Peace out.
Senin, 31 Desember 2012
Peter David has had a stroke
The crappiest way to end the year. News has broken that novelist and comic book writer Peter David has suffered a stroke.
David has many accolades to his name, arguably most notably as the author who ended the "Is Pluto a planet?" debate by having the Borg destroy it in a Star Trek novel. He also picked up the numerous loose ends left dangling by the Babylon 5 TV series and resolved them in a particularly fine trilogy of tie-in novels in the early 2000s. He also wrote what is arguably the greatest TV tie-in novel of all time in Vendetta (a Star Trek: The Next Generation novel) and spent twelve years writing The Incredible Hulk, to considerable critical acclaim. I wish him a full recovery and for many more comics and novels to come from him in the future.
David has many accolades to his name, arguably most notably as the author who ended the "Is Pluto a planet?" debate by having the Borg destroy it in a Star Trek novel. He also picked up the numerous loose ends left dangling by the Babylon 5 TV series and resolved them in a particularly fine trilogy of tie-in novels in the early 2000s. He also wrote what is arguably the greatest TV tie-in novel of all time in Vendetta (a Star Trek: The Next Generation novel) and spent twelve years writing The Incredible Hulk, to considerable critical acclaim. I wish him a full recovery and for many more comics and novels to come from him in the future.
The Wertzone Awards 2012
Once more unto the breach!
1. Existence by David Brin
David Brin returns after a long absence with a sweeping, state-of-the-nation take on what our lives may be like in the mid-21st Century. Strong characters and a thorough exploration of scientific and technological ideas combine for my strongest book of the year.
2. Dark Eden by Chris Beckett
Beckett's second novel is difficult to describe, being a piece built more around mood and atmosphere than plot. It's the story of the descendants of an ancient starship crash who discover more about the world around them and their true history, and thus about themselves.
3. Kings of Morning by Paul Kearney
Kearney conclude his exploration of Greek and Persian history through the lens of fantasy with aplomb, with flawed characters finding their destinies against the backdrop of war.
4. Railsea by China Mieville
A vast world consisting of oceans of rails, with immense trains ploughing across them. A crazed and whimsical echo of Moby Dick, but with awesome monsters and concepts straight from Mieville's weird imagination. Also incidental winner of the Biggest Mole Monster in SFF Award 2012.
5. Forge of Darkness by Steven Erikson
Erikson steps back from the immense complexity of his Malazan sequence to deliver a (relatively) straightforward prequel. Freed from the weight of backstory, Forge of Darkness is Erikson's finest fantasy novel in a decade.
6. 2312 by Kim Stanley Robinson
Like Brin, Robinson also undertakes a thorough exploration of what humanity may be like in the future, this time 300 years hence. His effort is larger-scaled, taking in the entire Solar system, but fails compared to Brin due to an undercooked political thriller subplot. Still, a visionary work.
7. Red Country by Joe Abercrombie
A bonkers mashup of Al Swearengen, Rockstar Games and Clint Eastwood, this is a fantasy war western on an epic scale. With Abercrombie's trademark black humour and cynical characters, the story is traditionally bloody, brutal and conspicuously lacking in banjos.
8. Sharps by K.J. Parker
Parker's latest novel veers away from her(?) recent novels in being based around an ensemble cast rather than a single individual. It's also hilarious, with the characters being in the middle of a traditional epic fantasy backdrop but without a clue what's going on.
9. The King's Blood by Daniel Abraham
After the good-but-underwhelming Dragon's Path, Abraham's Dagger and the Coin series explodes more readily into life with this second volume. It's a more coherent and focused work than the first novel, consolidating Abraham's position as one of our most promising (relatively) new fantasy writers.
10. The Killing Moon by N.K. Jemisin
Jemisin's epic fantasy by way of Egyptian history and mythology is a bit of a slow-burner, but a smart and intriguing book.
Bubbling under: Blood and Bone by Ian Cameron Esslemont, Great North Road by Peter F. Hamilton, The Dirty Streets of Heaven by Tad Williams, The Twelve by Justin Cronin, Blue Remembered Earth by Alastair Reynolds, Orb Sceptre Throne by Ian Cameron Esslemont, The Iron Wyrm Affair by Lilith Saintcrow, Caliban's War by James S.A. Corey, The Middle Kingdom by David Wingrove, Ice and Fire by David Wingrove, Crown of Embers by Rae Carson.
After a decade being mildly snarky about the Star Wars prequels (among a few other things), Brin returns with his most epic and impressive novel to date. Nicely done.
A book that manages to pack more story, character and thematic exploration into its low page count than some authors manage in entire trilogies. Intelligent and thought-provoking. Next year for the hat-trick?
1. XCOM
Firaxis's resurrection of a twenty-year-old classic is a resounding success. Eminently replayable with a fiendish, "Just one more go!" feel, XCOM is a fitting tribute to the original game and a thoroughly compelling game in its own right.
2. Dishonored
Darkly atmospheric with an unusual setting and a laudable focus on stealth and intelligence over mindless slaughter, playing Dishonored is a rich (but often stressful) experience with a strong element of replayability to it as you attempt to get that perfect 'undetected' pass of a level.
3. Far Cry 3
As bonkers freeform shooters go, they don't get much more bonkers or more successfully freeform than Far Cry 3. A fantastic sense of setting and place with sublime combat overcomes some early makework problems in the early game. Plus the only game on this list where you can blow up a crocodile with a landmine, and is that not what humanity has striven for since first we looked at the stars?
4. The Walking Dead
A zombie game where the zombies are incidental, serving only as the vehicle which fleshes out character and plot. And with this game (based on being halfway through), Telltale have delivered their best characters and most compelling plot so far, not to mention the finest take on The Walking Dead franchise in any medium to date. Full review forthcoming.
5. Alan Wake (PC Edition)
An older, under-appreciated game on console is brought back to life on PC with jaw-dropping graphics and a sense of atmosphere that is staggering, not to mention some hilarious observations on the life of a 'struggling writer'. The PC version includes the two expansions and is an absorbing game.
6. Black Mesa
A bunch of unpaid fans spend eight years updating the greatest first-person shooter of all time (Half-Life) with modern graphics and production values. Frankly better than almost all of the actual original first-person shooters professionally released this year. Worth it just for the Chuckle Brothers reference.
