Saturday, July 30, 2011
Three Years of Utter Misery: A Charge Shot!!! Retrospective
But you see, I didn't really like video games anymore. Sure, I played Mario Kart and Smash Bros. even more than the average college student, but I hadn't put up the funds for a new game in years. I didn't even own a seventh generation system in my own right. I didn't feel like I had a right to spew my thoughts on these things at all. But hey, I liked to write, and my senior comps were almost done (mine were on the evolution of knightly roles in medieval literature and history) so why not take the excuse to hang out online with my nerdy friends?
What had started as a somewhat awkward social obligation blossomed into a hobby, and later into a genuine passion. And I couldn't do any less than thank the readers, editors, and fellow writers for the experience.
Continue...
Thursday, May 5, 2011
Big, Loud, Dumb Fun: Fast 5 Review
Tuesday, September 14, 2010
A Decade of Dreck #30: Babylon A.D.
Let me take this opportunity on the record to acknowledge that I like one Mr. Vin Diesel. Long ago, in the turbulent period of man's ascendancy known to scholars and lorekeepers as The Early Aughts, Vin Diesel was hailed as the second coming of the blockbuster action hero. With the back-to-back runaway successes of the Fast and the Furious and xXx, it seemed as if Hollywood had itself a new tough guy to rule the screens, an ethnically ambiguous star who could open a movie with boffo box office.
But then something happened. Vin Diesel lost his luster. It's hard to even guess why, but for one reason or another Diesel was never able to match his early success. Maybe audiences tired of seeing him play the same bald badass in every movie, but that certainly never stopped other actors historical and contemporary. Maybe once you make a lighthearted family comedy about raising kids people lose respect for you, though of course it is what all great action heroes do. It's fairly telling that Diesel's projects currently filming entail sequels to both the Fast and the Furious and xXx, franchises the star left before sequels could be made.
Today's entry, Babylon A.D. asks you to imagine a time when Vin Diesel was the next big thing. Perhaps if this had been made a lifetime ago during Diesel's prime (not to say that he's aged poorly or something) and with competent direction, better special effects, more money, a cast for whom English is a first language...alright, this movie isn't very good.
Continue...
Saturday, July 17, 2010
Saturday Morning TV: My Cousin Vinny
I know I used this video in an article earlier this week, but I brought it back because it’s simply too weird. I don’t know what’s weirder, though: people writing Vin Diesel letters thanking him for being Vin Diesel or Vin knowing all the words to Keri Hilson’s “Knock You Down.”
Continue...Tuesday, July 13, 2010
This Week On Audiosurf Radio – Robots Can Dance Edition
Who is Trickst3r? An Italian electronica artist or robot from the future sent back on a mission to get us grooving?
The former might seem more likely, but that’s only because of your narrow-minded view that robots don’t care about music. What about that robot they taught to play Guitar Hero? Or that terrifying first chair robo-violinist?
And what about Keepon? What about Keepon?
Hit the jump for some robotunes that are bound to get you moving and surfing alongside the best synthetics Big Technology has to offer.
The Songs
In ninety-nine percent of my write-ups of techno tracks, I discuss the bass line in some way. “Frustration” is no exception. Well, sort of, since it’s really the lack of a driving bass that defines the song. I once saw a “concert” performed by two men with sheet metal, power tools, empty oil drums, metal extension ladders and drum sticks. This sounds like them sans the grinding of saw blades on steel. The rhythm’s infectious, designed to infiltrate your muscles and not-so-gently coerce them into motion. I picture robots stomping out their frustrations in some underground club of the near-future, their complaints about their human overlords drowned out by the sounds of metal simulacra of feet clomping to the beat. Had some android deejaying at Club 0101001001001111010000100100111101010100* composed the tune, he’d have instantly been recognized as a huge Audiosurf fan, as the track’s an excellent challenge for the seasoned surfer. I managed to chain my combo through most of the ride until an unfortunate overload derailed my success. I never have time to worry about my combo chain. The traffic in “Frustration” comes steadily but not too swiftly, giving you time to think, strategize, and ultimately enjoy. What I’m saying is play this song.
I once read that should robots become sentient and assume the mantle of Dominant Race on Earth, they will specialize, not create multitalented facsimiles of humans. Their logical “brains” would deem this the most efficient use of their time and energy. If that’s the case, the first half of “Cosmogonia” would be played by a robot designed solely for drumming (kind of like Neil Peart). The percussion at the top of this ride is just preposterous. Imagine the sound of tires running over those little highway reflector bumps. Now imagine 1000 tires doing it at 75 mph. Now imagine them doing it in rhythm. (I took great pains to make sure the absurdity of that analogy matched the absurdity of the song’s percussion). Unfortunately, it doesn’t last forever. Halfway through, we’re left with a more conventional quarter-note drone. Still, the opening’s insane. No one can take that away from Percuss-o-bot.
The opening of “Follicles” epitomizes Trickst3r’s minimalist style. He picks no more than two or three weird, bafflingly congruous noises at a time and asks you to deal with them for 30-60 second bursts. It’s novel, refreshing, and occasionally unsettling, like when one of his noises sounds like robot crickets*** crawling around inside your cochlea. Surprisingly, a walking bass materializes halfway through, sending shockwaves through the song with its rich, organic tone. I immediately thought of the robot jazz club in Penny Arcade’s excellent Automata miniseries. Well, until the haunting sound of vuvuzelas swarmed my ears. I barely survived the epic downhill slide due to the horrific buzzing. If you make it through, you’ll be greeted by a soft piano part, which swiftly becomes a nightmare as it switches from the left speaker to the right speaker at such a high frequency as to nearly give anyone wearing headphones vertigo (I was wearing headphones). Sure, “Follicles” may have tried to kill me, but I enjoyed it.
