Just finished "Infamous: Second Son"...

...both Evil and Good paths (in that order).

Here's some hot, sweaty reactions.


Three games in, and they have yet to make one with any replayability.

One thing I absolutely love is the accessibility: aside from the Space Needle, you can climb anything in a matter of seconds. No fucking around with Assassins'-Creed-style yearning looks upward*; unless you get stuck under an awning, then you're as helpless as a fly in a jar.

I understand why they didn't put more effort into the Paper Trail DLC, which is, for the most part really fascinating and fun (thanks to 42 Entertainment handling the web integration stuff), and does a great job of expanding the universe and the story: I imagine the number of people that will finish the game, let alone engage in something that goes beyond the game is dishearteningly small. I, on the other hand, have only ever left one game unfinished. Hopefully we'll see some compromise with this type of line-blurring in the future.

I wish my first reaction hadn't have been "can't wait for the sequel". 

But seriously, I can't wait for the sequel; wire, glass and paper conduits?

Dag.

Although, as I typed the above sentence, I realized that, if someone knocked at my door and said, here you go, here's the next Infamous game, I probably wouldn't both for a while as, I'm pretty burnt out after playing it twice.

Once was a bit of a stretch, quite frankly.

I found this true of Infamous 1 and 2 and, more recently, of the entire Assassins' Creed franchise. I finally ground my way through AC3, only to hear that AC4 is the good one, but I'm probably not even going to look at that until the 2015 AC game(s) are out, if then.

A bit let down by the concrete power and the timing of it, but, then again, how do you do that? You need it for the last boss, but then the game is over.

Another tear shed for replayability.

I also liked that each blast shard was necessary**, no pointless collectibles this time around.

Didn't really see that many morality choices, five in all, I believe. And they were less evil andmore selfish.

As for the protagonist being a Native American and the tiny handfuls of Indian stuff in the story, I would have given more of a shit if there had been more of it, but, if there had been more of it, I would have probably ended up complaining about how I don't care about the indian stuff.

Make sense?

Going back to the discrepancy between investment and reward with Paper Trail, I get it, but, as for Cole's Legacy, the DLC that's supposed to connect the first two games and the world in which all three take place, they should have absolutely done more.

And Zeke is still worthless and annoying.

On the whole, the game felt short. Although the first two games felt too long at times. That's always the rub, isn't it? I need to remember that, just because this is the next-generation not everything is going to be bigger and longer and more detailed...but it kind of should be, shouldn't it?

It should be longer and bigger and more nuanced than last generation's iteration.

As far as the graphical style, video was my favorite power; if it had the traversal ability of neon, it would be my preferred overall. 

I found all the boos fights annoying, although the set up and look at your battle with the angels was pretty stellar.

Thinking back, I don't think I've ever enjoyed an Infamous boss fight.

Story beats were all pretty predictable too. Although Delsin destroying his tribe at the end of the Evil playthrough was a nice, personal, dark touch.

That was kind of the only time I really felt he was evil. The worst you did before that was strangling a guy who had totally double-crossed him and who had gotten his brother killed.

I also like that the powerless segments are only a minute or two at their longest and that you're never in a place without a power source, although going again back to how shitty concrete is…

This was my first "made only for the PS4" game, and, while some parts of it look utterly stunning, overall, it felt less like a new generation, and more like a room I've been in since 2006 with a fresh coat of paint on the walls.

Still waiting for that jaw dropping moment when I'm reminded, again, that I'm living in the future.

And now, after a few more moments of expectation mitigation, I'm going to pop in Watch_Dogs***.

And, no, I will not be enabling Random Asshole Invasion mode. 

Sorry.

* God damn does that make it hard to believe you're part of a millennia-old brotherhood of crazy assassins...

** Compared to their use in the first two games anyway.

*** If I don't use the underscore, I could be arrested.

Some thoughts on "Days of Future Past"

Saw the new X-Men movie for Meghan's kickass birthday.

Here are some scattered notes and thoughts.

SPOILERS AHEAD!!!!!!!!!!! OH MY GOD SUCH SPOILERS!!!!!

At the end of everything, this was just a super stylish way to reset EVERYTHING back to 1973.

Didn't just get rid of Last Stand, got rid of EVERYTHING, including, it seems, Wolverine: Origins, since DOFP took place AFTER that and Stryker seemed to have no idea who Logan was.

So grateful that Halle Berry had only three lines and then died. I knew, even when it happened, that it couldn't be real, but still, a sweet dream. Here is where I disclaim and say that I do not wish Halle Berry any harm, just that she would stop acting, or at least, talking.