7. Mass Effect 3
It's been a surprisingly thin year for roleplaying games, but Mass Effect 3 nearly makes up for it by itself. With a thorough exploration of consequence and hopelessness, set against a backdrop of smart characterisation and a soundtrack to die for, this could have been a contender for game of the year...at least before a series of titanic logic failures leads to the single most controversial ending of any popular franchise in the last ten years. The Leviathan and 'Extended Cut' DLCs help repair the damage somewhat, but it's not quite enough to overcome the disbelief. Still, the other 95% of the game is awesome.
8. Max Payne 3
Rockstar were always going to have to work hard to convince fans of one of the finest action games of all time that they were suited to take over the franchise, and in isolated, brilliant moments Max Payne 3 succeeds. In others it disappoints, particularly the game's reluctance to actually let you play it (with frequent, unskippable and tedious five-minute cut scenes). The breathless action sequences and stunning soundtrack go some way to repairing the damage, however.
9. Game of Thrones: The RPG
Awful graphics and dubious combat do not for a good RPG make. However, the awesome characters and a series of plot twists that even GRRM may have considered too shocking elevate this game above its problems to become something really interesting. And, based on the dozen hours I've pumped into it so far, frankly better than Dragon Age: Origins.
10. Alan Wake's American Nightmare
Remedy's quasi-sequel to the excellent Alan Wake has some terrific ideas floating below the surface, but ultimately proves too repetitive to withstand comparison with its older, more impressive sibling.
1. Game of Thrones
The second season may have been more disappointing than the first, but it was still the television highlight of the year. Peter Dinklage's performance is even stronger this year than in the first, and more screen time for Charles Dance is always a good thing (though skirting the edges of being too much of a good thing). Some of the more tedious aspects ("Ships! Dragons! Ships! Dragons!") are more than outweighed by the outstanding episode Blackwater.
2. The Walking Dead
The second season of this show was probably best first-experienced on Blu-Ray, with the endless wanderings through the forest looking for missing characters getting a bit old by mid-season. But a renewed focus on character relationships and the deteriorating mental state of the redoubtable Shane (along with the occasional zombie massacre scene) do prove ultimately worthwhile.
3. Merlin
The final season of what started as a light-hearted kid's show proves to be unexpectedly dark, with multiple character deaths and a surprising adherence to the original legend's brutal conclusion. Well-acted and thoroughly enjoyable. If only the whole series had been like this.
4. Doctor Who
A switch to more stand-alone episodes after last year's over-convoluted arc proves to be a success, allowing the show to return to its roots as an enjoyable slice of SF hokum. The arrival of mysterious new companion Clara 'Kenny' Oswald, played with infectious enthusiasm by Jenna-Louise Coleman, has also helped revive the show following the exhaustion of Rory and Amy's storylines.
5. Red Dwarf
Given the damage wreaked on the Red Dwarf name by its seventh and eighth seasons (and the horrendous Back to Earth special of a few years ago, now retconned as the ninth season), expectations were accordingly low for this new season. The cast overcome the issues of age to continue to deliver fine performances with some of the best scripts the show has had in twenty years. Whilst there's still lots of misfires, this latest return for the show is worthwhile.
6. Battlestar Galactica: Blood and Chrome
This pilot for an aborted Battlestar Galactica spin-off tries to make up for the problems of Caprica - being too talky and lacking action - but goes way too far in the opposite direction. Dubious characters and workmanlike performances are held up by some remarkable CGI, but ultimately it's for the best the show wasn't picked up.
1. Ted
The touching and beautiful story of a young boy and his magical bear who comes to life. Later they take drugs together and meet Sam Jones from the 1980s Flash Gordon movie whilst Patrick Stewart berates Brandon Routh for making Superman Returns in narrative voiceover. Frankly, no other film this year was as much fun.
2. The Dark Knight Rises
Better than The Dark Knight (note: I am well aware that I am the only person on Earth who thinks this), this third movie in the series is a satisfying conclusion to Christopher Nolan's grimdark interpretation of the Dark Knight. As usual, Michael Caine is the best thing in it but is given a run for his money by Anne Hathaway's unexpectedly excellent Catwoman and Tom Hardy's evil Bane (despite sounding like he's sucking in helium whilst at the bottom of well).
3. The Hobbit: An Unexpected Journey
Whilst the overall wisdom of extending a very short novel into a nine-hour trilogy remains to be seen, this first installment works thanks to excellent performances by Martin Freeman, Ian McKellan, Andy Serkis and Richard Armitage and the decision to flesh out the dwarves and their backstory much more than Tolkien did. Also the winner of the Best Hedgehog Scene of 2012 Award.
4. Cabin in the Woods
Joss Whedon and Drew Goddard's metatextual examination of the horror movie genre risks tremendous smugness in its own cleverness but just about gets away with it with a darkly effective premise. Jet-black humour and a ruthlessness in dispatching major characters combine with inventive methods of murder and misdirection to create something very interesting.
5. The Avengers
Joss Whedon almost loses control of this vast behemoth of a movie several times, but just about reigns it in. The movie risks overwhelming the audience with explosions and action, but an undercurrent of humour and some great character moments (mostly involving Mark Ruffalo and Scarlett Johansson) save the film from total Baydom and instead render it nosily enjoyable.
7. The Hunger Games
Suzanne Collins's slightly underwhelming novel is transformed into an enjoyable film, even if it adheres too much to the books in not giving the characters real moral issues to address. Still, great performances from Jennifer Lawrence and Donald Sutherland bode well for the sequels.
7. The Woman in Black
Daniel Radcliffe shakes off the Ghost of Potter to deliver a fine performance in this adaptation of Suzanne Hill's novel. Some standard horror techniques are over-used, but the film delivers an atmospheric experience.
8. Prometheus
Ridley Scott's Alien quasi-prequel features some superb acting, stunning set design and phenomenal set-pieces, but sacrifices too much logic and intelligence to achieve it. A visually impressive cinematic experience, but ultimately a hollow one. However, it does confirm the long-held belief that Everything is Better With Idris Elba.
At the start of the year it seemed very possibly - even likely - that Valve was on the cusp of officially announcing Half-Life 3. That didn't happen, though head of Valve Gabe Newell did confirm that they are at least working on it, and we can expect it to appear some time between now and the heat death of the universe.