“Real Frustration” is not a mere remix of “Frustration,” but it may as well be. It too sounds like Timbaland’s future great-grandson (also a hip-hop producer) travelled back in time to lay down some beats for Justin Timberlake’s new album**, then proceeded to turn the bass way down. “Real Frustration” satisfactorily executes much what made “Frustration” a fun ride, but the abundant similarities to its predecessor limited my enjoyment. ProTip: Ride “Real Frustration” only as a coda to its predecessor.
Author’s Note
All songs were played on the Pro difficulty at least twice using the Eraser and Vegas characters.
I hope Audiosurf user JaguarFiend reads these, as I’ve quoted him numerous times over the past few months. Of “Cosmogonia,” Jaguar said, “The beginning of that kicked my ass like a propeller that has boots instead of fan-blades on it.” Great, his apt description now has me picturing a WWI plane with comically large boots spinning on the front. I’ll also point out that he, too, was nearly nauseated by the frantic panning of the piano in “Follicles.”
Anyone who has yet to try Audiosurf should really think about it – if even just to ride your Burt Bacharach collection (or that song Vin Diesel lip-synched to).
* – That super long string of numbers is a rough translation of ROBOT into binary. If you’d like to play around with the alphabet in binary, go here.
** – I have no idea if Timbaland’s future great-grandson has any plans to do this. But wouldn’t that be awesome?
*** – I really have no plans to drop the robot thing****.
**** – Thanks for bearing with me.
Thursday, May 13, 2010
Movie Review: Eddie Lebron’s Mega Man Fan Film
When watching a fan-made film, several things are given:
1) The actors may not be all that great.
2) The production values may not be all that great.
3) The special effects may not be all that great.
4) The script may not be all that great.
5) The editing may not be all that great.
The list goes on. The true allure of the fan film lies not in its execution, necessarily, but in its moxie, its willingness to exist, even though its target audience is doomed to be small and it will only ever be shown for free on ScrewAttack.com next to some truly hideous new Pokémon. It’s like fan fiction, except it requires some true effort on the part of the creator.
Oh, I’m sorry, did you not know what I was talking about?
A little while ago, Craig wrote a post about game developer Capcom’s apparent willingness to allow its fans a certain amount of creative freedom with some of their intellectual property – one of his main inspirations was Eddie Lebron’s forthcoming Mega Man fan film. Well, that film is no longer forthcoming. It done forthcame. And this past weekend, I watched it.
I went into this with all of the above caveats firmly in mind – I wasn’t in for Citizen Kane here, or even National Treasure. I was watching a fan-made film about Mega Man, and I was watching it because I liked Mega Man at least as much as this guy does.
Thus, I don’t feel super comfortable judging the movie by the same criteria I would a Major Motion Picture. For example, I am fully aware that Lebron does not have access to top-dollar props, which would explain why characters often perform minor miracles on what appears to be mid-to-late-nineties-vintage computer equipment. I understand that he doesn’t have access to dozens of programmers or an advanced render farm, which would explain why the CGI generally falls somewhere between an episode of ReBoot and that 3D “Treehouse of Horror” episode from 1995. These things are, perhaps, inevitable, and can be forgiven.
A little harder to overlook is the acting, the script and especially, especially the editing.
First, the plot: In the year 20XX, a fellow by the name of Dr. Thomas Light has designed half a dozen robots, designed to make human life easier by doing a bunch of our dirty work. However, disgruntled and marginalized partner Dr. Albert Wily one day decides to snap, reprogramming the robots and using them to pound the world into submission. One of Dr. Light’s household helper-bots, Rock, is upgraded to become Mega Man, and Mega Man goes and sets the world aright.
If this sounds familiar at all, it’s because this is the basic plot that, like, every one of the Mega Man games has used. Given that Lebron’s source material is a mid-1980s NES game, his script is decent – it fleshes out the Mega Man universe without really violating the existing continuity.
That being said, the treatment is not without its problems. For example, I’m not entirely convinced that Mega needed to tell every one of the six Robot Masters that he did not want to hurt them before blowing them the hell up, but that’s what he does. Dr. Light isn’t so much a character as he is an exposition dispenser, and whenever the guy opens his mouth you can be sure that he’s about to deliver a paragraph of information explaining the situation at hand. There are Problems.
Light (Edward Young) is actually the weakest actor in the stable too, delivering most of his lines with what I can only describe as a sort of benevolent, disaffected smugness – he’s not bad, but he can only really hit the one note. The rest of the acting is firmly in okay-not-great territory, ranging from Light’s stiltedness to Wily’s (Dave Maulbeck) mostly enjoyable scene-chewing.
These are all issues, but the thing the Mega Man film needs most is a visit from a good editor. Most of the shots have a way of lingering just a second or two longer than strictly necessary, and shaving these awkward seconds off would go a long way toward infusing a greater sense of momentum into the proceedings. The beginning of the movie (basically, anything that happens before Rock becomes Mega Man and starts blowing things up) could also stand to shed ten or fifteen minutes – it really drags its feet, and while the concept of a robot seeking his purpose is interesting, it doesn’t really film well for very long.