Any of those would be fine.

Back to the movie.

I am more excited than most about the introduction (finally) of Apocalypse. 

I love that Singer had planned to introduce both Sentinels and Apocalypse on his third X-Men film...something he did about 7 years later.

It's called stick-to-it-tiveness.

More excited about him than I was about Thanos.

Here's why: in the case of both Avengers and X-Men, more so with Avengers, you have some pretty powerful dudes. The idea that nothing any of them can do will affect either Thanos or Apocalypse is thrilling. We're not going to see Storm throw lightning at Apocalypse, just like we're not going to see Cap throw his shield at Thanos.

Hopefully not more than once.

Honestly though, it would be great if we could just skip all the "I have no idea what I'm up against, so let me try this, nope, that totally didn't work" crap. Just like the obligatory, "Why are we fighting? We're on the same side!!!!" device that's been used for years to kill an issue or a comic or half of an act in a film.

I was also okay with them killing the folks from First Class. Especially Frost. January Jones was just awful.

Obviously, Quicksilver and his scene were amazing, very well done. Totally fine with the two Quicksilvers in the MCU.

It was also refreshing not to see Evan Peters as a raping ghost, accused serial killer abductee and/or reanimated corpse.

One question: when did Shadowcat become Timeprojectioncat? Have I missed something?

Anyway, that's everything that really jumped out.

Great stuff, although it was just a really fancy reboot switch.

Between this, ASM 2 and Winter Soldier, I think I still have to give it to Winter Soldier.

Hail Hydra and here's hoping that after X-Men: Apocalypse, we'll meet Cable (played by Ron Perlman) and then get a really cool X-Force movie, which will introduce Deadpool, who will, finally, get his own, R-rated, movie.

Soundboarding with myself regarding Watchdogs

Going to blurt for a second about Watchdogs.
So...I really do like the look and idea of this game. There appears to be a hell of a lot of depth and it looks stunning...but...I'm blasting my way through Infamous: Second Son at the moment, and, while it's not the same game, it is a city sandbox game. Then there's the fact that, of all these nuances and features and everything, how much am I actually going to use?
Street races?
Fuck street races. The last thing I ever want to do in a GTA-style game is have to drive somewhere while there's a fucking clock on my screen.
Multiplayer that allows those assholes I try to keep myself insulated from access to my game? In order to fuck with me? Who in the fuck would want something like that in their game?* Imagine trying to finish a report at work when some guy walked into your cubicle and kept farting.
Now pay money for that.
Boom, you've just experienced Watchdogs multiplayer.
Plus, everything we've seen that looks amazing thus far has been PC, something that does not apply to me, the dialogue in this sounds like the worst kind of tripe and these characters look as generic as humanly possible. In fact, more so, I feel like the big reveal is that a computer designed these generic-ass characters based on an amalgam of generic-ass characters.
Is this just Ubisoft dressing up a turd in HD?

In the end, it's only a $60 expenditure and I've reached a point in my life where $60 is not going to make or break me, but, just because I can spend the money, does that mean I should? There's also the PS4 drought at the moment.
I want to be in the next generation, but, so far, nothing has felt that next-gen. Second Son does look really gorgeous, specifically the streets and all the power effects, especially the third one that you get, I love the style, but it just looks like a really beautiful coat of paint on the walls of a room I've been in for almost ten years.
I'm sure I'm not the only person lamenting this and I know we're going to have to wait until 2015 to maybe see something that actually drops our collective nerd jaws, but...I don't know...Veruca Salt.

Hm.
You know how, when you're stuck between two things, sometimes you'll flip a coin? You know how, more advanced thinkers will choose which side they want and then just go with that as their choice because the fact that they chose that means it was what they preferred?
I feel like this little ramble has served as that.
Thanks, no one!





* Players of Demon's Souls, Dead Souls and Dead Souls 2, please put down your erections.

A review of Tori Amos' "Unrepentant Geraldines"

I have a tendency to judge Tori Amos' albums more harshly than other artists whose work I enjoy. It's because she has made some of the most important and powerful music I've ever heard and I know what she is capable of. So, when she puts out something that doesn't grab me, for whatever reason, I'm not disappointed, I'm frustrated and then hopeful that her next release will be the one to bring it back, to sink its teeth into me.

When Tori said she was getting back to her non-orchestral roots for her new album, I will freely admit I was worried that would mean a return to the adult contemporary feel that's haunted her music since the early 2000's.
Very happy to report that is not the case.

This is going to sound like the cheesiest, most hackneyed phrase ever used in a review for anything but, here it is: Unrepentant Geraldines is full of surprises.

