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Out of James Aguilar

Dead Space

I just finished Dead Space last night, and I want to say a few words about it. This review contains spoilers, so stop reading now unless you'd like to know the ending. I am really glad that I entered with low expectations especially regarding the game's level of innovation, horror, and cinematic quality. These were lacking, but entering the game with eyes open on that topic made it easier to enjoy.


What the game did have going for it was a huge level of badassness. Isaac Clarke does what every victim of a horror movie should do: he gets armed with a variety of ad hoc but extremely deadly weaponry and protective armor, then proceeds with the task of murdering zombies. All of the weapons felt powerful, and the weapon upgrade mechanic was good. 

One of the key game features, enemy dismemberment, was entertaining throughout, though not perhaps as novel as the game's authors might believe. It wasn't always "new" to see a zombie's limb shatter as a blasted it with a line of plasma. But the challenge of aiming and getting that job done while being assaulted on all sides never got dull.

Thematically, Dead Space was all over the place. You start the game looking at the back of Isaac's head as he and one other crew member are briefed on the status of the Ishimura, a damaged ship orbiting a planet that was being "cracked" for mining. Get ready, because you're going to see a lot of Isaac's back before your ten hour odyssey is over. However, before you can see his face, he dons his engineer's mask, which he wears throughout the game until the end.

Isaac is a mere engineer with no combat training but a familiarity with tools that put to uncommon use can be quite deadly. That said I question the authors' decision-making in interpreting him as a human. By wearing a mask for the entire game and exhibiting no emotional reaction to anything that happens, I began to feel that Isaac was my limb extending into the game world. He doesn't need emotional reactions: I am experiencing whatever feelings he might feel for him. 

Over the course of the game it becomes apparent very quickly to everyone except Isaac's game-internal humanness that his wife is either dead or aiding and abetting the aliens. Which makes it faintly ridiculous when after this is revealed explicitly in the final moments of the game, he puts his hand to his mask like he's sad. Worse was the decision to have him take off his mask in relief after he escapes the planet. I've gone the whole game without seeing this guy's poorly-rendered face. There was no need to change that at the end.

All in all, an enjoyable game with very questionable storytelling. 3.5/5

Playing the Game

While I'm on the topic, a couple of pieces of advice on how to play the game.
  • You only need two guns: the plasma cutter and the line gun.
  • In the same vein, you ought to only buy the guns you want to use. The game has a nice mechanic where it only drops ammunition for guns you own. Buying ammunition is very expensive compared to drops, so stock up.
  • The number of situations in the game (at least on medium settings) where your original health bar is not enough are few. Don't upgrade your suit health until everything else is done.
  • Stasis is your friend. Upgrade your stasis energy early and often, and use it to slow down enemies. When enemies are slow, it's easier to shoot their limbs off, which will in turn help you save ammunition, which in turn pays for the cost of using stasis. Do this especially near locations with free stasis recharging.
  • Likewise, if a suit upgrade becomes available you should make that your first priority. The extra 5% damage reduction from each new armor level are the most valuable bonuses in the game, followed by the expansion to your inventory slots, which armor upgrades also provide. Let me repeat: the two most valuable bonuses in the game are both delivered through armor upgrades, so make sure to do them immediately when new armor is available.
  • Sell extra ammunition and health packs to buy power nodes and upgrade the damage output of your weapons. This will enable you to use less ammunition, and therefore have more extra to sell and buy even more power nodes with.

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Posted October 15, 2009
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James Reviews The Informant!

Maybe I should not have listened to the This American LIfe episode on the topic beforehand. Still other movies whose endings I knew already entertained me more than The Informant! did.

The movie was not funny or tragic enough. This story is nothing if not a comedy of errors, but the movie had only two or three moments that made me chuckle, and none that earned a genuine laugh. With this material, they should have been able to do more.

It's also a story of this tragic guy who engages in a lot of self-destructive behavior. While the awkwardness of watching this definitely comes across, Whitacre's character ends up being too despicable to sympathize with. They say as much in the episode on TAL. The movie lacks any sense of drama, leaping from point to point in the story with no connection to anything we care about.

So you're left with a sort of bland nothingness throughout the entire movie. Whitacre's flow-breaking unfunny internal monologues don't help. Worse, you watch a lot of the movie in back rooms and through secret cameras. As much as price-fixing sounds boring, I thought that they distanced the action of the movie too much from that, instead focusing on the investigation and preventing us from developing a real sense of what it was the ADM was doing wrong.

This is the first movie in a long time I considered walking out of. I would have if Sie Deen hadn't been there claiming she was interested. Little did I know she experiencing loss aversion or we could have been out of there an hour earlier.

My advice is to save yourself some money and listen to the episode of This American Life. Kick them a buck or two to pay for your bandwidth and twenty other people's and you'll have saved yourself half an hour of driving to and from the theatre, half the length of the movie (since the episode is forty five minutes shorter), and you'll have had a much better experience.

