardy who once again demonstrates his ability to put 100% into any project he's involved with. A serviceable story, coupled with all-round good performances and a decent line in humour, the only thing that detracts from Venom is the CGI-fest finale, but that's a staple now of the genre. Feeling more fresh that Deadpool 2 and less "manufactured" than the Marvel series, Venom was the superhero film of the year for me.
On to what can only be described as the most unnecessary sequel ever produced (unless you are the studio execs who saw the first film take $1.67 billion worldwide), Jurassic World: Fallen Kingdom was advertised as a new adventure and ended up being a bit of a re-tread with an oddly small-scale third act. That didn't harm its box office success too much, raking in $1.3 billion and more than justifying a third film in the Jurassic World series. And that's the disappointing thing here - Fallen Kingdom exists merely to bridge the gap. The story is lazy, the actors look bored and it's likely the film will be remembered only as something you have to watch to keep up with the story. The worry here is that the third film will suffer from the same malaise that has gripped the second. Time will tell.
Before I get to my final film, a quick note about The Greatest Showman. The Hugh Jackman-starring musical loosely based on PT Barnum (loosely based is about the right level to describe this movie - there is a guy called Barnum and he had a circus - the rest is purely for entertainment), is a rip-roaring crowd-pleaser with enough ear-worm songs that you'll be humming them for hours after the end of the movie. My opinion is based purely on the entertainment value of the film, not its historical accuracy and you could do far worse than give up a couple of hours for this.
Right, the final film of the post and it's undoubtedly the best of the films I have seen this year, so much so that we went to see it twice (once at the chain cinema in the MetroCentre and once at the local independent cinema in Consett - you use it or lose it). That film, Mission Impossible: Fallout. Entry number six in a series that started in 1996, MI: Fallout continues the quality trend since MI: Ghost Protocol. With regular cast members back in place (Ving Rhames, Simon Pegg and the seemingly immortal Tom Cruise) plus returning cast from the previous entry MI: Rogue Nation (Alex Baldwin, Rebecca Ferguson and Sean Harris), MI: Fallout also brings in a few nods to the older entries and celebrates the fact that they've been doing this kind of thing for so long. Some might say this entry is a little too long but it never really sags and the action sequences are the best the series has had yet. The HALO jump and the toilet fight scene are two stand outs among the many set pieces. Part of the success is the acknowledgment of Cruise's advancing age and yet he still puts in maximum effort on screen - even to the point they kept the shot from a roof top jump where he breaks his ankle on contact with the side of a building and then hobbles off. That is a tad mental! Mention must also be given to the soundtrack which is simply sublime. People generally take little interest in the music used in action films - this soundtrack will make you sit up and take notice. That this series still feels fresh and exciting after 22 years is very much down to the right production teams, writers, directors and actors and I for one look forward to the inevitable follow up. How Cruise beats the spectacle he's already provided will be the big question. Space, anyone?
That's films out of the way. Let me know what you think of my choices and if there are films you have seen in 2018 that caught your interest. Next up, it'll be videogames.
Friday, 28 December 2018
Year in Review - Television
The end of another year and a time to reflect a little on what I've been watching on TV in 2018. Not a great deal, to be honest, but there have been a few shows worthy of comment.
Starting off, we have Hard Sun, a so-called pre-apocalyptic thriller that the BBC aired in January. I put up a review post here and to avoid repeating myself, all I'll add is that I was disappointed with the show. It promised much but the execution was lacking.
Next up, the second half of season one for Star Trek: Discovery. I say second half as American broadcasters have this annoying habit of putting months-long break in TV shows instead of showing the whole season in one block. The break didn't hurt ST: Disco as the season ended on a high and delivered what I was expecting from a modern day ST show. The cast were uniformly excellent (especially Jason Isaacs who seems to have been having a ball!), the production values were top notch and the story engrossing. True, some didn't like it as it wasn't "true" to the values of Trek, but I think it mostly was and let's be honest here, if a show doesn't re-invent itself periodically, it disappears into the depressing void of formulaic nothingness. No, Disco was an excellent return to form for TV Trek and I look forward to the second season coming next month.
Another show that re-invented itself for the umpteenth time, Dr Who. I'll address the elephant in the room first - Jodie Whitaker is excellent in the role and the new (or should I say old) vibe of providing educational episodes (where you actually learn a bit about history) is refreshing compared to the convoluted series arcs that the Tennant and Smith era's provided. The three new companions, sorry, friends of the Doctor are worthy additions, especially Bradley Walsh, who gets to show some serious acting chops. One thing this Doctor has mostly avoided is terrible scripting, something that plagued Peter Capaldi's first series, doing much to undermine his great efforts to make the role his own. With a New Year special coming and a second series due at some point, the show has gotten past the kerfuffle about a female Doctor with style and hopefully has a bright future ahead. However, with rumoured issues between Chris Chibnall, the show runner and the BBC, it may be that we only get two series in total.
Another good TV show this year was Jack Ryan. A review of the show is here and that too is another programme I'm looking forward to returning.
The same can be said for Lost in Space, Netflix's re-imagining of the classic sci-fi show. Brought up to date and with vastly superior SFX, Lost in Space had a lot to prove as a flagship show and by God, did it prove it. With an excellent cast (minus the ever-so-slightly annoying Parker Posey as Dr Smith - you really want people to just think about what she's doing and kill her) and a re-jigged story line, Lost in Space provided an excellent counter to Trek and Who for sci-fi fans. It also boasted excellent production values and the pacing over the limited run of episodes was top notch. Again, a second season is due, probably next year.
Marvel TV shows got short shrift from me this year, with only the second season of Luke Cage getting a watch. That show, to be honest, was crap. Too long, too slow and boring, I made my feelings known here. They haven't changed.
This leads me to the Missing In Action section, shows that I haven't seen yet they were released in 2018. First up, the Marvel shows - Daredevil season 3 and Iron Fist season 2. After ploughing through Luke Cage, my lovely lady and I decided that we weren't going to waste any more time on these shows. Yes, Iron Fist season 2 got better reviews than the first, but that wasn't exactly something to shout about, and the third outing for Daredevil was considered a return to form, but when each series takes up to 13 hours of your time, you want to be entertained and they just didn't seem to offer that - and no, this does not break the Magnusson Protocol.
That leaves The Expanse season 3. With a 100% fresh rating on Rottentomatoes.com, this season was one I was really looking forward to appearing on Netflix. Sadly, it didn't. You see, Alcon Entertainment makes the show, with SyFy having first broadcast rights in the US, Amazon having re-broadcast rights in the US and Netflix pretty much covering the rest of the planet. SyFy cancelled the show despite the glowing reviews and obvious quality due to poor ratings - remember, they only have first broadcast rights. Fortunately, Amazon picked up the show for a fourth season, but in doing so, picked up the rights for all broadcasts worldwide. This happened before season 3 made it to the UK. Netflix have since pulled the first two seasons from their network and there is no sign of Amazon showing any of the seasons in the UK. It's a shame and it looks like I'll have to wait until the DVD release next autumn.