Ugh, I hate myself for saying that, but it is absolutely earned. Songs will set a tone and then take a pleasantly unexpected turn; tracks like "America", whose mischievous guitars and delicate handclaps work very well and start things off nicely suddenly get switched with a momentary rousing sing along, and "Trouble's Lament", the first single from the album, who presents herself* as a dusty tale of "our girl, Trouble" then breaks out her Tex-Mex dancing boots. 

Other songs are surprises in and of themselves, such as "Giant's Rolling Pin", which sounds so damn cute with the ukulele, euphonium and cow bell that I actually want to cuddle this song, "16 Shades of Blue", which is such a standout with her subtle electronics, hidden nuances and minimal piano (why can I hear David Bowie covering this?), and the title track, part languid funk, part pseudo-surf rock and part dark, stormy piano suite, that last featuring one of the strongest and most simple lyrics I've heard Tori sing in years, "I'm going to heal myself from your religion". 

There's even some classic, Tori-and-her-piano tracks for purists, such as "Weatherman", "Selkie", "Invisible Boy" and the beautiful and brutally honest "Oysters".

Other standouts include the epic and mythic "Wedding Day", the fairy tale dream of "Maids of Elfen-mere", "Promise", the mother / daughter duet that's probably going to make more than a handful of people weepy, and "Rose Dover", which harkens back to from the choirgirl hotel and Boys For Pele while, at the same time, being her own girl.

Another tired, used up phrase that I hate is "return to form", but Unrepentant Geraldines is, in part, just that, and I'm relieved to use it now.

I've never really had a crush on Tori Amos; I have too much respect for her, if that makes any kind of sense, but I have always admired her and her beautiful creations. Even when she did the adult contemporary thing, I always held out hope. This is the third really strong Tori album** in a row, and it's with cautious optimism and a trembling, grateful heart that I declare her slump...over.

One thing that's remained unchanged since Little Earthquakes though, some I'll never worry about, is Tori's voice. It's still as clear and perfect as ever, and I'll never think differently.

* Since Tori refers to her songs as "girls" and awards them feminine pronouns and this is her album, I will do the same.

** Yes, I'm counting Gold Dust.

A review of Damon Albarn's "Everyday Robots"

Everything on Damon Albarn's first solo album* falls into two categories: Sparse, Melodic and Morose, and Sparse, Melodic and Jubilant.

Mostly the former.

Because of the abundance of the morose though, the few jubilant tracks like "Mr. Tembo", "Parakeet" and "Heavy Seas of Love" shine more brightly; chrome wet with rain and reflecting sunlight.

Almost every track has an interesting bit of percussion or scrap of texture that makes the whole work stand out and keep things compelling.

Which should go without saying, I mean, this is Damon Albarn, an artist who, in my opinion, should be spoken of in the same breath as Thom Yorke and Trent Reznor with regards to his accomplishments and contributions to modern music, and his experimental heart. In fact, I might go as far as saying that, of those three, Albarn is the boldest, the one who takes the most risks.

There are times when Albarn's message, that we're all isolated from one another by the technology that was originally designed to bring us closer to one another, gets a bit belabored, like on the title track,"Hollow Ponds" and "You & Me", but it's done in a way that doesn't really feel overbearing, although my personal jury is still out when it comes to artists using technology to condemn technology.

I mean, do you own an iPhone, Damon? Did you jot the lyrics about how awful phones are ("we are everyday robots on our phones") on your iPhone? Didn't you shoot two of the videos for the album on one of these demonic telephonic contraptions?

To be fair, he does take a moment here and there to extol the virtues of technology, on "Lonely Press Play", for instance, so I guess he's not wholeheartedly vilifying technology?

Or, is he making a statement by using technology to expound upon the evils of technology?
Or should we give a shit?
Ah.
There's the real question.
Let's focus on, you know, the music, rather than the messages that might, or might not, be in the music.
Shall we?
Yes.

One of my favorite devices on Robots is the continuity. I love me some continuity, and this album is rife with it; the whole thing ebbs and flows just like the oceans we see in Albarn's videos.
Tracks that reflect the most of that wet sunlight include "You & Me", which has a wonderful, sorrowful evolution, "The History Of A Cheating Heart", which is just a bar of pure, sad gold, and "Hollow Ponds", the beeping, grinding, Haunted Mansion distortion on which really sums up Albarn's thoughts on the plague of technology in our society better than any lyrics on here.
As much as Albarn's beating a dead horse a bit with the whole "technology is bad" thing, the album certainly succeeds in making me feel spiteful towards technology, in making me feel disconnected from the people walking in droves around me, heads lowered in worship of and enthralled by their little screens.
The album closes perfectly with the jolly (yet still kind of morose) "Heavy Seas of Love", featuring Brian Eno on vocals sounding like Baloo from The Jungle Book.
Which I like.