As I said, it can be difficult to judge a movie like Eddie Lebron’s Mega Man, mostly because many of my criticisms are unavoidable given the financial constraints and the indie nature of the movie. I wouldn’t necessarily recommend it as a shining example of independent filmmaking, but it is perfectly watchable from beginning to end, and it’s still leagues better than the Super Mario Bros. movie. A good edit could provide a much-needed bit of polish to the film, and bring it firmly into “entertaining way for Mega Man fans to blow an hour and a half” territory.
Continue...Tuesday, July 14, 2009
Marginalia: 7.14.09
Tom's Hardware: It's official(ly a rumor): BioShock 2 is getting pushed back to 2010. Could they get it back into 2009 if they hired a couple more studios to work on it?
Destructoid: Take Two shares stumble after news of Bioshock 2's delay. Again, slap on another dev, 2K Marin! That should help!
1UP: An excellent look at what makes the Dragon Quest series special, even if it is an obstinately traditional JRPG on the surface.
Destructoid: Someone must be down on their monthly Sinister Decisions quota!
Destructoid: Modern Warfare 2's super-duper-secret collector's edition comes with a fucking pair of night vision goggles. This just in: Treyarch says the Call of Duty 7 special edition will come bundled with a live hand grenade.
Gamasutra: The beleaguered Midway shutters its Newcastle studio, orphaning the Necessary Force IP. I wonder how much this has to do with the less-than-stellar performance of Vin Diesel-vehicle Wheelman.
Joystiq: Looks like there’s going to be a sequel to Kane & Lynch. Prepare yourself for joke after joke about reviewers getting fired because Square Enix doesn’t like their scores.
Shacknews: THQ’s UFC 2009 Undisputed has done pretty well for itself. So well, in fact, that EA has announced EA Sports MMA. Too bad UFC president Dana White plans to blacklist any UFC fighter who agrees to work with EA. Okay, Dan White, I understand you’re mad because EA refused to even discuss developing your now-wildly-successful game. But you really should just get Peter Moore in the Octagon so you two can settle this like men.
Joystiq: Fallout 3's next DLC hits August 3. No word yet on the release date for the patch to make the DLC playable.
Continue...Friday, July 10, 2009
Battle.blog – Perfect Strangers
When I play games online, part of my brain always fantasizes about clicking with my teammates Ender’s Game-style. My new cohorts and I, strangers save for our call signs, would execute carefully orchestrated simultaneous assaults on our opponents, constantly updating one another on enemy troop movements and reveling in the power of teamwork. Unfortunately, most of my Starcraft allies refuse to waste time chatting about coordinated strikes. Everyone is simply expected to know what to do. And if you don’t, you might as well be a gay computer.
So imagine my surprise when I joined forces with not one but two worthwhile allies.
We talked to one another. We synchronized our efforts. But could we win?
Let me give a little context for this match. I was playing in a room labeled “3v3 noobs only.” While my years of Starcraft experience might make me look like Gary Sheffield or Jamie Moyer asking to play Little League, I think my subpar win/loss record certainly qualifies me to participate. I could tell people hadn’t been around the block because of what I saw filling the pregame lobby: chatter. People were joking about their last effort to launch a game getting timed out. Two members of the opposing team were clearly friends; they shared a clan designator in their handle. I don’t know what their tag [dG] stood for (Dolce & Gabbana Hello?), but it seemed more significant than a pair I recently saw on Xbox Live: Crumppy and Stumppy Johnson. If you’ve ever stumbled across a halfway-decent, capable-of-conversing-normally human in an online arena, you know what I’m talking about. It’s an oasis in a desert of Dew-fueled cybersports.
All of this set me extremely at ease as the match began. I immediately checked all prior-defeated-related baggage at the door and settled in for a good time. The computer deals me and my Yellow ally the Zerg, while our buddy Red gets saddled with the Terrans. I’m holed up in the northwest corner of the map – fine by me, since that eliminates 270° of potential enemy attacks. Within the first minute, I’ve begun production on a Spawning Pool for expected Zerg Rush and used my Overlord to scout to the south. Just over an impassable ridge lies one of my opponents, the Purple Terran army. Yellow also scouts, locating an Orange Protoss base to his north. Ah, the joys of shared vision.
A minute later a Purple SCV waltzes into my base, obviously on some ill-founded recon mission. Purple can’t have expect to get him back. So the little guy runs circles through my base, poking at my structures and annoying the hell out of my drones. I sic two of my drones on him, hoping they’ll eradicate this infestation. Nope, Purple’s just fast enough at microing his SCV that he manages to keep avoiding my attacks. Eventually, I halt all mineral harvesting and target him with my entire workforce, swiftly removing the thorn from my side. Meanwhile, Yellow’s calling for an attack on the Orange Protoss and this stupid SCV has made me late for the party. I quickly order some larvae to metamorphose into zerglings (the process of Zerg reproduction never ceases to amaze me/gross me out). We three hurl our collective squads of infantry at the enemy and watch his buildings explode into the galactic ether. One of his surviving probes scurries away, a roach under fluorescents, and seeks refuge behind Purple’s dense borders.