Tie.
Best Novels
1. Existence by David Brin
David Brin returns after a long absence with a sweeping, state-of-the-nation take on what our lives may be like in the mid-21st Century. Strong characters and a thorough exploration of scientific and technological ideas combine for my strongest book of the year.
2. Dark Eden by Chris Beckett
Beckett's second novel is difficult to describe, being a piece built more around mood and atmosphere than plot. It's the story of the descendants of an ancient starship crash who discover more about the world around them and their true history, and thus about themselves.
3. Kings of Morning by Paul Kearney
Kearney conclude his exploration of Greek and Persian history through the lens of fantasy with aplomb, with flawed characters finding their destinies against the backdrop of war.
4. Railsea by China Mieville
A vast world consisting of oceans of rails, with immense trains ploughing across them. A crazed and whimsical echo of Moby Dick, but with awesome monsters and concepts straight from Mieville's weird imagination. Also incidental winner of the Biggest Mole Monster in SFF Award 2012.
5. Forge of Darkness by Steven Erikson
Erikson steps back from the immense complexity of his Malazan sequence to deliver a (relatively) straightforward prequel. Freed from the weight of backstory, Forge of Darkness is Erikson's finest fantasy novel in a decade.
6. 2312 by Kim Stanley Robinson
Like Brin, Robinson also undertakes a thorough exploration of what humanity may be like in the future, this time 300 years hence. His effort is larger-scaled, taking in the entire Solar system, but fails compared to Brin due to an undercooked political thriller subplot. Still, a visionary work.
7. Red Country by Joe Abercrombie
A bonkers mashup of Al Swearengen, Rockstar Games and Clint Eastwood, this is a fantasy war western on an epic scale. With Abercrombie's trademark black humour and cynical characters, the story is traditionally bloody, brutal and conspicuously lacking in banjos.
8. Sharps by K.J. Parker
Parker's latest novel veers away from her(?) recent novels in being based around an ensemble cast rather than a single individual. It's also hilarious, with the characters being in the middle of a traditional epic fantasy backdrop but without a clue what's going on.
9. The King's Blood by Daniel Abraham
After the good-but-underwhelming Dragon's Path, Abraham's Dagger and the Coin series explodes more readily into life with this second volume. It's a more coherent and focused work than the first novel, consolidating Abraham's position as one of our most promising (relatively) new fantasy writers.
10. The Killing Moon by N.K. Jemisin
Jemisin's epic fantasy by way of Egyptian history and mythology is a bit of a slow-burner, but a smart and intriguing book.
Bubbling under: Blood and Bone by Ian Cameron Esslemont, Great North Road by Peter F. Hamilton, The Dirty Streets of Heaven by Tad Williams, The Twelve by Justin Cronin, Blue Remembered Earth by Alastair Reynolds, Orb Sceptre Throne by Ian Cameron Esslemont, The Iron Wyrm Affair by Lilith Saintcrow, Caliban's War by James S.A. Corey, The Middle Kingdom by David Wingrove, Ice and Fire by David Wingrove, Crown of Embers by Rae Carson.
The Wertzone SFF Comeback Award 2012
After a decade being mildly snarky about the Star Wars prequels (among a few other things), Brin returns with his most epic and impressive novel to date. Nicely done.
The Wertzone Award for Best Book Read in 2012 Regardless of Release Date
A book that manages to pack more story, character and thematic exploration into its low page count than some authors manage in entire trilogies. Intelligent and thought-provoking. Next year for the hat-trick?
Best Games
1. XCOM
Firaxis's resurrection of a twenty-year-old classic is a resounding success. Eminently replayable with a fiendish, "Just one more go!" feel, XCOM is a fitting tribute to the original game and a thoroughly compelling game in its own right.
2. Dishonored
Darkly atmospheric with an unusual setting and a laudable focus on stealth and intelligence over mindless slaughter, playing Dishonored is a rich (but often stressful) experience with a strong element of replayability to it as you attempt to get that perfect 'undetected' pass of a level.
3. Far Cry 3
As bonkers freeform shooters go, they don't get much more bonkers or more successfully freeform than Far Cry 3. A fantastic sense of setting and place with sublime combat overcomes some early makework problems in the early game. Plus the only game on this list where you can blow up a crocodile with a landmine, and is that not what humanity has striven for since first we looked at the stars?
4. The Walking Dead
A zombie game where the zombies are incidental, serving only as the vehicle which fleshes out character and plot. And with this game (based on being halfway through), Telltale have delivered their best characters and most compelling plot so far, not to mention the finest take on The Walking Dead franchise in any medium to date. Full review forthcoming.
5. Alan Wake (PC Edition)
An older, under-appreciated game on console is brought back to life on PC with jaw-dropping graphics and a sense of atmosphere that is staggering, not to mention some hilarious observations on the life of a 'struggling writer'. The PC version includes the two expansions and is an absorbing game.
6. Black Mesa
A bunch of unpaid fans spend eight years updating the greatest first-person shooter of all time (Half-Life) with modern graphics and production values. Frankly better than almost all of the actual original first-person shooters professionally released this year. Worth it just for the Chuckle Brothers reference.
7. Mass Effect 3
It's been a surprisingly thin year for roleplaying games, but Mass Effect 3 nearly makes up for it by itself. With a thorough exploration of consequence and hopelessness, set against a backdrop of smart characterisation and a soundtrack to die for, this could have been a contender for game of the year...at least before a series of titanic logic failures leads to the single most controversial ending of any popular franchise in the last ten years. The Leviathan and 'Extended Cut' DLCs help repair the damage somewhat, but it's not quite enough to overcome the disbelief. Still, the other 95% of the game is awesome.
8. Max Payne 3
Rockstar were always going to have to work hard to convince fans of one of the finest action games of all time that they were suited to take over the franchise, and in isolated, brilliant moments Max Payne 3 succeeds. In others it disappoints, particularly the game's reluctance to actually let you play it (with frequent, unskippable and tedious five-minute cut scenes). The breathless action sequences and stunning soundtrack go some way to repairing the damage, however.
9. Game of Thrones: The RPG
Awful graphics and dubious combat do not for a good RPG make. However, the awesome characters and a series of plot twists that even GRRM may have considered too shocking elevate this game above its problems to become something really interesting. And, based on the dozen hours I've pumped into it so far, frankly better than Dragon Age: Origins.