So that's it for television. Next year promises to have some corking shows and no doubt I'll have a comment or two on here. Also look out for the Year in Review posts for Films, Books and Games coming up over the next few days.
Starting off, we have Hard Sun, a so-called pre-apocalyptic thriller that the BBC aired in January. I put up a review post here and to avoid repeating myself, all I'll add is that I was disappointed with the show. It promised much but the execution was lacking.
Next up, the second half of season one for Star Trek: Discovery. I say second half as American broadcasters have this annoying habit of putting months-long break in TV shows instead of showing the whole season in one block. The break didn't hurt ST: Disco as the season ended on a high and delivered what I was expecting from a modern day ST show. The cast were uniformly excellent (especially Jason Isaacs who seems to have been having a ball!), the production values were top notch and the story engrossing. True, some didn't like it as it wasn't "true" to the values of Trek, but I think it mostly was and let's be honest here, if a show doesn't re-invent itself periodically, it disappears into the depressing void of formulaic nothingness. No, Disco was an excellent return to form for TV Trek and I look forward to the second season coming next month.
Another show that re-invented itself for the umpteenth time, Dr Who. I'll address the elephant in the room first - Jodie Whitaker is excellent in the role and the new (or should I say old) vibe of providing educational episodes (where you actually learn a bit about history) is refreshing compared to the convoluted series arcs that the Tennant and Smith era's provided. The three new companions, sorry, friends of the Doctor are worthy additions, especially Bradley Walsh, who gets to show some serious acting chops. One thing this Doctor has mostly avoided is terrible scripting, something that plagued Peter Capaldi's first series, doing much to undermine his great efforts to make the role his own. With a New Year special coming and a second series due at some point, the show has gotten past the kerfuffle about a female Doctor with style and hopefully has a bright future ahead. However, with rumoured issues between Chris Chibnall, the show runner and the BBC, it may be that we only get two series in total.
Another good TV show this year was Jack Ryan. A review of the show is here and that too is another programme I'm looking forward to returning.
The same can be said for Lost in Space, Netflix's re-imagining of the classic sci-fi show. Brought up to date and with vastly superior SFX, Lost in Space had a lot to prove as a flagship show and by God, did it prove it. With an excellent cast (minus the ever-so-slightly annoying Parker Posey as Dr Smith - you really want people to just think about what she's doing and kill her) and a re-jigged story line, Lost in Space provided an excellent counter to Trek and Who for sci-fi fans. It also boasted excellent production values and the pacing over the limited run of episodes was top notch. Again, a second season is due, probably next year.
Marvel TV shows got short shrift from me this year, with only the second season of Luke Cage getting a watch. That show, to be honest, was crap. Too long, too slow and boring, I made my feelings known here. They haven't changed.
This leads me to the Missing In Action section, shows that I haven't seen yet they were released in 2018. First up, the Marvel shows - Daredevil season 3 and Iron Fist season 2. After ploughing through Luke Cage, my lovely lady and I decided that we weren't going to waste any more time on these shows. Yes, Iron Fist season 2 got better reviews than the first, but that wasn't exactly something to shout about, and the third outing for Daredevil was considered a return to form, but when each series takes up to 13 hours of your time, you want to be entertained and they just didn't seem to offer that - and no, this does not break the Magnusson Protocol.
That leaves The Expanse season 3. With a 100% fresh rating on Rottentomatoes.com, this season was one I was really looking forward to appearing on Netflix. Sadly, it didn't. You see, Alcon Entertainment makes the show, with SyFy having first broadcast rights in the US, Amazon having re-broadcast rights in the US and Netflix pretty much covering the rest of the planet. SyFy cancelled the show despite the glowing reviews and obvious quality due to poor ratings - remember, they only have first broadcast rights. Fortunately, Amazon picked up the show for a fourth season, but in doing so, picked up the rights for all broadcasts worldwide. This happened before season 3 made it to the UK. Netflix have since pulled the first two seasons from their network and there is no sign of Amazon showing any of the seasons in the UK. It's a shame and it looks like I'll have to wait until the DVD release next autumn.
So that's it for television. Next year promises to have some corking shows and no doubt I'll have a comment or two on here. Also look out for the Year in Review posts for Films, Books and Games coming up over the next few days.
Friday, 15 December 2017
2017 - A Year in Film
The final review of the year post, this one focuses on film, notably those which were released in 2017, so sadly The Man from UNCLE won't get anything other than a mention here. What I will add to each film, where possible, are the production budgets and total film gross to date in millions of dollars - some are still on release so the totals may not be final - (figures courtesy of BoxOfficeMojo.com). This will give you an idea of how successful the film has been at the box office alongside my opinion. As a rough guide, if a film takes 3.5 times its production budget at the box office, then it can be considered a profitable success. That is not a hard and fast rule but it's the simplest way that kind of works. Also, most of these films were seen at the local independent cinema. They show 3D films for £8, a standard 2D is £6.30 and Tuesdays are £4 cheap days (prices as of Nov 2017). I'd rather support a local independent that frankly money grabbing national chains where possible. That's just me, no criticism of what you prefer intended.
So, onto the films. Let's start off with the Marvel Cinematic Universe which saw three films released this year: Guardians of the Galaxy 2 ($200/$863.5), Spiderman: Homecoming ($175/$880.1) and Thor: Ragnarok ($180/$834.9). These mark the 15th, 16th and 17th films in the MCU respectively and continue the high quality, entertaining blockbusters that the series has come to epitomise. Whilst each is tonally different, they fall neatly into the MCU and develop their characters in meaningful ways at the same time as being enjoyable standalone films in their own right.
Guardians 2 had the difficult task of following the original, one of the true break-out hits of the MCU. That it did, even though it did feel a little too similar, but more of the same is good, right? Well, yeah, and the core story, Peter Quinn's meeting his father, was handled well (plus an excellent cameo), but there were signs of them coasting a bit (can we take much more Baby Groot?). Still, this was well made and fun. It did tease the nostalgia buds for the 1980's (as did Stranger Things 2) but I hope it moves past that in Guardians 3.
Spiderman: Homecoming was the dark horse of the MCU this year, the first full Spiderman film from Marvel (Captain America: Civil War doesn't count, that was a teaser). And boy, didn't they do well! Part of it was casting, Tom Holland nails Peter Parker and Michael Keaton as the villain was superb. There was humour, pathos, and a coming of age story that didn't feel forced. I, for one, was pleased Sony Pictures teamed up with Marvel for this and I wouldn't feel any sadness of it stayed that way. The original Toby Maguire trilogy started well and ended in a confused mess. The Andrew Garfield pair were just a mess. Maybe there is a brighter future here...
Thor: Ragnarok, the third standalone Thor film, marked a return to form after the po-faced Thor: The Dark World. There was colour, humour, excitement (calm down, Eddie!) and Cate Blanchett (seriously, dude!). The direction by Taika Waititi was light and assured, his turn as Korg is a highlight of the film. This was a serious and fun film at the same time and provided a buddy comedy act between Chris Hemsworth and Mark Ruffalo as Thor and Bruce Banner/The Hulk respectively leaving me with a smile on my face when I left the cinema.