People. If you enjoy Blur or Gorillaz or Rocket Juice and The Moon or The Good, The Bad & The Queen or Mali Music or any of Damon Albarn's myriad musical endeavors, just go get this. It's the core of what makes Damon Albarn Damon Albarn, and you're going to like it.
You're also going to be a hypocrite if you listen to it on an iPhone or any other device utilizing electricity as a power source.

* Not really counting Dr. Dee or Monkey.

A review of Eels' "The Cautionary Tales of Mark Oliver Everett"

Of Eels' recent albums, my least favorite was End Times. There was a lack of depth and polish that felt slapdash rather than raw and, when most every song on an album is about the different ways E is sad, well, it all kind of blurs together. It had a few really solid tracks on it, but a lot of it didn't stand out in my mind.
Cautionary Tales is a better version of End Times. There's more orchestration and more effort here, but the overwhelming sense of "haven't we been here before? Haven't we covered this already?" kept distracting me from most of it.

I wish the rest of the album sounded like the instrumental opening track, "Where I'm At", a soft and sad and beautiful piece that reminds me of elements of Daisies of the Galaxy, or, to be more specific, the live show build around Daisies. But, even though there is an orchestra credited for helping to create the album, I felt like a lot of Cautionary Tales wasn't utilizing said orchestra.
There is some good stuff here, namely "Parallels", "Kindred Spirit" (even though it sounds so much like "In My Dreams" that I have to check myself every time it comes on*) and "Answers", which features the always-lovely celeste and some really nice orchestration as well a lovely choral moment or two.
On the other hand, there's tracks like "Series of Misunderstands", that is so lacking in lyrical flow that I can barely sit through it, "Dead Reckoning" which feels too grandiose for this album and packs a strong vibe of "I'm crying! Again! Look! But this time, I'm lamenting all my horrible life choices in front of a full orchestra! This is powerful!" and "Gentleman's Choice" where there appear to be something stuck in E's throat. Not emotion...maybe...steak?

The deluxe edition, which features a second disc containing 13 tracks, five of which are brand new**, has a few gems on it. "Bow Out" (quiet, dark and brave), "Good Morning Bright Eyes" (shimmering and upbeat) and "Millicent Don't Blame Yourself" (perfect example of a simple, good Eels song), none of which really seem to fit on this album, probably should have been included on the album for just that reason.

With regards to the overwrought nature of a lot of this album; listening to someone sing a sad song or lyric ("Every day I live in regret and pain", "the life that I've led / I'm better off dead" etc.) isn't enough for me. It's too obvious. Hearing someone sing a song about trying to live despite that sadness or attempting to overcome it and having difficulties or outright failing is always more compelling. I feel like too much of what E has chosen to put on this album is the former.
I know E has been through enough tragedy to last any one man several lifetimes, but I think, after almost twenty years, I'm just about done hearing him sing about it, especially when it's all been done better, by him, years ago.





* Same with "Lockdown Hurricane" and "End Times".

** One, "Millicent Don't Blame Yourself", has been played live, but has never gotten an official release.

Quick write up of The Amazing Spiderman 2

Just got home from taking in the new Spiderman (Spider-Man?) movie with some friends.

Nutshell: if you liked the first, see the second.

Here are some more in-depth thoughts.

YES! THERE ARE SPOILERS!!!











Max Dillon was a bit much before he changes as was his origin, all a little too 50's sci-fi, but, as my friend Alan pointed out, of course it's going to be comic book-y...it's a comic book movie.
I think I've just been a bit dampened by the tone of Winter Soldier (which I really dug).

I really liked the scene between Electro and Spidey in Times Square. Of course it had to all go wrong, but it was interesting for a few moments when it didn't. Well done.

Did not like the random dub step soundboard that was Electro and his powers, and what the fuck was up with all that angsty whispering? Jesus. There was a better way to do that: not at all.

The introduction of Ravencroft, Smythe and Felicia was just wonderful.
So much teasing of the cock.

While some might find it cheesy, the, literal, foreshadowing with the appearance of Captain Stacey worked really well for me, especially the last time we see him.
His face...so judgemental.

The quips are perfect, and the moments of comedy were perfect.