10. Alan Wake's American Nightmare
Remedy's quasi-sequel to the excellent Alan Wake has some terrific ideas floating below the surface, but ultimately proves too repetitive to withstand comparison with its older, more impressive sibling.
Best TV Series
1. Game of Thrones
The second season may have been more disappointing than the first, but it was still the television highlight of the year. Peter Dinklage's performance is even stronger this year than in the first, and more screen time for Charles Dance is always a good thing (though skirting the edges of being too much of a good thing). Some of the more tedious aspects ("Ships! Dragons! Ships! Dragons!") are more than outweighed by the outstanding episode Blackwater.
2. The Walking Dead
The second season of this show was probably best first-experienced on Blu-Ray, with the endless wanderings through the forest looking for missing characters getting a bit old by mid-season. But a renewed focus on character relationships and the deteriorating mental state of the redoubtable Shane (along with the occasional zombie massacre scene) do prove ultimately worthwhile.
3. Merlin
The final season of what started as a light-hearted kid's show proves to be unexpectedly dark, with multiple character deaths and a surprising adherence to the original legend's brutal conclusion. Well-acted and thoroughly enjoyable. If only the whole series had been like this.
4. Doctor Who
A switch to more stand-alone episodes after last year's over-convoluted arc proves to be a success, allowing the show to return to its roots as an enjoyable slice of SF hokum. The arrival of mysterious new companion Clara 'Kenny' Oswald, played with infectious enthusiasm by Jenna-Louise Coleman, has also helped revive the show following the exhaustion of Rory and Amy's storylines.
5. Red Dwarf
Given the damage wreaked on the Red Dwarf name by its seventh and eighth seasons (and the horrendous Back to Earth special of a few years ago, now retconned as the ninth season), expectations were accordingly low for this new season. The cast overcome the issues of age to continue to deliver fine performances with some of the best scripts the show has had in twenty years. Whilst there's still lots of misfires, this latest return for the show is worthwhile.
6. Battlestar Galactica: Blood and Chrome
This pilot for an aborted Battlestar Galactica spin-off tries to make up for the problems of Caprica - being too talky and lacking action - but goes way too far in the opposite direction. Dubious characters and workmanlike performances are held up by some remarkable CGI, but ultimately it's for the best the show wasn't picked up.
Best Film
1. Ted
The touching and beautiful story of a young boy and his magical bear who comes to life. Later they take drugs together and meet Sam Jones from the 1980s Flash Gordon movie whilst Patrick Stewart berates Brandon Routh for making Superman Returns in narrative voiceover. Frankly, no other film this year was as much fun.
2. The Dark Knight Rises
Better than The Dark Knight (note: I am well aware that I am the only person on Earth who thinks this), this third movie in the series is a satisfying conclusion to Christopher Nolan's grimdark interpretation of the Dark Knight. As usual, Michael Caine is the best thing in it but is given a run for his money by Anne Hathaway's unexpectedly excellent Catwoman and Tom Hardy's evil Bane (despite sounding like he's sucking in helium whilst at the bottom of well).
3. The Hobbit: An Unexpected Journey
Whilst the overall wisdom of extending a very short novel into a nine-hour trilogy remains to be seen, this first installment works thanks to excellent performances by Martin Freeman, Ian McKellan, Andy Serkis and Richard Armitage and the decision to flesh out the dwarves and their backstory much more than Tolkien did. Also the winner of the Best Hedgehog Scene of 2012 Award.
4. Cabin in the Woods
Joss Whedon and Drew Goddard's metatextual examination of the horror movie genre risks tremendous smugness in its own cleverness but just about gets away with it with a darkly effective premise. Jet-black humour and a ruthlessness in dispatching major characters combine with inventive methods of murder and misdirection to create something very interesting.
5. The Avengers
Joss Whedon almost loses control of this vast behemoth of a movie several times, but just about reigns it in. The movie risks overwhelming the audience with explosions and action, but an undercurrent of humour and some great character moments (mostly involving Mark Ruffalo and Scarlett Johansson) save the film from total Baydom and instead render it nosily enjoyable.
7. The Hunger Games
Suzanne Collins's slightly underwhelming novel is transformed into an enjoyable film, even if it adheres too much to the books in not giving the characters real moral issues to address. Still, great performances from Jennifer Lawrence and Donald Sutherland bode well for the sequels.
7. The Woman in Black
Daniel Radcliffe shakes off the Ghost of Potter to deliver a fine performance in this adaptation of Suzanne Hill's novel. Some standard horror techniques are over-used, but the film delivers an atmospheric experience.
8. Prometheus
Ridley Scott's Alien quasi-prequel features some superb acting, stunning set design and phenomenal set-pieces, but sacrifices too much logic and intelligence to achieve it. A visually impressive cinematic experience, but ultimately a hollow one. However, it does confirm the long-held belief that Everything is Better With Idris Elba.
The Wertzone Missing in Action 2012 Award
At the start of the year it seemed very possibly - even likely - that Valve was on the cusp of officially announcing Half-Life 3. That didn't happen, though head of Valve Gabe Newell did confirm that they are at least working on it, and we can expect it to appear some time between now and the heat death of the universe.
The Wertzone Award for Special Achievements in Seriously, Dude, What the Hell?
Tie.
Update on the WHEEL OF TIME catch-up posts
As some have pointed out, it's been a while since I posted the 'story so far' post for the eleventh Wheel of Time novel, Knife of Dreams. With the fourteenth and final book due for release on 8 January, that leaves me with a week to summarise The Gathering Storm and Towers of Midnight.
Unfortunately, it now looks like this will not happen. A combination of two rapid changes of jobs, constant six-day weeks since mid-November and the requirements of doing these summaries (about 8-9 hours of work, basically requiring a full working day of effort) have left me little chance to work on the project. I've done about 30% of The Gathering Storm so far and might just manage to finish that off before AMoL comes out, but definitely not the complex-to-summarise (due to its convoluted timeline) Towers.
I will complete the project, as I know many people will not get to Memory of Light until it comes out in paperback or ebook (the ebook version has, once again, been ludicrously delayed until several months after the hardcover), but sadly not in time for the release of the hardcover. Apologies for that. In the meantime, I can recommend Encyclopedia WoT's summaries of The Gathering Storm and Towers of Midnight.