A big surprise, and one of my favourite films of the year was Wonder Woman ($149/$821.7). A DC universe film, Wonder Woman broke the mould set by previous DC universe films and wasn't a dull, dark CGI mess - well, apart from the CGI fist fight at the end, but that's a superhero film issue in general. With a great central character and a decent story, Patty Jenkins delivered the shot in the arm that the DC series needed. Justice League ($300 rumoured/$617(!!!) went back to the original dark template and hasn't been anywhere as successful. I haven't seen that yet, probably will next week, but the League haven't done the series any favours.
Two big tent pole features have already received a kicking from me here, The Mummy ($125/$409) and Transformers: The Last Knight ($217/$605.4). The Mummy was such a disappointment that the two planned follow up movies for the Dark Universe series have both had their release dates removed from future schedules which does not bode well. Transformers: The Last Knight was a bomb and a half and whilst the lower budget Bumblebee spin off is due next year, the soft re-boot that the Last Knight heralded has put the series future in doubt.
Not all big-budget blockbusters had a tough time, The Fate and the Furious ($250/$1,235.7) - the 8th of the series, signalled a further move away from the illegal street racing of the first few films and more to an international espionage ensemble. Sometimes, you need a big, dumb popcorn movie to just relax with and FF8 was that film. It was not without its faults (Vin Diesel is po-faced to the extreme and the stunts are getting more and more outlandish), but with an cracking on-screen chemistry between Dwayne Johnson and Jason Statham and the latter's brilliant solo fight scene on the aircraft with a baby in tow, FF8 stayed just inside the line without veering into panto.
Speaking of panto and gormless idiocy, both Geostorm ($120/$207.6) and Baywatch ($69/$177) were forgettable. There was enough scene chewing in both that it overtook the end of the world CGI-fest in Geostorm and the by-the-numbers "comedy" of Baywatch. I would say that neither are worth your time.
The only animated film I saw this year was The LEGO Batman Movie ($80/$311.5). Smart, funny, self-aware and with of the best on-screen Batman's ever, the film hit all of the right notes. Filled with easter eggs and cameos, this film knew its audience and played to them with style.
There were more sequels this year, with T2: Trainspotting ($18/$41.6), a nostalgic look at the original that didn't seem to say anything new, even with twenty years separating them and John Wick: Chapter Two ($40/$171.5), a follow up that took everything that was good about the first film and turned it up to 11 whilst also progressing the character's story arc and setting up a third film. This is a series that deserves that film.
Staying with action and adding comedy, The Hitman's Bodyguard ($30/$176.5), was a mis-matched buddy film that worked better than I expected and was quite the gem. Yes, it was a relatively low budget feature but that was more of a help than a hindrance.
Dunkirk ($100/$525), a snapshot of the evacuation covering three characters over the period of 1 week, 1 day and 1 hour, their stories intertwined until they sync by the end, was a clever and well made film that, despite its good points, left me quite cold. True, the film feels empty anyway, you never feel that there are hundreds of thousands of troops trying to get home, but there is an emotional emptiness that gives the film a coldness that prevents me from liking it more.
Another film that left me cold was The Death of Stalin ($?/$6.6). Written and directed by Armando Iannucci (creator of The Thick of It, In the Loop and Veep), I expected more of this political comedy, but it fell flat for me, even if it was clever, observant and complex. In fact, the only high points (and only because the actors were allowed to use their own or own choice of accents) is when Jason Isaacs arrives on screen as General Zhukov - his Yorkshire approach to the blunt speaking military man is excellent and lights the screen up. It's just a shame he doesn't appear in it until past the half way mark.
Baby Driver ($34/$226.9) is an action/crime film written and directed by Edgar Wright, he of the "Cornetto Trilogy amongst others. This film is driven(!) by music and the ensemble cast that bring a zing and verve that carry you along through the fairly straightforward story. It's stylish and confident and shows what the director can do when let loose by a studio. It his most commercially successful film to date and I think one of his best (Hot Fuzz still holds that title for me).
Kingsman: The Golden Circle ($104/$395.3) was another sequel that delivered the goods in term of story and character development with an eye on a third film. Whilst it may have re-used some of the tropes from the original, there was a swagger, brightness and style to this one that outshone the first. That and a superb cameo by Elton John made this my sequel of the year.
Before the final film gets a mention, I will bring up 6 Days ($?/$0.3). I have already commented upon it here but it deserves saying again. This low budget action drama is well worth your time and I think this is a good instance of a streaming service (in this case, Netflix) picking up a film that would have disappeared into the background otherwise.
Finally, Murder on the Orient Express ($55/$280). Now I know people who don't like this Christie tale because of how the story works. Well, no spoilers, but I like it, it's different to the usual murder mystery stories. Many will compare this all-star cast version to the 1970's Albert Finney, but that would be to miss the point. This is a re-telling that is polished, confident and stylish. It works well and on the night we went to see it at the local cinema, the place was nearly full. Branagh directs and plays Poirot and he does a cracking job at both. I never really liked Finney in the role - I consider Peter Ustinov the definitive big-screen Poirot and nobody can touch David Suchet for the small screen interpretation. However, this adaptation works very well and sets up Death on the Nile which hopefully they'll start on soon.
So that's it for the year, there will be more book, film and game opinions next year. I hope you all have a good Christmas and a happy New Year
So, onto the films. Let's start off with the Marvel Cinematic Universe which saw three films released this year: Guardians of the Galaxy 2 ($200/$863.5), Spiderman: Homecoming ($175/$880.1) and Thor: Ragnarok ($180/$834.9). These mark the 15th, 16th and 17th films in the MCU respectively and continue the high quality, entertaining blockbusters that the series has come to epitomise. Whilst each is tonally different, they fall neatly into the MCU and develop their characters in meaningful ways at the same time as being enjoyable standalone films in their own right.
Guardians 2 had the difficult task of following the original, one of the true break-out hits of the MCU. That it did, even though it did feel a little too similar, but more of the same is good, right? Well, yeah, and the core story, Peter Quinn's meeting his father, was handled well (plus an excellent cameo), but there were signs of them coasting a bit (can we take much more Baby Groot?). Still, this was well made and fun. It did tease the nostalgia buds for the 1980's (as did Stranger Things 2) but I hope it moves past that in Guardians 3.
Spiderman: Homecoming was the dark horse of the MCU this year, the first full Spiderman film from Marvel (Captain America: Civil War doesn't count, that was a teaser). And boy, didn't they do well! Part of it was casting, Tom Holland nails Peter Parker and Michael Keaton as the villain was superb. There was humour, pathos, and a coming of age story that didn't feel forced. I, for one, was pleased Sony Pictures teamed up with Marvel for this and I wouldn't feel any sadness of it stayed that way. The original Toby Maguire trilogy started well and ended in a confused mess. The Andrew Garfield pair were just a mess. Maybe there is a brighter future here...