I thought the way they handled Gwen was SO hilariously brutal, especially for folks who knew of her fate from the comics.
She's falling! He saved her.
She's falling!!! He saved her!
She's falling!!!!!!! He...almost saved her.
Totally fucking brutal.
Wow.

Love. Love. LOVE all the seeds they're planting for the next (based on that list that Harry gets from his dad) forty seven films.

Wanted a bit more Rhino, but the bits we got were just great. Paul Giamatti is doing what an actor should: enjoying himself, thus causing the audience to enjoy themselves.

Wanted a real stinger, not just a trailer for the X-Men movie, which I want to see less and less the more I see of it.
Unless they kill Halle Berry.
Then, I'll see it twice.

Fingers crossed for that Sinister Six plot Webb teased recently.

End of the Month Music Bitchfest - April 2014

Nine Inch Nails
These recent NIN shows have been too unfocused. I know, I know, will I ever be happy ever. With virtually no lighting set ups and the random grab bag of songs we've already heard...I don't know, getting a little anxious about this shared bill with Soundgarden AND an opener.
I feel like we're gearing up for half of a Nine Inch Nails concert, for $100 a pop.
This does not please my kitten.
But, at least I'll finally get to hear "The Hand That Feeds" live.

A few weeks ago, we got the first taste of the Gone Girl score and it sounds like something from Silent Hill.
I'm thinking this score is going to be less incongruous than that of The Social Network but more incongruous than that of The Girl With The Dragon Tattoo, based on the book at least.
Honestly, after that little clip from the web site (this web site), I'm now hungrier than ever for a Reznor/Ross Silent Hill score.
Where do I throw the money?

Eels
A bit bummed by my lack of instant love for the new album.
Short version: The Cautionary Tales of Mark Oliver Everett sounds like a better, fuller End Times. I think, as much as I love E and his music, that the pity party / sad bastard diatribe is, just now, almost twenty years after first hearing his stuff, starting to wear a little thin. Not that I don't think it's genuine, it's just, you know, getting a bit overworn. I'd love another Souljacker; a blistering work of rock fiction with no set instrumental style, maybe get away from the songs about all the emotional trauma that's happened to him in the past year and a half.
Part of me is dreading that the next Eels album will be entitled I Got A Splinter: 12 Songs About How I Hurt My Finger.
You're a sensitive dude. We get it. We got in back in 1998 when you turned the greatest tragedy in your life into something hopeful and harrowing.
Holding out hope for the tour though, as they've always been amazing experiences.
Full review of the new album is in the works, so make sure to ignore that.

Cake
*sigh*
They've resorted to re-releasing all their old albums on vinyl.
Colored vinyl.
How can they be so cruel and thoughtless?!
DON'T THEY KNOW HOW MANY COLORS DIED FOR THEIR FESTIVE-LOOKING RECORDS??!?!?!?
But, at least that fucking live album from goddamn 2007 is getting a vinyl release.
Which I'll then have to convert to digital.
Fucking Christ, can these pieces of shit ever do anything that doesn't piss me off?!
I suppose re-releasing their catalogue is better than putting out some random compilation of songs though...

They Might Be Giants
Wow, this thing (called Idlewild) has nothing interesting on it, whatsoever.
Two or three tracks from their last four albums, including Nanobots, which came out just over a year ago and one or two from a handful of other albums, EPs and compilations they've released over the past decade or so.
The whole thing just seems lazy.
Hope this doesn't count as either of the albums they were planning to release this year.

In other TMBG news, a music video I created with my wife, Chris, and friend, Phil Maniaci, for the "Am I Awake?" video contest placed fourth or fifth out of over a hundred and fifty entrants, receiving an Honorable Mention from John Hodgman (the judge of said contest).
Of the three winners, I think two of them completely deserved to win, hands down.
You can check our video out here: "Am I Awake?" music video.


One of the other reasons I wasn't super focused or stoked about the new Eels was that Damon Albarn's first solo album, Everyday Robots, was released around the same time. And it is just as impressive as one would hope Damon Albarn's first solo album would be.
There's a lot of focus on the spiritual malaise generated by the technology that was built to bring us closer together as a people further isolating us from one another. Not really the most groundbreaking topic to tackle in 2014, especially for Albarn, but, hey, write what you know.
The whole thing is sparse and sorrowful and melodic and a little spooky at times.
Full review coming soon.
Probably.

The new Lykke Li has Lykke leaked* but I've yet to get into it. A very quick flip through it makes me think it's a lot more spare than her most recent, insanely amazing album, Wounded Rhymes.
But, again, I haven't heard more than a song or two.

New Tori this month.
Let's roll the dice together.





* I apologize to the families of victims of that pun.