My traditional year review/preview posts will be along as normal in the next few days, however.
Unfortunately, it now looks like this will not happen. A combination of two rapid changes of jobs, constant six-day weeks since mid-November and the requirements of doing these summaries (about 8-9 hours of work, basically requiring a full working day of effort) have left me little chance to work on the project. I've done about 30% of The Gathering Storm so far and might just manage to finish that off before AMoL comes out, but definitely not the complex-to-summarise (due to its convoluted timeline) Towers.
I will complete the project, as I know many people will not get to Memory of Light until it comes out in paperback or ebook (the ebook version has, once again, been ludicrously delayed until several months after the hardcover), but sadly not in time for the release of the hardcover. Apologies for that. In the meantime, I can recommend Encyclopedia WoT's summaries of The Gathering Storm and Towers of Midnight.
My traditional year review/preview posts will be along as normal in the next few days, however.
Minggu, 30 Desember 2012
Blood and Bone by Ian Cameron Esslemont
Jacuruku: an island-continent located south-west of Quon Tali and west of Stratem. Separated from the rest of the world by large ice floes, Jacuruku has long existed in isolation. The peoples of western Jacuruku lie under the dominion of the Thaumaturgs, mages of tremendous power, whilst the eastern half of the continent is dominated by the jungle of Himatan, domain of the goddess Ardata.
Now the Thaumaturgs have launched an invasion of Himatan, determined to find the fabled city of Jakal Viharn. But even as their army drives deep into the jungle, so their homelands come under threat from the desert tribes of the far south, now united into a formidable army by an invading foreigner...who may not be as foreign as he first appears. Also newly arrived in Jacuruku are the Crimson Guard, summoned to bring to justice their renegade warrior Skinner and those sworn to his service. For K'azz D'Avore and his Avowed, this is an opportunity to heal a painful schism...but at a cost.
Blood and Bone is Ian Cameron Esslemont's fifth novel, taking us to the hitherto unexplored (but oft-mentioned) continent of Jacuruku. The setting is the key to the novel, with the reader soon feeling the humidity and discomfort of the jungle terrain. It's actually rather unusual for geography to be so integral to a Malazan novel (normally it's incidental), and it's a new approach that Esslemont handles well.
In terms of character, the book has a substantial cast taking in Jacuruku natives, Thaumaturgs, demigods, Malazan mercenaries and Crimon Guardsmen. Esslemont takes the time to establish story arcs which are contained within this one novel (such as Saeng's journey) as well as furthering long-running storylines established in earlier books, such the Crimson Guard looking for a new purposes in the aftermath of the Quon Civil War. There's also some excellent use of the established backstory (Jacuruku was once the site of Kallor's empire, the one whose destruction resulted in the Fall of the Crippled God) to drive forward the storyline. Unusually for a Malazan novel, I felt I had a pretty good handle on what was going on throughout. Newcomers might be tempted to jump aboard due to the main storylines being more or less self-contained in this book, but will likely be lost by references to past and simultaneous events (the novel takes place simultaneously alongside Stonewielder, Orb Sceptre Throne and The Crippled God).
Esslemont's prose is readable and compelling (and more accomplished in this novel than ever before), but a little lacking in artistry compared to Erikson's. However, it's also far more concise and approachable. Esslemont handles his large cast and his complex, multi-layered plot quite successfully. In fact, Blood and Bone just about nudges it as his best book to date.
Blood and Bone (****½) is available now in the UK and will be published in May 2013 in the USA.
Now the Thaumaturgs have launched an invasion of Himatan, determined to find the fabled city of Jakal Viharn. But even as their army drives deep into the jungle, so their homelands come under threat from the desert tribes of the far south, now united into a formidable army by an invading foreigner...who may not be as foreign as he first appears. Also newly arrived in Jacuruku are the Crimson Guard, summoned to bring to justice their renegade warrior Skinner and those sworn to his service. For K'azz D'Avore and his Avowed, this is an opportunity to heal a painful schism...but at a cost.
Blood and Bone is Ian Cameron Esslemont's fifth novel, taking us to the hitherto unexplored (but oft-mentioned) continent of Jacuruku. The setting is the key to the novel, with the reader soon feeling the humidity and discomfort of the jungle terrain. It's actually rather unusual for geography to be so integral to a Malazan novel (normally it's incidental), and it's a new approach that Esslemont handles well.
In terms of character, the book has a substantial cast taking in Jacuruku natives, Thaumaturgs, demigods, Malazan mercenaries and Crimon Guardsmen. Esslemont takes the time to establish story arcs which are contained within this one novel (such as Saeng's journey) as well as furthering long-running storylines established in earlier books, such the Crimson Guard looking for a new purposes in the aftermath of the Quon Civil War. There's also some excellent use of the established backstory (Jacuruku was once the site of Kallor's empire, the one whose destruction resulted in the Fall of the Crippled God) to drive forward the storyline. Unusually for a Malazan novel, I felt I had a pretty good handle on what was going on throughout. Newcomers might be tempted to jump aboard due to the main storylines being more or less self-contained in this book, but will likely be lost by references to past and simultaneous events (the novel takes place simultaneously alongside Stonewielder, Orb Sceptre Throne and The Crippled God).
Esslemont's prose is readable and compelling (and more accomplished in this novel than ever before), but a little lacking in artistry compared to Erikson's. However, it's also far more concise and approachable. Esslemont handles his large cast and his complex, multi-layered plot quite successfully. In fact, Blood and Bone just about nudges it as his best book to date.
Blood and Bone (****½) is available now in the UK and will be published in May 2013 in the USA.
Sabtu, 29 Desember 2012
El último Elvis (The Last Elvis)
Armando Bo's debut film tells the most unexpected story about an Elvis Presley impersonator in a kind of weird, wonderful and bittersweet film that if you know the real Elvis sound you could be fooled by this Elvis as non-actor John McInerny really sounds like the older real one.Most interesting is to find that McInerny sang live -no studio recording-, he's an architect and also a real life Elvis impersonator; but his performance when not singing is done more with silences plus face/body expressions and he is impressively good. He won the Best New Actor award at 2012 Premio Sur and is very well-deserved.