Thor: Ragnarok, the third standalone Thor film, marked a return to form after the po-faced Thor: The Dark World. There was colour, humour, excitement (calm down, Eddie!) and Cate Blanchett (seriously, dude!). The direction by Taika Waititi was light and assured, his turn as Korg is a highlight of the film. This was a serious and fun film at the same time and provided a buddy comedy act between Chris Hemsworth and Mark Ruffalo as Thor and Bruce Banner/The Hulk respectively leaving me with a smile on my face when I left the cinema.
A big surprise, and one of my favourite films of the year was Wonder Woman ($149/$821.7). A DC universe film, Wonder Woman broke the mould set by previous DC universe films and wasn't a dull, dark CGI mess - well, apart from the CGI fist fight at the end, but that's a superhero film issue in general. With a great central character and a decent story, Patty Jenkins delivered the shot in the arm that the DC series needed. Justice League ($300 rumoured/$617(!!!) went back to the original dark template and hasn't been anywhere as successful. I haven't seen that yet, probably will next week, but the League haven't done the series any favours.
Two big tent pole features have already received a kicking from me here, The Mummy ($125/$409) and Transformers: The Last Knight ($217/$605.4). The Mummy was such a disappointment that the two planned follow up movies for the Dark Universe series have both had their release dates removed from future schedules which does not bode well. Transformers: The Last Knight was a bomb and a half and whilst the lower budget Bumblebee spin off is due next year, the soft re-boot that the Last Knight heralded has put the series future in doubt.
Not all big-budget blockbusters had a tough time, The Fate and the Furious ($250/$1,235.7) - the 8th of the series, signalled a further move away from the illegal street racing of the first few films and more to an international espionage ensemble. Sometimes, you need a big, dumb popcorn movie to just relax with and FF8 was that film. It was not without its faults (Vin Diesel is po-faced to the extreme and the stunts are getting more and more outlandish), but with an cracking on-screen chemistry between Dwayne Johnson and Jason Statham and the latter's brilliant solo fight scene on the aircraft with a baby in tow, FF8 stayed just inside the line without veering into panto.
Speaking of panto and gormless idiocy, both Geostorm ($120/$207.6) and Baywatch ($69/$177) were forgettable. There was enough scene chewing in both that it overtook the end of the world CGI-fest in Geostorm and the by-the-numbers "comedy" of Baywatch. I would say that neither are worth your time.
The only animated film I saw this year was The LEGO Batman Movie ($80/$311.5). Smart, funny, self-aware and with of the best on-screen Batman's ever, the film hit all of the right notes. Filled with easter eggs and cameos, this film knew its audience and played to them with style.
There were more sequels this year, with T2: Trainspotting ($18/$41.6), a nostalgic look at the original that didn't seem to say anything new, even with twenty years separating them and John Wick: Chapter Two ($40/$171.5), a follow up that took everything that was good about the first film and turned it up to 11 whilst also progressing the character's story arc and setting up a third film. This is a series that deserves that film.
Staying with action and adding comedy, The Hitman's Bodyguard ($30/$176.5), was a mis-matched buddy film that worked better than I expected and was quite the gem. Yes, it was a relatively low budget feature but that was more of a help than a hindrance.
Dunkirk ($100/$525), a snapshot of the evacuation covering three characters over the period of 1 week, 1 day and 1 hour, their stories intertwined until they sync by the end, was a clever and well made film that, despite its good points, left me quite cold. True, the film feels empty anyway, you never feel that there are hundreds of thousands of troops trying to get home, but there is an emotional emptiness that gives the film a coldness that prevents me from liking it more.
Another film that left me cold was The Death of Stalin ($?/$6.6). Written and directed by Armando Iannucci (creator of The Thick of It, In the Loop and Veep), I expected more of this political comedy, but it fell flat for me, even if it was clever, observant and complex. In fact, the only high points (and only because the actors were allowed to use their own or own choice of accents) is when Jason Isaacs arrives on screen as General Zhukov - his Yorkshire approach to the blunt speaking military man is excellent and lights the screen up. It's just a shame he doesn't appear in it until past the half way mark.
Baby Driver ($34/$226.9) is an action/crime film written and directed by Edgar Wright, he of the "Cornetto Trilogy amongst others. This film is driven(!) by music and the ensemble cast that bring a zing and verve that carry you along through the fairly straightforward story. It's stylish and confident and shows what the director can do when let loose by a studio. It his most commercially successful film to date and I think one of his best (Hot Fuzz still holds that title for me).
Kingsman: The Golden Circle ($104/$395.3) was another sequel that delivered the goods in term of story and character development with an eye on a third film. Whilst it may have re-used some of the tropes from the original, there was a swagger, brightness and style to this one that outshone the first. That and a superb cameo by Elton John made this my sequel of the year.
Before the final film gets a mention, I will bring up 6 Days ($?/$0.3). I have already commented upon it here but it deserves saying again. This low budget action drama is well worth your time and I think this is a good instance of a streaming service (in this case, Netflix) picking up a film that would have disappeared into the background otherwise.
Finally, Murder on the Orient Express ($55/$280). Now I know people who don't like this Christie tale because of how the story works. Well, no spoilers, but I like it, it's different to the usual murder mystery stories. Many will compare this all-star cast version to the 1970's Albert Finney, but that would be to miss the point. This is a re-telling that is polished, confident and stylish. It works well and on the night we went to see it at the local cinema, the place was nearly full. Branagh directs and plays Poirot and he does a cracking job at both. I never really liked Finney in the role - I consider Peter Ustinov the definitive big-screen Poirot and nobody can touch David Suchet for the small screen interpretation. However, this adaptation works very well and sets up Death on the Nile which hopefully they'll start on soon.
So that's it for the year, there will be more book, film and game opinions next year. I hope you all have a good Christmas and a happy New Year
Wednesday, 13 December 2017
2017 - A Year in Books
And so to reading material. Whether by unintentional design or accident, most of this year's reading has been non-fiction with the odd novel here and there. That is not to say there isn't more fiction in my reading pile and, to be honest, the pile didn't get much lower this year, despite reducing my book spend. Anyhoo, these are the more memorable books I read this year.
Starting off is 2020: World at War. I put a review of this book here a few months back and, with hindsight, I still find it a disappointing read. It compared itself to the seminal works of General Sir John Hackett and by my judgement, it fares poorly. That was the low point of the year.
Fiction wise, there were two titles in The Expanse series, books 5 (Nemesis Games) and 6 (Babylon's Ashes) and The Flight of the Bat. I reviewed TFotB here and I still like it. As for The Expanse novels, they continued the story centred on James Holden and the crew of the Rocinante. What I like about this series is the complexity of the story, the nuanced characters and the narrative style. I have seen some reviews say it's the Game of Thrones of sci-fi but that would be a disservice to The Expanse. Far more tightly written and lacking any of the flab of the GoT books, The Expanse series are the kind of books that you can get through in a couple of days steady reading, a week or so if you read in bursts. They encompass high concept sci-fi but are grounded by characterisation. If you get the chance, I heartily recommend them.