Yellow, again playing the role of General in this picture, suggests capitalizing on the intelligence I’d gathered earlier and striking Purple while we’ve got the momentum. Unfortunately, our communication breaks down. Red misunderstands the order “attack the Terran up top” and instead stumbles upon the Blue Protoss base. A flurry of photon blasts from Blue’s defenses instantly vaporize Red’s marines while my zerglings, following Yellows initial orders, die unsupported on Purple’s doorstep. You see, Purple was being a bit of a turtling bitch. He’d walled the single entrance to his base with a durable Barracks, placed an SCV nearby for constant repairs, and followed it up with a bunker of marines ready and willing to slaughter any attackers. My zerglings were Greeks besieging Troy, Mongols attacking China, Stormtroopers shooting at Han Solo. I watch them die as Purple effortlessly repairs his structure. Thanks a lot, Red.
As if Red weren’t already ruining my day, he then tells me that he thinks Blue is advancing on my base. The recently discovered Protoss threat pounces on my failed assault and marches up with as many zealots as I have zerglings remaining. Keep in mind the disparity here: it’s like a gang of plasma-shielded Riddicks tangling with a pack of ferocious Martian dogs. Sure, two or three dogs could probably bring Vin down. But when it’s one-to-one, he wins easily. Just as the fracas begins, Red calls out ever-so-helpfully “comin for you Teal.” The enemy zealots tear through my meager defense, rending alien canine limb from alien canine limb with freakish ease – so quickly as to elicit an “omg” from Yellow.
I’ve no choice but to yet again mobilize my workforce. Buying time for another batch of zerglings, I conscript all of my drones and focus them on one zealot at a time. Their numbers overwhelm the melee-attacking zealots, separating them while my short-range spines pick them off one by one. Confident that I’ve got things under control, Yellow redirects his reinforcements to join up with Red and mobilize on the Blue base. He doesn’t last long. Red’s siege tanks lay waste to Blue’s defenses while Yellow’s troops obliterate his pylon power grid. Somehow we’ve turned Red’s miscalculation into a winning strategy: use me to bait Blue and swoop in after I’ve repelled the attack. If only the next fifteen minutes were to go so smoothly.
It’s not that they went poorly. It would take a lot for a 3v1 situation to actually go poorly. But it certainly didn’t go well. Purple’s Great Wall of Barracks proves far more impregnable than previously imagined. When Yellow moves in Lurkers to try and attack in undetected, Purple counters with Battlecruisers and a cloak-revealing Science Vessel. My Mutalisks can’t even make a dent before Blue’s missile turrets pop them like so many soap bubbles. Red tries to solve the problem by throwing Goliaths it, but those become more of a hindrance when their atrocious AI pathfinding causes them to get in the way of Yellow’s reinforcements. Honestly, I laughed out loud the third time Yellow, nagging like Edith Bunker, cried out “dude ur goliaths!” as he struggled to navigate around Red in the map’s narrow pathways.
Purple must have been laughing his head off, too. Here we were, three of us, unable to mount a successful attack on his base. Yellow, clearly frustrated, starts hurling Ultralisks (as useless in multiplayer as a dial-up modem) at the front line, while I airlift a strike force over the ridge separating my base from Purple’s. (Airlifting Zerg units consists of stuffing troops into an Overlord’s “ventral sacs.” Seriously, grossest race ever.) Red, hopefully a little embarrassed by his stupid Goliaths, resigns himself to anti-air duty, amassing a fleet of missile-equipped Valkyries to neutralize Purple’s cruisers. What finally does it is a combined airlift strike from Yellow and I at Purple’s southern border, which was not reachable by land and thus significantly less defended.
With Red patrolling the skies, Yellow and I ravage Purple’s base, which he’d exhausted of resources and couldn’t have defended much longer. The four of us watch as scores of zerglings and hydralisks reduce each factory and depot to rubble. We chat with Purple, who is in surprisingly good spirits for someone watching his city burn. He tells us how he’d made the map himself, and we kindly offer our critiques: “Too many chokepoints!” “Not enough room to walk around.” Yellow talks about how much he’s improved since picking up the game only a week ago, no doubt spurred on by the buzz surrounding the sequel. But the match doesn’t end like it’s supposed to, and then we realize that Purple has a minor expansion base in the northeast spawn point.
We don’t bother hunting it down, however. It would’ve felt wrong after our blaze-side chat. One at a time we ally with Purple, giving him a de facto shared victory. I don’t know that we were friends at the end. But we certainly weren’t strangers.
RECORD: 5-7
Continue...Tuesday, April 28, 2009
This Week on Audiosurf Radio – 4/28 – Boss Battle Edition
Ever heard a song and thought, “Man, that’d be a perfect song for [fill in the blank]”? Well that was my reaction to this week’s first song (I filled in the blank with “Boss Battle). And it was such a strong reaction that I decided to adopt it as this week’s theme.
It’s no surprise then that one of this week’s artist is sound designer/composer Luca Capozzi. His work consists of articles on sound design, sounds for various synthesizers, and collections of songs traditionally referred to as albums. His love of sound for sound’s sake translates into some music which is just perfect for scoring scenes. (On the more random side of things, he created a file useful for sequencing DNA into midi files.) The other two songs come from a German remixer named Plastic Vision. Listen to them here; I’ll be shocked if you aren’t immediately transported to the 80s.