So you might think that this is a musical, there are songs but belong within a narrative so is not a musical. So then, is a drama? Yes is a drama but there is nothing dramatic in it as story is told very, very slowly, in almost dream-fashion style of every day life, where not much is happening on the screen; there are moments that you wish movie could go faster or to give you hints of what is going on besides what you see in the screen and when finally you start to get hints of what will come whatever you guessed I assure you will not be what comes at the very end. Quite unexpected finale done in a very non-dramatic way while something quite dramatic happens; but then if you think twice that was the only way this story could end.
There are many readings about story, some say is an emotional father/daughter story while others say that's about a looser, a musician/singer that never made it, a failing husband, father and son, trapped in a boring manufacturing job by day and impersonating someone else by night. No matter if you see one or the other story interpretation (or more) there is one certain fact, main character never is himself, he is Elvis, calls his wife Priscilla and her daughter's name is Lisa Marie.
Co written by Bo and Nicolás Giacobone (co writers of Alejandro González Iñárritu's Biutiful) and produced by González Iñárritu film has top tech specs that give film a look/feel that everything is happening in the 60s or 70s but a cellular phone tells you is not; most spectacular use of light, great attention to detail and more gives the impression that film is from a more accomplished director and not a first timer.
It is a great film but because is very slow tend to believe that is not for everyone, only those that are patient, like to admire details, and don't mind that not much happens for almost half the movie will be able to endure entire movie. Still know that those that are real Elvis fans will be fascinated by how striking alike this Elvis is to the real one in more ways than his singing and his mannerisms.
I'm no Elvis fan but after watching movie read a little about Elvis life only to discover a few key facts that made me see this film story very differently, but won't spoil the movie for you so watch it and then read about Elvis surely you will uncover a different story interpretation.
Enjoy!!!
Watch trailer @MOC
Jumat, 28 Desember 2012
RIP Gerry Anderson
On Boxing Day it was announced that Gerry Anderson had passed away at the age of 83. Anderson was one of the most famous figures in UK TV in the 1960s and 1970s, working on a number of science fiction and fantasy shows. However, he will always be closely associated with a number of children's series featuring puppets operating highly-detailed vehicles: Supercar, Fireball XL5, Stingray, Thunderbirds, Captain Scarlet and the Mysterons, Joe 90 and Terrahawks.
In addition to his puppet shows, Anderson created several live-action SF series: UFO, Space: 1999 and Space Precinct (as well as the non-SF The Protectors). Despite his fame and his shows' place in popular culture, he was unable to find a format with longevity: aside from Terrahawks, none of his shows lasted more than two seasons. Thunderbirds returned with a live-action movie in 2004 which Anderson was not involved with, criticised heavily and was panned on release. Anderson did produce a two-season revival of Captain Scarlet in 2005 (using CGI) which was critically well-received, but which was not a financial success.
Despite the setbacks, Anderson's shows were always worth watching. They usually presented a positive view of the future and of the ways that technology could improve people's lives, though tinged with caution over its misuse. His shows also had production values that defied belief for their day: the model effects (and endless, artistically impressive explosions) on Thunderbirds are particularly stunning for a series made in 1965. His 1970-71 TV series UFO (which inspired the 1994 computer game X-COM and its sequels and recent remake) was also notable for being aimed squarely at adults, with a dark theme of paranoia running through the series along with a much grimmer tone than his other work, a move which was very successful.
Anderson also had an influence on other shows. His work inspired Ron Thornton, the creator of the CGI on Babylon 5 and, later, Star Trek: Voyager, to make space scenes more colourful and original (Thornton later worked with Anderson on the new Captain Scarlet). Anderson's habit of putting highlights from the episode in the title sequence of each episode also led to the creators of the newer Battlestar Galactica to do the same thing in their show, somewhat controversially. His work was also very popular in Japan, where even a tribute anime to Thunderbirds was produced in the 1980s (called Thunderbirds 2086 with the permission of the company that produced the original show, but without Gerry Anderson's involvement).
In 2011 Anderson was working on a revival of Thunderbirds using CGI, but the status of the project became uncertain after he was diagnosed with Alzheimer's and had to retire. Hopefully, this project will be revived and introduce a new generation of fans to his work and legacy.
In addition to his puppet shows, Anderson created several live-action SF series: UFO, Space: 1999 and Space Precinct (as well as the non-SF The Protectors). Despite his fame and his shows' place in popular culture, he was unable to find a format with longevity: aside from Terrahawks, none of his shows lasted more than two seasons. Thunderbirds returned with a live-action movie in 2004 which Anderson was not involved with, criticised heavily and was panned on release. Anderson did produce a two-season revival of Captain Scarlet in 2005 (using CGI) which was critically well-received, but which was not a financial success.
Despite the setbacks, Anderson's shows were always worth watching. They usually presented a positive view of the future and of the ways that technology could improve people's lives, though tinged with caution over its misuse. His shows also had production values that defied belief for their day: the model effects (and endless, artistically impressive explosions) on Thunderbirds are particularly stunning for a series made in 1965. His 1970-71 TV series UFO (which inspired the 1994 computer game X-COM and its sequels and recent remake) was also notable for being aimed squarely at adults, with a dark theme of paranoia running through the series along with a much grimmer tone than his other work, a move which was very successful.
Anderson also had an influence on other shows. His work inspired Ron Thornton, the creator of the CGI on Babylon 5 and, later, Star Trek: Voyager, to make space scenes more colourful and original (Thornton later worked with Anderson on the new Captain Scarlet). Anderson's habit of putting highlights from the episode in the title sequence of each episode also led to the creators of the newer Battlestar Galactica to do the same thing in their show, somewhat controversially. His work was also very popular in Japan, where even a tribute anime to Thunderbirds was produced in the 1980s (called Thunderbirds 2086 with the permission of the company that produced the original show, but without Gerry Anderson's involvement).
In 2011 Anderson was working on a revival of Thunderbirds using CGI, but the status of the project became uncertain after he was diagnosed with Alzheimer's and had to retire. Hopefully, this project will be revived and introduce a new generation of fans to his work and legacy.
Kamis, 27 Desember 2012
GAME CHANGE
Dated Released : 2012
Quality : BRRip 720p
Info : imdb.com/title/tt1848902
IMDB Rating : 7.6 (4,634 users)
Star : Ed Harris, Julianne Moore, Woody Harrelson
Genre : Drama | History
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Follows John McCain's 2008 presidential campaign, from his selection of Alaska Governor Sarah Palin as his running mate to their ultimate defeat in the general election.