Non fiction tended to centre around military history and there were a few corkers this year.
Exocet Falklands by Ewen Southby-Tailyour detailed the special forces operations of the Falklands War, including the crashed recon team that trekked across the Argentian border to safety and the proposed operations that would have culminated in Mikado, a one way suicide mission to take out Argentinian Super Etendard pilots at their home airfield. Well written and entertaining, you get the feel Southby-Tailyour has a grudge against the higher-ups involved, that the missions were guided by a "must do something" mentality rather than of military necessity and that the lower level officers didn't fight too hard in case their "can-do" spirit was seen as lacking. Although there are a few technical discrepancies in the text, they do not detract from an interesting tome that should be on anybody's list if you have an interest in special forces or the Falklands War.
Red November, written by a former US submariner W. Craig Reed, tells a tale of espionage and cold war encounters between US and Soviet submarines. The author details his father's role in the struggle as well as his own and the extremes the US Navy (and its divers in particular) went to to gather information on their adversary. This is an easy read and highly informative, it certainly opened my eyes to a topic I thought I knew well and is worth a read.
Hostile Skies is a memoir of Sea Harrier pilot David Morgan in the Falklands War. I will say the description of his role in the conflict is written very well but, and it's a big but, his personal life does get a mention as well as his spirituality. Yes, I know that would have a bearing on how he felt during the conflict but to be honest, these sections were distracting and I felt they didn't need to be there. They may have been added to give a bit of humanity to the gentleman but they weren't needed, his descriptions of conflict and its aftermath do that well enough.
Luxury Fleet by Holger H. Herwig, originally published in the 1970's, is the story of the High Seas Fleet, not just technically and politically, but more importantly, of the human perspective. Highly detailed and with contemporary accounts, Luxury Fleet added flesh to the bones of my knowledge of the High Seas Fleet gained from Dreadnought by Robert K. Massie. An essential read if you have any interest in the period, I was fortunate to pick up a copy of this from a friend and am very pleased I did.
King of the Killing Zone by Orr Kelly, published in 1989, tells the tale of the development of the M1 Abrams main battle tank. It's an interesting book, considering that within two years, the M1 would be tested in battle during the Gulf War and come out of it with flying colours. The story of the development is one of conflicting beliefs in fighting, internal domestic politics and not-invented-here syndrome. That any battle tank entered service is nothing short of a miracle and it proves marvellously that good project management is key to any major defence project; something that, even today, still seems to be hard to achieve. The author, a journalist, writes with a light touch and even when it does get technical, Kelly nimbly weaves the details into the narrative with ease.
If you like tales of debauchery, violence, moral degeneracy and torture, switch off from The Archers(!) and try The Romanovs by Simon Sebag Montefiore. I'd already ready his two part biography of Stalin and this volume, detailing the Romanovs from their lucky beginnings to tragic end, seemed to be in the same vein. In a nutshell, it's a cracking read. It's a hefty tome, as the subject demands, but Montefiore brings the individuals of the family to life and an understanding as to why they acted the way they did. Anyone with an interest in Russian history should add this to their list of must reads.
Finally, we have a trilogy that took me a good couple of months to get though, not through lack of trying, more through the sheer density of the test. Richard J Evans' The Third Reich trilogy (The Coming of the Third Reich, The Third Reich in Power and The Third Reich at War) are an all encompassing history of the rise and fall of Nazi power in Germany, Intensely detailed with contemporary statements, quotes and experiences, the trilogy is heavy going and, at times incredibly disturbing, as the processes used by Hitler and his cohort to gain popularity, then power, then finally self destruction are minutely examined. This is a thinking history of Nazism, it makes you consider events and practices we see today and realise that, certainly with social behaviour, the more things change, the more they stay the same. This trilogy was an impulse purchase and one I am glad I made. If you have any interest in history, either social or military, these three books will certainly inform and educate you.
That is it for books, so just one more review of the year to come, Film.
Starting off is 2020: World at War. I put a review of this book here a few months back and, with hindsight, I still find it a disappointing read. It compared itself to the seminal works of General Sir John Hackett and by my judgement, it fares poorly. That was the low point of the year.
Fiction wise, there were two titles in The Expanse series, books 5 (Nemesis Games) and 6 (Babylon's Ashes) and The Flight of the Bat. I reviewed TFotB here and I still like it. As for The Expanse novels, they continued the story centred on James Holden and the crew of the Rocinante. What I like about this series is the complexity of the story, the nuanced characters and the narrative style. I have seen some reviews say it's the Game of Thrones of sci-fi but that would be a disservice to The Expanse. Far more tightly written and lacking any of the flab of the GoT books, The Expanse series are the kind of books that you can get through in a couple of days steady reading, a week or so if you read in bursts. They encompass high concept sci-fi but are grounded by characterisation. If you get the chance, I heartily recommend them.
Non fiction tended to centre around military history and there were a few corkers this year.
Exocet Falklands by Ewen Southby-Tailyour detailed the special forces operations of the Falklands War, including the crashed recon team that trekked across the Argentian border to safety and the proposed operations that would have culminated in Mikado, a one way suicide mission to take out Argentinian Super Etendard pilots at their home airfield. Well written and entertaining, you get the feel Southby-Tailyour has a grudge against the higher-ups involved, that the missions were guided by a "must do something" mentality rather than of military necessity and that the lower level officers didn't fight too hard in case their "can-do" spirit was seen as lacking. Although there are a few technical discrepancies in the text, they do not detract from an interesting tome that should be on anybody's list if you have an interest in special forces or the Falklands War.
Red November, written by a former US submariner W. Craig Reed, tells a tale of espionage and cold war encounters between US and Soviet submarines. The author details his father's role in the struggle as well as his own and the extremes the US Navy (and its divers in particular) went to to gather information on their adversary. This is an easy read and highly informative, it certainly opened my eyes to a topic I thought I knew well and is worth a read.
Hostile Skies is a memoir of Sea Harrier pilot David Morgan in the Falklands War. I will say the description of his role in the conflict is written very well but, and it's a big but, his personal life does get a mention as well as his spirituality. Yes, I know that would have a bearing on how he felt during the conflict but to be honest, these sections were distracting and I felt they didn't need to be there. They may have been added to give a bit of humanity to the gentleman but they weren't needed, his descriptions of conflict and its aftermath do that well enough.
Luxury Fleet by Holger H. Herwig, originally published in the 1970's, is the story of the High Seas Fleet, not just technically and politically, but more importantly, of the human perspective. Highly detailed and with contemporary accounts, Luxury Fleet added flesh to the bones of my knowledge of the High Seas Fleet gained from Dreadnought by Robert K. Massie. An essential read if you have any interest in the period, I was fortunate to pick up a copy of this from a friend and am very pleased I did.
King of the Killing Zone by Orr Kelly, published in 1989, tells the tale of the development of the M1 Abrams main battle tank. It's an interesting book, considering that within two years, the M1 would be tested in battle during the Gulf War and come out of it with flying colours. The story of the development is one of conflicting beliefs in fighting, internal domestic politics and not-invented-here syndrome. That any battle tank entered service is nothing short of a miracle and it proves marvellously that good project management is key to any major defence project; something that, even today, still seems to be hard to achieve. The author, a journalist, writes with a light touch and even when it does get technical, Kelly nimbly weaves the details into the narrative with ease.