For another week, I’ve dropped the traditional “Recommendations vs. Everything Else” structure, as again each song managed to speak to me in some way. It’s also hard to just completely pass one or two over when there are only four tracks. Enough about my boring writing process. Read on for some rides!
Are you currently programming your own Steampunk RPG? Stuck in the search for good boss music? Well look no further. From top to bottom, front to back, this song’s perfect. Maybe it’s just my love for “epic” sounding music. Or perhaps it’s the trumpets that sound in the first half (I played trumpet all through grade school). It could just be that matching actual instruments with an electronica beat is just what the doctor ordered. The first half of the song features a riff without an intense drum beat, which makes for some great (if slightly laid-back) traffic-matching with the strings and horns. Toward the top of the hill (see left), a flurry of reds speeds by as the kick drum joins the party. At the very pinnacle, a weird robot noise signals sends another burst of red and yellow before your car begins rocketing downward, a solo worthy of a bad-ass ninja wailing all the way. The main riff (while simple enough) reappears, albeit over a much more aggressive track. From a track standpoint then, it’s almost like two different songs. You have the pulsing, uphill opening that feels like an upbeat instrumental (and I mean real instruments) song, but then you fall back to earth rapidly while electronica overwhelms the tune. It just cries Boss Battle, folks. There’s even an alarm buzzer toward the end. I mean, c’mon! I may be shooting my wad prematurely here, but you should definitely play this song.
What the eff does this title mean? I have no idea. Clearly something other than zoology, but what I have no idea. Anyway, while this song looks somewhat similar to “The Prophecy” on its graph, it is anything but. Trade all of the cool instrumentation from “The Prophecy” and replace it with noises that sound like robots having sex and voila, “ZO-ology.” I’m not sure what this kind of boss this would be good for aesthetically, perhaps a miniboss in some yet-to-be-created Fast and Furious game? It’s sounds very busy sonically, but lacks a certain forward drive possessed by other, busier techno. The traffic’s okay, though it’s hard to get a feel for how it matches when most of the song is bleeps and blips laid over drums and bass. In the latter half of the track (when it rockets downhill but the tempo doesn’t much change), the patterns start to change as the snare drum becomes more prevalent. Sounding like gunfire, it shoots off strings of like-colored blocks – always a challenge when the going gets a little tough. Aside from that compliment, I’ve been unduly hard on this song. It’s not bad. And if you’ve liked the majority of recent techno picks, you might find this one to your liking. I, for one, hear too many snippets of other techno songs I’ve heard, so I can’t seem to like this one on its own terms.
I spent the first half of “The trend is to stay focused all the time” (another bizarre title) suffering from techno tedium, but then the breakdown happened. Streams of traffic swept toward me lane by lane, color by color. The bulk of the music dropped away, leaving a simple beat and a synchronized synth that was far more engaging than the rest of the piece. While the drums (playing a relaxed house beat) set the tone for the first section, here it felt driven by the more melodious voices. And by voices I mean registers of electronic noise. I recognize the inconsistency in criticizing one piece for being too electronic while praising another for its own software-generated tones, but this one just feels more musical. The ride’s more engaging. Having gone through the thrilling middle passage, the refrain felt more urgent than in its opening statement. Maybe it’s not the best boss music (only your fight takes place in a discotheque), but I’ll take it.
The last three having moved me to write quite a bit, I find myself with an ironic lack of things to say about “Feel like a Bird.” As Lebeth advertised in the pre-game screen, it definitely has an 80s vibe to it From the particular sound of the drum machine, to the not-too-low bass, to the soaring “This would fit in a montage” melody. Aside from the frantic drum fills spawning absurd volumes of red traffic, little about the ride struck me. Was it fun? I guess. I paid attention. But I also write a weekly article about the songs I ride. And in this case, the song didn’t cause me to forget that. My point being: if I’m wondering what I’ll write about while riding a song, it’s generally not a good sign. As for this song’s boss battle, it’d have to be for some kind of The Breakfast Club game, which would probably have to be a quirky RPG three parts dating sim and seven parts dialogue tree. Maybe you square off against the principal at the end.
Author’s Note
All songs were ridden at least twice on Pro difficulty using Vegas and Eraser characters. Highlight moment: finally nabbing the 30000 points per minute achievement. Thanks “The trend is to stay focused all the time”!
Thursday, March 12, 2009
gotta do something between the fast and the furious movies
I have… nothing to add to this.
I would like to think that his development house is just him, by himself, coding in his off time.
Continue...Wednesday, March 4, 2009
Dear Snipers, Fuck Off and Die. Love, Boivin.
Over my many years of shooting from a first person perspective, two things have remained constant: (1) I tend to end the match with both most kills and most deaths as my play style could best be described as "berserker" and (2) I hate snipers. I don't mean I hate sniper rifles or I hate the sniper play style (well, I do), I literally mean I hate the people sitting on their couch, consciously choosing to hide somewhere and shoot me from afar. I hate them.
People will complain about many things in FPSes: glitches, unbalanced weapons, shitty stories ripped off from much better sci-fi movies etc. It's hard to place blame for these things, no faces or names, but with the sniper, there is a human element: a human element of pure hatred.