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Follows John McCain's 2008 presidential campaign, from his selection of Alaska Governor Sarah Palin as his running mate to their ultimate defeat in the general election.
Selasa, 25 Desember 2012
Updated MALAZAN reading order and map
Updated with info from Orb Sceptre Throne and Blood and Bone:
Following the publication of Blood and Bone, it's now possible to work out a new reading order for the books to best account for the information given by both authors. This list is not the chronological order of the novels, which would likely be very confusing, but a 'best' reading list accounting for publication and chronological orders:
The placement of Forge of Darkness remains difficult. It is so full of references to things already-established in the Malazan series that reading it first is hard to recommend, but it does clarify some elements of the world and terminologies that may be much more helpful to newcomers than jumping straight in with Gardens of the Moon.
The side-novellas form a totally separate side-story. Aside from recommending that they be read after Memories of Ice, they can be read whenever.
* Night of Knives introduces several characters who play a role in The Bonehunters.
** Return of the Crimson Guard picks up shortly after The Bonehunters, whilst Reaper's Gale tells us explicitly that a year has passed since the events of TBH.
*** According to dialogue, Toll the Hounds takes place six years after Memories of Ice. According to every other piece of information in the whole series, this is flat-out impossible, and needs to be ignored. Orb Sceptre Throne retcons it to about two years after MoI. The presence of a child born after MoI who is five years old in TTH also has to be ignored.
**** There is an argument for moving Stonewielder after Orb Sceptre Throne, as it shares a major scene with Blood and Bone viewed from an alternate perspective and thus happens simultaneously. This also puts Toll the Hounds right next to its direct sequel, Orb Sceptre Throne. However, there is a subplot in Stonewielder which takes place before Orb (thanks to the time-bending properties of the Warrens) and continues in it, requiring Stonewielder to be read first.
***** According to dialogue and various events, Orb Sceptre Throne takes place before the conclusion of the Dust of Dreams/Crippled God duology.
*** *** Blood and Bone takes place simultaneously with the events of The Crippled God and immediately thereafter.
Following the publication of Blood and Bone, it's now possible to work out a new reading order for the books to best account for the information given by both authors. This list is not the chronological order of the novels, which would likely be very confusing, but a 'best' reading list accounting for publication and chronological orders:
- Gardens of the Moon
- Deadhouse Gates
- Memories of Ice
- House of Chains
- Midnight Tides
- Night of Knives*
- The Bonehunters
- Return of the Crimson Guard**
- Reaper's Gale
- Toll the Hounds***
- Stonewielder****
- Orb Sceptre Throne*****
- Dust of Dreams
- The Crippled God
- Blood and Bone*** ***
- Assail (forthcoming)
The placement of Forge of Darkness remains difficult. It is so full of references to things already-established in the Malazan series that reading it first is hard to recommend, but it does clarify some elements of the world and terminologies that may be much more helpful to newcomers than jumping straight in with Gardens of the Moon.
The side-novellas form a totally separate side-story. Aside from recommending that they be read after Memories of Ice, they can be read whenever.
* Night of Knives introduces several characters who play a role in The Bonehunters.
** Return of the Crimson Guard picks up shortly after The Bonehunters, whilst Reaper's Gale tells us explicitly that a year has passed since the events of TBH.
*** According to dialogue, Toll the Hounds takes place six years after Memories of Ice. According to every other piece of information in the whole series, this is flat-out impossible, and needs to be ignored. Orb Sceptre Throne retcons it to about two years after MoI. The presence of a child born after MoI who is five years old in TTH also has to be ignored.
**** There is an argument for moving Stonewielder after Orb Sceptre Throne, as it shares a major scene with Blood and Bone viewed from an alternate perspective and thus happens simultaneously. This also puts Toll the Hounds right next to its direct sequel, Orb Sceptre Throne. However, there is a subplot in Stonewielder which takes place before Orb (thanks to the time-bending properties of the Warrens) and continues in it, requiring Stonewielder to be read first.
***** According to dialogue and various events, Orb Sceptre Throne takes place before the conclusion of the Dust of Dreams/Crippled God duology.
*** *** Blood and Bone takes place simultaneously with the events of The Crippled God and immediately thereafter.
DREDD 3D
Dated Released :21 September 2012
Quality : BRRip 720p
Info : imdb.com/title/tt1343727
IMDb Rating : 7.6 (21,440 users)
Star : Karl Urban, Olivia Thirlby, Lena Headey
Genre : Action | Sci-Fi | Thriller
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In a violent, futuristic city where the police have the authority to act as judge, jury and executioner, a cop teams with a trainee to take down a gang that deals the reality-altering drug, SLO-MO.
Senin, 24 Desember 2012
Far Cry 3
A group of American tourists in Bangkok are convinced to visit the isolated Rook Islands, a beautiful tropical paradise off the normal tourist track. Unfortunately the islands are also in a state of civil war, with the native Rakyat tribe battling pirates and drug-runners who have taken over the area. The Americans are taken prisoner by the pirates, but Jason Brody manages to escape and find sanctuary amongst the Rakyat. He is trained in the ways of war, but as he seeks out his friends and tries to take down the pirate leader, Vaas, he risks losing his soul as the violence and conflict intensifies.
Far Cry 3 is the third title in the Far Cry franchise, though it is not a true sequel. It does not share any story or character elements with its two predecessors and can be played fully independently of them. What it does share is the same ethos: a dedication to providing a story-driven single-player experience within a sandbox environment, giving the player immense freedom in deciding how to proceed.
Far Cry 2 was heavily criticised for featuring a similar approach, but not doing enough with it. The game's annoyances - almost non-existent characterisation and of course the frequent road checkpoints with near-instantly respawning enemies which made travel across the map excruciatingly frustrating - overwhelmed the game's conceptual strong points, such as its 'buddy' NPC system and rich atmosphere. The designers of Far Cry 3 seem to have borne the previous title's problems in mind and provided a counter for every one of them whilst reinforcing those elements that did work. In short, Far Cry 3 finally fulfils the potential its predecessor squandered, and redeems the franchise.