If you like tales of debauchery, violence, moral degeneracy and torture, switch off from The Archers(!) and try The Romanovs by Simon Sebag Montefiore. I'd already ready his two part biography of Stalin and this volume, detailing the Romanovs from their lucky beginnings to tragic end, seemed to be in the same vein. In a nutshell, it's a cracking read. It's a hefty tome, as the subject demands, but Montefiore brings the individuals of the family to life and an understanding as to why they acted the way they did. Anyone with an interest in Russian history should add this to their list of must reads.
Finally, we have a trilogy that took me a good couple of months to get though, not through lack of trying, more through the sheer density of the test. Richard J Evans' The Third Reich trilogy (The Coming of the Third Reich, The Third Reich in Power and The Third Reich at War) are an all encompassing history of the rise and fall of Nazi power in Germany, Intensely detailed with contemporary statements, quotes and experiences, the trilogy is heavy going and, at times incredibly disturbing, as the processes used by Hitler and his cohort to gain popularity, then power, then finally self destruction are minutely examined. This is a thinking history of Nazism, it makes you consider events and practices we see today and realise that, certainly with social behaviour, the more things change, the more they stay the same. This trilogy was an impulse purchase and one I am glad I made. If you have any interest in history, either social or military, these three books will certainly inform and educate you.
That is it for books, so just one more review of the year to come, Film.
Monday, 11 December 2017
2017 - A Year in TV
TV in 2017, for me, was a mix of a couple of new shows and new series of returning shows that varied greatly in quality. Whilst some series showed an uptick in quality, and new shows started well, there were a couple that, based on their current UK runs, no longer have the appeal they once had.
Starting off with the Marvel TV universe, this year saw Iron Fist, The Defenders and The Punisher carrying the torch for the small screen Marvel Universe, and each to varying degrees of quality. Iron Fist was a disappointment, the acting was stilted, the pacing all wrong and the story didn't really do anything. Indeed, the casting of Finn Jones is the worst of the shows issues, his delivery of lines is limp and insipid and even his appearance in Defenders is remarked upon with disdain and sarcasm. There is to be a second season but it will need to improve massively.
The Defenders was the long-awaited meeting of Jessica Jones, Luke Cage, Iron Fist and Daredevil. Did it live up to the billing? Well, kinda. Again, as with other Marvel TV series, pacing was an issue along with what can only be described as budget issues - at times, the show looks cheap and seems to put the characters in situations that feel they were dictated by production budget concerns rather than following the story to its logical conclusion (that lift crash for one!). Still, it was decent, and Sigourney Weaver added a touch of class.
The Punisher was, to be honest, the best of the Marvel series released this year (I have not seen Inhumans and given the reviews, not likely to either). It's a harsh, bloody, violent tale of revenge, redemption and survival, and it does not hold back. Indeed, some scenes, particularly in later episodes are very hard to watch but they do serve the story so fall just short of being labelled torture porn, but only just. The story itself is well thought out and for once, the pacing matches the episode count. Previous shows feel like that even though they only have 10-13 episodes, they run out of story for 8 and stretch the rest out. The acting is uniformly good and I only hope that Jon Bernthal gets a chance to play the character again.
Another new show this year was Star Trek: Discovery. Some Trek fans do not like this show, its tone and delivery are too different from previous Trek shows and the message it delivers is all wring. Well, no, I think they are wrong. Trek, from the tail end of TNG to the limp ending of Enterprise had become safe, stale and formulaic. Ratings were an issue for pretty much every show in that period, even if DS9 and Voayger completed their seven season runs. What the brand needed for a re-launch was something different, and Discovery delivers that in spades whilst remaining familiar enough to mostly keep within the established continuity. Changes to that continuity look like they will be explained in the second half of season one due in January and a second season has already been ordered. The cast are excellent and I will say that Jason Isaacs as the ship's captain looks like he is having a ball every time he is onscreen. Add to that a decent line of scripts and production values that let the universe shine (rumoured to be $8 million per episode), Discovery is a show that I eagerly look forward to returning to.
Final new show, well, limited series, was Gunpowder, a drama based on the Gunpowder Plot of 1605. I watched the first episode and and forgot the rest. Seriously, after 60 slow, supposedly tension building minutes, I found I couldn't care less. Well made, certainly, but it just did not grab my interest and I felt the first episode could have been cut to 40 minutes or less due to the lingering camera shots alone.
Existing shows with new seasons this year were a mixed bag. For one, Gotham, I didn't even bother starting. Season two felt overly long and convoluted. The premise of Gotham was always promising but it never really delivered on that promise. For me, no more.
Scorpion season three was another disappointment, where a previously kooky, light hearted and fun show became simultaneously more serious, illogical and comedic. I think they ran out of stories so started plucking random stuff out of the air to fill episodes. The season opener, a two parter partially set in Bulgaria (a very dark back lot but you can still see the sand covered streets(!), was just bad, and the rescue of one character by a supersonic bomber pilot plain horse poop! When the fourth season gets its airing on Netflix, I'm not sure I'll be joining Walt and the gang again.
Stranger Things 2 was a highlight for me after a slow, but stellar first season last year. This time round, they started on all cylinders and improved from there. This season, introducing new characters and a bit more background to Eleven and the Upside Down, was brilliant. Yeah, it played on nostalgia for the 80's that people of a certain age have (and those younger pretend were cool but I lived through it and it wasn't all He-Man and Ghostbusters...), but I look forward to season three whenever that arrives (hopefully late 2018, more likely 2019).
Stranger Things 2 was a highlight for me after a slow, but stellar first season last year. This time round, they started on all cylinders and improved from there. This season, introducing new characters and a bit more background to Eleven and the Upside Down, was brilliant. Yeah, it played on nostalgia for the 80's that people of a certain age have (and those younger pretend were cool but I lived through it and it wasn't all He-Man and Ghostbusters...), but I look forward to season three whenever that arrives (hopefully late 2018, more likely 2019).
The last two series did get better, though one was bittersweet. Sense8 has been a tremendous show from the beginning and the second season hit the ground running, going full pelt until the cliff-hanger ending that begged for a third season. However, the show's strength of global scale meant that it was expensive, too expensive for Netflix who felt the viewing figures were not worth the estimated $100 million budget per season. There is a silver lining - although no one picked up the show for another season, Netflix have okayed a two hour special to finish the story and I hope they do it in style. It's a shame that a show with vision, scale and sheer story telling chutzpah did not get the viewing figures it deserved.