1.5/4

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Posted September 28, 2009
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Maybe someone here can explain H.P. Lovecraft to me

When I saw the book on the shelf, I knew what I had to do.  H.P. Lovecraft is one of the most famous authors of horror ever, listed together with Edgar Allen Poe and Steven King (which is flattery more to King than to Lovecraft I think).  So when I saw the anthology The Call of Cthulhu and other Weird Tales on the library shelf, I knew that if I was man at all I would have to pick it up and read it.

After only reading a handful of the stories in the book, I think I've apprehended enough of a random sample to say that I don't get the attraction.  OK, yes, the concept of Cthulhu is interesting.  (And you may wish to stop reading here if you don't want some story elements given away.)  He's this interstellar demonic creature made up of a different form of matter than any we know, more like a wicked God than a typical monster, and powerful beyond human conception.  He's not evil so much as indifferent, and he sleeps in the city of R'yleh under the sea.  When the stars are right he will wake and enslave and slaughter the entire human race.  And he's actually one of the more likable members of his species compared to, for example, Azathoth.

But as far as the writing and story-telling go, it did not compel me.  The cast of the stories are typically men with interest in the occult, in old languages, histories, and strange occurrences -- that is, unlikable, weird men.  Of the five stories I read, most had men like these doing the kinds of things you would expect them to do -- like visiting grave yards past midnight -- and finding things you might not expect -- like Cthulhu. Lovecraft uses adjectives of abomination extensively thought his writing.  It seemed to me that he exhausted within the first few paragraphs of each story every way to express disgust, horror, or other-worldliness that our language offers.  He did this to an extent that he repeated words like "hellish" and "horrible" in neighboring paragraphs.

Apt descriptions aside, this can only do so much for me.  The concept can take me a long way, but it's hard to feel something for weird men pursuing weird ideas who are themselves so strange that I can barely view them as human.  None of these characters were likable in the least -- to me they invoke a picture of a man sitting in his library in the early part of the century, pontificating about pseudo-science.  They are too different from me to get my empathy.  So there is no way for me to even begin to care what happens to them.

The biggest problem with the stories is the combination of characters like these and their heavy reliance on "horrors that the human mind cannot conceive."  But if the horrors are inconceivable, by definition I cannot conceive of them.  And when the litany of these horrors grow long enough I'm liable to discard the line of thought altogether and just abstract it away.  "OK, something bad is happening but I'm not sure what and I don't want to try to guess any more," is the conclusion my mind reaches, and in the same instant the story loses all its power.

So here comes the rule: if you want to tell a story of an inconceivable horror, you must first actually conceive of a horror that no one else would conceive of.  Then you must reveal it to me slowly and make me conceive of it. What's more, you can't simply create this horror and expect me to read about it.  To hold my attention on the horror you will also need to create something or someone I care about upon which your horror is being visited.  That is what the few stories I've read from the Cthulhu mythos failed to do, and why I don't plan to read any more.

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Posted August 16, 2009
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500 Days of Summer Mini-Review

This movie did not live up to my expectations.  One of the biggest reasons was the clever title was a bit too clever for someone who hasn't seen any previews.  My vision, bolstered by the advertisements and two sentence summaries I'd read, was of a beachy, light-hearted romance.  One of the synopses I read said something about "rooftop parties," so can you blame me?

The movie was neither beachy nor light-hearted.  It was about the romance of a vaguely hipster-ish young man whose visions of romance had survived his teen years, and a hipster-ish-but-not-vaguely young woman whose same visions had been stillborn.  True to the promises it was a coming of age movie where much was learned.  But it had issues that muted most of my enjoyment:
  1. For me to enjoy a love story, I typically have to be able to identify with the protagonist.  There was very little about the female lead, Summer, that attracted me, neither in spirit nor in form.
  2. I am tired of teen and post-teen romance movies that begin with a shared interest in a particular type of music, especially when it's aimed as music I've never heard of.
  3. A case of mismatched expectations: I did not expect a gray, New York summer with a character named Summer.  I expected a real summer with a character named Suzie.  Or whatever.  If you go to a movie and have heard nothing but the title and that it's a romance, and the title is a pun, your expectations and what you actually get will be different.
  4. This movie didn't make a case for its breaking chronological order.  Causality is good; you have to have a strong reason to hide it.
It was not a bad movie.  But if I had it to do over again I would probably not have seen it.

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Posted August 9, 2009
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Lucky Number Slevin, and what it's like to be able to rate it mediocre

Lucky Number Slevin didn't get very good reviews when it came out in 2006.  I wonder what other fantastic movies were coming out to where you could compare it with them and believe it was only mediocre.  Wish we had those kind of movies coming out today.

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Posted August 6, 2009
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