I can't be alone in this sentiment. Someone out there in the near-infinite legions of gamers must share the same sentiment. Now, you're probably saying out loud to your computer screen at this moment: "Boivin, sniping is a perfectly normal part of the game, you can't hate people for playing to win!" to which I will say "Fuck you, man! You're part of the problem!" In the realm of the FPS, sniping is tantamount to war crimes: anyone who doesn't come out against them should be tried as an accomplice. As far as I'm concerned, sniper apologists are equivalent to Hermann Göring (Godwin's Law doesn't count when a statement is valid).
To me, a good deathmatch is about going toe-to-toe with your enemy, dodging a constant stream of bullets, chucking the odd grenade, aiming for the head in the heat of the moment. I'm too busy having fun to worry about getting shot by somebody I can't see. Looking at the post-mortem kill cam, I see my death from the dispatcher's point of view: how could that be fun? Sitting there, waiting for me and my teammates to haplessly wander into your sights so you can put one in my brain? SIGN. ME. UP. I'm really glad I'm playing a video game of this than talking to a girl/multiple girls.
Here's a few good cinematic examples of sniper hate. You see Saving Private Ryan? Of course you have, you're Americans (on second thought, this is the internet)! Do you like Vin Diesel? Of course you do, you're Americans (or at least people from some democratic state, he does have international appeal after all)! Well remember what killed him in that movie? A SNIPER! And he was just trying to save that little French girl...Did you ever see Phone Booth? That movie sucked and that's with having Kiefer in it, damn hard to do. Did you see Shooter? Probably would have been better if Marky Mark was running around shooting people with a PPSh instead of camping like a bitch.
Basically, the point of this post is just because you're technically allowed to do something, that doesn't mean you should.
Continue...
Tuesday, February 24, 2009
midnight snack: hell of sand
What? Craig doesn’t own this type of post.
Hell of Sand is a game that stretches the definition of “game” – there is no set of objectives, and the whole thing is more like a physics simulation than a game really. When I say physics simulation, keep in mind that I am talking about the kind of physics simulation you might actually see in a physics class, and not a Physx simulation.
I’ve pointed you toward the “pyro sand” variation of the game, my personal favorite. I think that within many human beings lurks a simple fascination with fire, perhaps some primal leftover from our early ancestors. This version of the game has several different settings for things that either are fire or can be set on fire – this is a way to sate your inner pyro without actually blowing anything up.
The most interesting bits of this “game” involve experimentation – what materials react with what other materials, what does this do if I place it next to this, et cetera. If you don’t think it sounds like fun, try it out – you’ll see quite a bit of time slip away before you even know it. For those interested in digging deeper, see also the second iteration of the “pyro sand” game.
Continue...Tuesday, January 20, 2009
This Week on Audiosurf Radio – 1/20 – Sounds Like… Edition
Hope you like “instrumental electronic space pop.” There’s a lot of it to be had this week.
According to his Magnatune page, Wade Williamson (or simply Williamson) makes “instrumental electronic space pop.” I think it sounds like a mix of Katamari Damacy (though considerably chiller and less Japanese) and the guitar-laden tracks of the Orisinal games (A Dog For All Seasons is still my favorite). All four of the tracks can be found on his 2003 release A Few Things To Hear Before We All Blow Up. To mix things up, there’s also a song from Brazilian electronica artist Elektronoid. I couldn’t find any information on him/her other than this Jamendo page where you can listen to his/her three-track EP which may or may not be called Down Out Light.
We’ve talked about electronic music before, but this week’s a little different.
Recommended
2 Percenter– Williamson – Time: 3:32 Traffic: 173
This is the first of the Williamson tracks and I think it’s my favorite of the four. Musically, it best sums up my earlier analogy of Katamari mixed with Orisinal. The acoustic guitar isn’t driving, nor is it lulling. Listening to the music on its own, you might find it very relaxing. However, the track moves a tempo quite faster than you’d expect. The ride is like swimming in an ocean filled with gentle waves, but beneath the surface there’s an undertow, constantly pulling. It’s a mixture of weird noises, guitar and drum loops, and a synth in low soprano dancing in and out of a melody line. After two challenging downhill sections it ends soothingly enough, mellowing out again as you contemplate how to get that Clean Finish bonus.
A Pleasant Goodbye From Whore – Williamson – Time: 4:26 Traffic: 126
I can’t even begin to guess what this song’s title means. Williamson employs an electric guitar here, but the tone of his sliding chords is remarkably clean and clear. There are plenty of bizarre noises in this track, too: buzzing like electronic insects, something like wind panning from speaker to speaker, and an oscillating warble that hypnotically rises and falls in pitch. The first third of the ride is uphill, and the low traffic volume challenges you to make worthwhile matches. The warbling then kicks into overdrive and the track starts to fall away, leaving you to careen through tunnels desperately trying to snatch reds and yellows. I still have no idea what this song has to do with being bid farewell by (a) Whore.
This song is – to put it bluntly – a beast. It’s the kind of techno perfect for an action scene set in a dance club. It’s not too intense, but the drums mean business and there are a handful of spots where the music relaxes just enough before jumping into the next phrase with gusto. So if it’s not so intense, why is it a beast? It’s six and a half minutes long and it doesn’t feel repetitive despite repeating more than a few loops. The permutations on the main theme are distinct enough that it’s length is only frustrating if you want to catch your breath. My favorite moment, aside from the joyous stress of trying not to get overloaded in this monster, was the track knowing to put a corkscrew right at the end of a four-bar phrase, making things just crazy enough as the song started to close. Play this song, it might make you think of that Mortal Kombat song, or maybe a Vin Diesel flick.