Last show in this post and my show of the year, The Expanse season two. It took its time arriving on Netflix (it's produced by SyFy in the US, whilst Netflix have international rights), but when it did, oh boy! Continuing the story of James Holden and the crew of the Rocinante, season two brings more threads of books 1 to 3, ensuring that the third season will tie these threads up. Production values are immense, the acting great and the scripts and story intelligent. Where does it fall down? Well, possibly in the lack of viewers. SyFy haven't released figures and Netflix rarely release any. Finishing after three seasons would be sad, but would tie up the story book-wise. However, having read books four and five, and half way through six, I can only buy hope that the show gets picked up for more. We'll have to see but I, for one, am looking forward to it greatly.
That's it for TV shows, and yeah, it's a pretty similar list to last year but there just isn't the time or the inclination to watch that much, hence why some shows will drop by the wayside.
Next up, books...
2017 - A Year in Games
As 2017 draws to a close, it's that time of year where a look back is required (it's a tradition, or by-law or something). This , the first of four, will cover videogames. The remaining three will cover books, films and TV shows.
2017 has been one hell of a year for videogames, and most of that can be put down to the release of the Nintendo Switch. With new hardware came a new generation of Nintendo titles that demonstrated once again that the company knows its business. There were several titles on the Switch that I managed to play and each provided a highlight to the year.
Super Mario Odyssey was the first to be played and wow! Just wow! I hadn't enjoyed a Mario game this much since Super Mario Sunshine on the GameCube and this game demonstrates why Nintendo are till at the top of their game. Sublime platforming, challenging gameplay and charming game mechanics made this the platformer of the year for me. Not that there wasn't competition in this area. Yooka-Laylee and Super Lucky's Tale were two of the standout console releases, yet both had their issues. YL, from the brains of former Rare employees, tried to capture the style and panache of the best of Rare platformers from the N64 days.Whilst it was charming enough, there were a few niggles here and there (including the camera, so really staying true to form) that stopped it being truly great. SLT meanwhile, was a bit too childish though it retained a charm that appealed.
The Legend of Zelda: Breath of the Wild was a change in direction for Zelda games, with an open world design and crafting mechanics that took the series to new heights. That's not to say it's perfect (I know, heresy if ever you'd heard it): the crafting mechanics, whilst bringing in depth to the game, also mean you have the annoying hassle of weapons breaking mid-fight and inventory management at inopportune moments. That's not to say its a deal breaker and it is one of the best games of the year.
Super Mario Kart 8 was a re-freshed re-hash of the Wii U version that still feels fresh and exciting, something that takes some doing when you are up to 8 in a series. I haven't yet had a chance to try out ARMS or Splatoon but they are on the list for early next year.
Third party titles for the Switch were also a nice surprise, though having said that, they were re-releases of titles familiar to X-Box 360/One, PS3 and PS4 owners. However, not to take anything away from them, it was nice to see high profile third party games being released on a Nintendo console. Doom really was the title that should not have been possible on the Switch. Released in 2016, it was renowned for its graphics and back to basics shoot-em up gameplay. On Switch, there are compromises, notably the docked mode which looks like you are playing the game through a vaseline smeared screen. In handheld mode, however, Doom delivers the frantic and fun you expect. On a portable console. The controls are a bit ham-fisted with the Switch set up, but playing undocked with a Pro controller proved to be the best way to play this title.
LA Noire was another graphical powerhouse back at its release in 2011. It also featured ground-breaking facial animation that meant you could read the characters intentions just as in the real world. Coming to Switch, I expected this to be limited in scope and look, but no, again, an excellent port that whilst there are cutbacks here and there, its plays well and the story is as engrossing as ever.
Finally on Switch, we have Skyrim. This is a game I love, having put two play through's on the X-Box 360, one on the X-Box One and now another on the Switch. The Switch version is a bit more limited graphically compared to the recent re-makes but that is to be expected considering the difference in power between the machines. Overall, this is portable Skyrim and that is the real achievement.
One thing I will say about the Switch: you get what you want out of it by deciding what type of machine it is - a home console that can be turned into a portable, or a portable console that can be docked with your TV. It's a small distinction but an important one. I fall into the latter camp and for me, the Switch is a cracking games console which has had a great first nine months of release and has a good 2018 to look forward to.
As well as the above, both the PlayStation 4 and X-Box One have also had some good releases this year. There were three titles on PS4 that caught my fancy this year. The WipEout Omega Collection was a real blast from the past - I recall playing the original Wipeout on my PS1 in the late 90's and whilst the refreshed graphics are definitely required, the gameplay has remained the same and this title took up many an hour for both myself and my fiance. The music was a highlight too.
Everybody's Golf was a cartoon themed golf series that started way back on the PS1 twenty years ago and this title, the twelfth, still feels as fresh and fun as the original. It will not be for many, and there are more realistic golf games out there, but there is a charm and whimsy about this game that entertains.
Uncharted: The Lost Legacy was a nice add on to Uncharted 4, focusing on a couple of side characters from earlier games. Whilst nothing ground-breaking, it had the same polished gameplay as Uncharted 4 and an intriguing story brought to life by the individual performances of the cast. It was a lower priced release and one that was well worth the time playing through.
Whist I have listed console exclusive and re-releases above, my main gaming system is the X-Box One. (As an aside, the new X-Box One X console is on my wishlist but then so is a 4K TV to make the best use of it so it'll be a while yet before I upgrade to that console). This means that I play most multi-platform titles Microsoft's console and this year, there were a handful of decent to good titles that I played.
Mass Effect: Andromeda was one game I was really looking forward to and ended up being the biggest disappointment. I love sci-fi epics, either written (check out Alistair Reynolds), film, TV or videogames and the Mass Effect trilogy were, despite some flaws that were not game-breaking, the best that action/role-playing-games had to offer during the last console generation. To say that I was excited for Andromeda would have been an understatement. What landed on my doormat was something else though! Game breaking bugs, a facial animation system that begged for internet memes (and got them!), a rushed and poorly defined story and some god-awful voice acting meant that Andromeda's critical and sales reception tanked the series, despite all of the goodwill built up over the last decade. It was a shame, yet totally understandable when the stories started to come out over the troubled development of the title and EA's policy to game development in general.
Agents of Mayhem was another title that looked promising, a single player, cartoon derived shooter with an 80's animation style and a pedigree that included the Saints Row series. In the case of this title, it was a case of "close but no cigar", with curiously annoying two dimensional characters and a general lack of feeling. Another shame.
Before I get to my final game, and the one I enjoyed the most, I must mention Forza 7 and Star Wars Battlefront 2. An X-Box/PC title, Forza 7 comes from a long line of racing titles and whilst extremely technically adept, it felt soulless and frankly boring. That and a move towards Loot boxes means it looks like the end of the line for me and this gaming series. Battlefront 2 was an anticipated title that I sensibly waited for the reviews before deciding not to buy. Never mind the online lootbox controversy, the promise of a single player campaign was what caught my eye. As it turned out, according to some, four to six hours was what you'd get. And sorry, I ain't paying £50 for a game that short.