Other selections
The other two Williamson songs (A- and We’re All Boned) are pretty standard fare - if you’re using Williamson as the barometer. They’re full of electronic noises and ambient sound, and the tracks move forward at a nice clip despite the “Let’s Do Pilates” quality of the music. The hills on A- move like planet(oids)s with an irregular orbit – they crest slowly but then whip you onto the next hill, making it challenging to nab blocks. Other than that, it’s just alright. And both songs feel about ninety seconds too long, a quality highlighted by Massive Station’s success.
Author’s Note
All songs were played on the Pro difficulty using the Eraser character. I find the Eraser character has the best tool for dealing with large numbers of blocks. I don’t find it as some kind of subconscious expression of Nihilism (re: Rob).
By The Way
Come back tomorrow for a special Audiosurf surprise!
Wednesday, January 7, 2009
They're Coming To Get You, Barbara

FPSes often get a lot of flack these days. Not so much the genre as a whole (because who doesn't like shooting things? We're Americans, remember?) but for the fact that many recent "killer apps" in the FPS category have not really blazed too much of a trail in terms of innovation or distinction; Halo comes to mind. The Gears of War series is pretty awesome, though technically not an FPS (being over-the-shoulder and whatnot). In my mind anyway, the genre is becoming stagnant and therefore stale, Master Chief and his legions of followers are responsible, it seems.
Doom of course remains the patriarch of the FPS family, if not the standard by which all that have come after are judged. However, for all of it merits Doom might be the best example of what keeps the FPS down- the almighty space marine. While certainly groundbreaking at the time, games which put the player in the boots of a badass interplanetary soldier tend to fallback and rely too much upon the tried and true "one man with a bunch of guns fights hordes upon hordes of aliens/demons/what have you" formula. As anyone who has ever played FPSes will tell you, this is very fun, but at some point one just has to say "enough" and wonder when something better will come along in the FPS genre.
I'm fairly certain that "something better" has come along and the kids are calling it "Left 4 Dead". For those of you cave dwellers, Left 4 Dead puts you in control of 1 of 4 survivors of an undead plague ravaging the planet. Together, you and your 3 amigos must work together to get to the chopper (or boat, or humvee, or whatever depending on the campaign you're playing) and escape the legions of zombies who hunger for your brains. Sounds fun, eh?
Among the things that make L4D such a wicked good time is the sheer helplessness of you and your party. There are no grenade launchers, no hammer of dawns, no chainsaw bayonets, no energy swords- the best weapon you're going to find in this game is a shotgun (though when fighting zombies, would you really want any other weapon?). Medkits are few and far between and resources often have to be pooled to get out alive. The game's zombies are of the 28 Days Later/Dawn of the Dead remake variety, meaning they run, which is just plain unfair. These fast-moving swarms of undead, when coupled with the scarcity of weapons and resources, mean that having as many party members alive as possible is essential to survival. Even so, players are often confronted with horrible decisions to make: for example, one of your party has been pinned down by a particularly nasty "hunter" super-zombie and is surrounded by the fast-encroaching multitudes of other ghouls. Do you a) mount a daring rescue and run in guns blazing to save your comrade or b) leave them for dead (get it?) an save your own skins? After all, it was their fault for falling behind in the first place!
L4D represents a near-perfect meshing of FPS, survival horror, and multiplayer gameplay. By taking the FPS away from the über-competent space marine with an assault rifle and making the protagonist an average Joe Six-pack armed with only a shotgun and his or her wits, Valve has made the genre bold and different again. The "clever civilian" approach to the FPS actually reminds me of a Valve game of yore: Half-Life (remember that?). Online play means that you can get the most out of the game by having 3 other human minds to play with at any time, though I must say nothing beats sitting it a room with a bunch of your friends shouting things like "Throw the pipe bomb! Throw it now, you idiot! You'll kill us all!" at each other. Because at the end of the day, if there was one experience you'd love more than anything to simulate with your buddies, wouldn't it be 4 of you surviving a zombie apocalypse?
Zombies hold a special place in the American imagination. When we play games or see movies where the protagonist goes up against human foes, our modern, liberal minds all drift towards wondering about the bad guy's family before Our Hero blew a hole in his chest. Is his mom going to get a letter tomorrow telling her that her only son just got killed in the line of duty by some invincible he-man with a laser cannon? As far as aliens are concerned, even they are not immune to post-colonial reasoning ("Aren't we the real monster in this space war?" "Who's to say that a life is less valuable just because it's not a human one?"). Maybe it's just me, but I love killing zombies because they're pure evil. They're mindless killing machines and the only way to deal with them is a cold, dispassionate bullet to the head (if you haven't read Max Brooks' Zombie Survival Handbook, go buy it NOW). By taking a new approach to an old problem, Valve has made me love the FPS again.
Continue...