So, to my game of the year and one that I am still heading back to every now and again: Wolfenstein 2: The New Colossus. Yep, we're back in the alternate 1960's with BJ Blazkowicz, killing Nazi's and generally causing mayhem. A superb story, characters you really get to know and understand, a sense of style and presentation that is second of none; Wolfenstein 2 : The New Colossus is a tour de force of shoot-em up with a purpose, and that purpose is to entertain. And entertain it does! With a good twelve hour campaign and a promised set of DLC stories that add another six or so hours, this game is well worth the money and you'll have a blast experiencing it.
So that's it for games for 2017, coming soon, TV...
2017 has been one hell of a year for videogames, and most of that can be put down to the release of the Nintendo Switch. With new hardware came a new generation of Nintendo titles that demonstrated once again that the company knows its business. There were several titles on the Switch that I managed to play and each provided a highlight to the year.
Super Mario Odyssey was the first to be played and wow! Just wow! I hadn't enjoyed a Mario game this much since Super Mario Sunshine on the GameCube and this game demonstrates why Nintendo are till at the top of their game. Sublime platforming, challenging gameplay and charming game mechanics made this the platformer of the year for me. Not that there wasn't competition in this area. Yooka-Laylee and Super Lucky's Tale were two of the standout console releases, yet both had their issues. YL, from the brains of former Rare employees, tried to capture the style and panache of the best of Rare platformers from the N64 days.Whilst it was charming enough, there were a few niggles here and there (including the camera, so really staying true to form) that stopped it being truly great. SLT meanwhile, was a bit too childish though it retained a charm that appealed.
The Legend of Zelda: Breath of the Wild was a change in direction for Zelda games, with an open world design and crafting mechanics that took the series to new heights. That's not to say it's perfect (I know, heresy if ever you'd heard it): the crafting mechanics, whilst bringing in depth to the game, also mean you have the annoying hassle of weapons breaking mid-fight and inventory management at inopportune moments. That's not to say its a deal breaker and it is one of the best games of the year.
Super Mario Kart 8 was a re-freshed re-hash of the Wii U version that still feels fresh and exciting, something that takes some doing when you are up to 8 in a series. I haven't yet had a chance to try out ARMS or Splatoon but they are on the list for early next year.
Third party titles for the Switch were also a nice surprise, though having said that, they were re-releases of titles familiar to X-Box 360/One, PS3 and PS4 owners. However, not to take anything away from them, it was nice to see high profile third party games being released on a Nintendo console. Doom really was the title that should not have been possible on the Switch. Released in 2016, it was renowned for its graphics and back to basics shoot-em up gameplay. On Switch, there are compromises, notably the docked mode which looks like you are playing the game through a vaseline smeared screen. In handheld mode, however, Doom delivers the frantic and fun you expect. On a portable console. The controls are a bit ham-fisted with the Switch set up, but playing undocked with a Pro controller proved to be the best way to play this title.
LA Noire was another graphical powerhouse back at its release in 2011. It also featured ground-breaking facial animation that meant you could read the characters intentions just as in the real world. Coming to Switch, I expected this to be limited in scope and look, but no, again, an excellent port that whilst there are cutbacks here and there, its plays well and the story is as engrossing as ever.
Finally on Switch, we have Skyrim. This is a game I love, having put two play through's on the X-Box 360, one on the X-Box One and now another on the Switch. The Switch version is a bit more limited graphically compared to the recent re-makes but that is to be expected considering the difference in power between the machines. Overall, this is portable Skyrim and that is the real achievement.
One thing I will say about the Switch: you get what you want out of it by deciding what type of machine it is - a home console that can be turned into a portable, or a portable console that can be docked with your TV. It's a small distinction but an important one. I fall into the latter camp and for me, the Switch is a cracking games console which has had a great first nine months of release and has a good 2018 to look forward to.
As well as the above, both the PlayStation 4 and X-Box One have also had some good releases this year. There were three titles on PS4 that caught my fancy this year. The WipEout Omega Collection was a real blast from the past - I recall playing the original Wipeout on my PS1 in the late 90's and whilst the refreshed graphics are definitely required, the gameplay has remained the same and this title took up many an hour for both myself and my fiance. The music was a highlight too.
Everybody's Golf was a cartoon themed golf series that started way back on the PS1 twenty years ago and this title, the twelfth, still feels as fresh and fun as the original. It will not be for many, and there are more realistic golf games out there, but there is a charm and whimsy about this game that entertains.
Uncharted: The Lost Legacy was a nice add on to Uncharted 4, focusing on a couple of side characters from earlier games. Whilst nothing ground-breaking, it had the same polished gameplay as Uncharted 4 and an intriguing story brought to life by the individual performances of the cast. It was a lower priced release and one that was well worth the time playing through.
Whist I have listed console exclusive and re-releases above, my main gaming system is the X-Box One. (As an aside, the new X-Box One X console is on my wishlist but then so is a 4K TV to make the best use of it so it'll be a while yet before I upgrade to that console). This means that I play most multi-platform titles Microsoft's console and this year, there were a handful of decent to good titles that I played.
Mass Effect: Andromeda was one game I was really looking forward to and ended up being the biggest disappointment. I love sci-fi epics, either written (check out Alistair Reynolds), film, TV or videogames and the Mass Effect trilogy were, despite some flaws that were not game-breaking, the best that action/role-playing-games had to offer during the last console generation. To say that I was excited for Andromeda would have been an understatement. What landed on my doormat was something else though! Game breaking bugs, a facial animation system that begged for internet memes (and got them!), a rushed and poorly defined story and some god-awful voice acting meant that Andromeda's critical and sales reception tanked the series, despite all of the goodwill built up over the last decade. It was a shame, yet totally understandable when the stories started to come out over the troubled development of the title and EA's policy to game development in general.
Agents of Mayhem was another title that looked promising, a single player, cartoon derived shooter with an 80's animation style and a pedigree that included the Saints Row series. In the case of this title, it was a case of "close but no cigar", with curiously annoying two dimensional characters and a general lack of feeling. Another shame.
Before I get to my final game, and the one I enjoyed the most, I must mention Forza 7 and Star Wars Battlefront 2. An X-Box/PC title, Forza 7 comes from a long line of racing titles and whilst extremely technically adept, it felt soulless and frankly boring. That and a move towards Loot boxes means it looks like the end of the line for me and this gaming series. Battlefront 2 was an anticipated title that I sensibly waited for the reviews before deciding not to buy. Never mind the online lootbox controversy, the promise of a single player campaign was what caught my eye. As it turned out, according to some, four to six hours was what you'd get. And sorry, I ain't paying £50 for a game that short.
So, to my game of the year and one that I am still heading back to every now and again: Wolfenstein 2: The New Colossus. Yep, we're back in the alternate 1960's with BJ Blazkowicz, killing Nazi's and generally causing mayhem. A superb story, characters you really get to know and understand, a sense of style and presentation that is second of none; Wolfenstein 2 : The New Colossus is a tour de force of shoot-em up with a purpose, and that purpose is to entertain. And entertain it does! With a good twelve hour campaign and a promised set of DLC stories that add another six or so hours, this game is well worth the money and you'll have a blast experiencing it.
So that's it for games for 2017, coming soon, TV...
Subscribe to:
Posts (Atom)