Monday, December 8, 2008
Battle.blog - "Join Me and Together We Can Rule The Galaxy"

Two matches to report today. The first: my third loss. Not much to say about this one actually. I remember starting a match, it going south pretty early, and then it was over. It happened so fast that I forgot to save a replay. Or maybe I didn’t so much “forget” as I “got so disappointed in myself that watching a replay would’ve been worse than watching The Pacifier.” Moving on…
The second match was my longest to date. It came in at a whopping 22m36s. I was dealt the Protoss again, and I think I’m getting more comfortable with the race. Success as the Protoss depends a lot on your ability to maximize efficiency with their unique construction system. Because they’re a race of some crazy intelligent religious fanatics, they build structures by warping them in from another dimension. It’d be like you wanting a house and just taking an ax, cuting a hole in the fabric of space-time, and pulling a McMansion through. I always feel a little bad when I do this. I mean, what if I’m taking someone else’s building? I know I’d be pissed if I were in the middle of fighting some kind of alien vagina monsters and all of a sudden someone stole my base via an interdimensional rift. Troops are created through similar methods, which means I’m just waiting for stuff like this to happen. Anyway, the wormholes don’t need to be maintained, which means a single unit can start a bunch of structures and they just build themselves. Very efficient.
So here I was, being efficient, gathering resources and amassing a sizable brigade as soon as possible. My team consisted of myself as Protoss and two allies, one Zerg (Blue) and another Protoss (Brown). We were up against two Zerg armies (Red and White) and a Protoss (Orange). Since Protoss are the most expensive, slowest units to create, and Zerg the fastest, time wasn’t on our side. Therefore, Brown and I agreed to zealot rush one of the nearby Zerg armies. At five minutes on the dot, we gathered our troops and marched…on no one. We’d stumbled upon one of the few empty bases the map had to offer. After standing around like idiots for a few seconds, we went next door and began stomping on White’s relatively weak base.
In moments we were looting White’s base like it was a Wal-Mart during a blackout. His few defenses put a dent in our forces, however, allowing his buddy Orange to swoop in and mop up our squad before moving on to my base, which was, as usual, defenseless. With my troops depleted, Orange ravaged my base unabated. I was under siege for a good minute or two before my ally Blue stepped in with a force of hydralisks (which are basically just the bastard children of the Cobra Commander and Scorpion) and flushed out the invading force. Two of my valiant probes escaped the carnage and started up a base in the south while my remaining buildings suffered repeated attacks from Red’s cloaked lurkers. It was like my own personal Battle of Britain, if Britain had sent two of their best ironworkers to rebuild the army in Iceland.
I spent the rest of the match basically observing my allies engage in total war against our enemies. At one point, a flight of overlords carrying hydralisks flew over my base, before changing direction to attack my ally. I only understood it upon watching the replay: my opponent had waypointed their attack route. By holding shift, you can issue multiple commands to a single unit, which s/he will carry out in succession. My enemy’s superior planning actually saved my ass. I watched the fight drag on for another ten minutes, sluggishly gathering resources, building one zealot at a time. Unable to commit any troops, I was an ally in name only, a Tonga, if you will.
My allies overwhelmed Orange’s frontlines, forcing his withdrawal by destroying half of his buildings. Red was the next to fall, collapsing under the weight of Blue’s newly acquired Ultralisks. These Mastadon/Sabertooth Tiger hybrids are the Stretch-UV limos of the StarCraft universe. They’re luxury items, a good indicator of when someone’s got a game locked up. Now was my chance. I descended on the weakling White, just as he tossed a huge white flag. He asked us to ally him for the win. Effectively, by switching teams at the last possible moment, he gets credit for our victory. My teammates left the decision up to me. Taking pride in knowing I could’ve crushed him with my massive ten-man army, I checked the little box that made him my ally. VICTORY!!!
RECORD 1-3 Continue...
Sunday, November 30, 2008
Battle.blog: There Is No Cow Level
Alright guys. Here’s the scoop:I dig StarCraft. A lot.
I’ve been playing the game off and on for years. I still remember, back in middle school, exploring the contents of my friend’s WarCraft II: Tides of Darkness CD and finding the trailer for a new Blizzard RTS. It had a funky isometric viewpoint. And it didn’t have orcs or wizards. It took place in the realm of Skywalker and Picard, Vin Diesel and Tom Hanks. It was in space.
“How would this work?” I wondered. “How the hell would they handle spaceships? And why the fuck am I not playing it now?”
My relationship with StarCraft has evolved over the past ten years. I started with an illegal copy I could only use when my friend wasn’t online using his, and I finally bought a Battle Chest of my own in high school. Why do I keep coming back to it? Because I never mastered it. I only learned how to Zerg Rush a year or so ago, and I’m AWFUL at it. I’ve only beaten the campaign once, and I’ve never beaten the Brood War campaign.
In fact, most of my time has been spent on Battlenet playing “Use Map Settings” games—variants on popular RPGs, defense maps, and other miscellany whose authors cleverly exploit the map editor to create games that remind you of StarCraft, even though you're playing something else entirely. I’ve probably logged hundreds of hours using Sunken Colonies in a vain attempt to prevent critters from running across a map.
These are fun, but as any Korean will tell you: it ain’t StarCraft.
If you’ve ever played the game online, you know that to get ranked, you need 10 wins, and the aforementioned “Use Map Settings” games don’t count. I’m not sure if Blizzard has proper ladder rankings for StarCraft anymore (they’ve created some cockamamie “League” system that I don’t understand - nor do I care to), but that won’t stop me from trying to get my 10 wins and ladder rank. At the very least, I’ll prove to myself that I am, at worst, mediocre at a game I’ve been playing for years.
With the impending release of StarCraft II, I’ve decided to chronicle my quest here on CHARGE SHOT!!! Stay tuned. This has the potential for utter disaster.
Ready to roll out… Continue...