The game employs a number of different systems which work in tandem to make it more engrossing for the player. There's a campaign story which you can follow, in which Brody rescues his friends one-by-one before trying to kill Vaas and his ally, the drug-runner Hoyt. However, at the start of the game Brody is a nobody with no combat training and no ability to carry lots of guns around. To improve your chances of survival, you can undertake training missions for the Rakyat or go hunting animals to improve your aim. Skinning these animals also allows you to craft holders, bandoliers and backpacks, allowing you to carry more ammo and gear. However, your map at the start of the game is almost devoid of any useful information: to open up more map information, you have to ascend radio towers and download information from them. Travelling around the islands is also hazardous due to enemy checkpoints and strongholds. To reduce the number of enemies roaming the islands, taking out these outposts is essential. Unlike Far Cry 2's instantly-respawning bases, however, the outposts in Far Cry 3 stay cleared once cleared. In fact, Rakyat forces soon show up and these outposts become havens for resupply and re-equipping between missions. Outposts also generate their own missions, with side-quests, further hunting challenges and assassination assignments becoming available.
In short, there is rarely a lack of something to do in Far Cry 3. It's up to you whether you pursue the single-player storyline to the exclusion of everything else, or put it on hold whilst clearing up all the side-quests first, or (more satisfyingly) mix and match as you proceed. There are whiffs of the Elder Scrolls and GTA series in the game's freeform structure, with the same potential for unintentional dark comedy: laying down a minefield to trap unwary enemies only for the mines to be detonated by a wayward crocodile, or standing triumphant at the entrance to a freshly-liberated outpost only to be run over by a jeep carrying your over-exuberant allies. The game's addition of upgradeable skills and experience points continues the franchise's evolution into a pseudo-RPG, whilst it is a huge improvement over both its predecessors due to its much stronger characters. I can't remember the name of a single NPC from Far Cry 2, but the likes of Vaas, Hoyt and Citra definitely rank amongst the more memorable characters from recent first-person shooters.
Graphically, the game is lush and even beautiful. Whilst not quite the equal of the still-astonishing Crysis in its depiction of a jungle environment, it is still a remarkable graphical environment. Combat is much more satisfying than its predecessor, with a pleasing mix of long-range sniper and close-up assault options. The 'magic binoculars' from Far Cry (and missing from FC2) return, allowing you to 'tag' enemies and keep track of them even through walls. Whilst still being completely nonsensical, they are nevertheless a vital and welcome tool to help plan attacks.
On the negative side, the game is tonally disjointed. The main storyline features a thematic element in which your character's evolution from urban city-dweller to mystical jungle warrior (complete with magical tattoos) is commented on, with a sideline in musings on the corrosive effects of violence on the soul. Whilst it remains interesting that a game which features shooting people in the head actually takes time out to dwell on the consequences of such violence, it's also the case that this element is not particularly developed very far. Also, every violent game of recent note has done this, leading to the suspicion that such an element is being thrown in as a sop to justify its violence rather than a genuine attempt at commentary. Less philosophically, the game sometimes feels like a bit of a mish-mash between a linear, story-driven adventure and an open-world free-for-all, with the two sides of the game not meshing as well as they could.
Ultimately, Far Cry 3 (****½) is a ridiculous amount of fun. As a pure first-person shooter, it's the finest example the genre has thrown up in several years. It's a careful and successful refinement of the best elements of its predecessors, with the negative factors mostly removed. Whilst not as broodingly atmospheric as the recent Dishonored, in terms of a game being a sheer joy to play, it's a triumphant success and one of the best games of the year. The game is available now on the PC (UK, USA), X-Box 360 (UK, USA) and PlayStation 3 (UK, USA).
Far Cry 3 is the third title in the Far Cry franchise, though it is not a true sequel. It does not share any story or character elements with its two predecessors and can be played fully independently of them. What it does share is the same ethos: a dedication to providing a story-driven single-player experience within a sandbox environment, giving the player immense freedom in deciding how to proceed.
Far Cry 2 was heavily criticised for featuring a similar approach, but not doing enough with it. The game's annoyances - almost non-existent characterisation and of course the frequent road checkpoints with near-instantly respawning enemies which made travel across the map excruciatingly frustrating - overwhelmed the game's conceptual strong points, such as its 'buddy' NPC system and rich atmosphere. The designers of Far Cry 3 seem to have borne the previous title's problems in mind and provided a counter for every one of them whilst reinforcing those elements that did work. In short, Far Cry 3 finally fulfils the potential its predecessor squandered, and redeems the franchise.
The game employs a number of different systems which work in tandem to make it more engrossing for the player. There's a campaign story which you can follow, in which Brody rescues his friends one-by-one before trying to kill Vaas and his ally, the drug-runner Hoyt. However, at the start of the game Brody is a nobody with no combat training and no ability to carry lots of guns around. To improve your chances of survival, you can undertake training missions for the Rakyat or go hunting animals to improve your aim. Skinning these animals also allows you to craft holders, bandoliers and backpacks, allowing you to carry more ammo and gear. However, your map at the start of the game is almost devoid of any useful information: to open up more map information, you have to ascend radio towers and download information from them. Travelling around the islands is also hazardous due to enemy checkpoints and strongholds. To reduce the number of enemies roaming the islands, taking out these outposts is essential. Unlike Far Cry 2's instantly-respawning bases, however, the outposts in Far Cry 3 stay cleared once cleared. In fact, Rakyat forces soon show up and these outposts become havens for resupply and re-equipping between missions. Outposts also generate their own missions, with side-quests, further hunting challenges and assassination assignments becoming available.
In short, there is rarely a lack of something to do in Far Cry 3. It's up to you whether you pursue the single-player storyline to the exclusion of everything else, or put it on hold whilst clearing up all the side-quests first, or (more satisfyingly) mix and match as you proceed. There are whiffs of the Elder Scrolls and GTA series in the game's freeform structure, with the same potential for unintentional dark comedy: laying down a minefield to trap unwary enemies only for the mines to be detonated by a wayward crocodile, or standing triumphant at the entrance to a freshly-liberated outpost only to be run over by a jeep carrying your over-exuberant allies. The game's addition of upgradeable skills and experience points continues the franchise's evolution into a pseudo-RPG, whilst it is a huge improvement over both its predecessors due to its much stronger characters. I can't remember the name of a single NPC from Far Cry 2, but the likes of Vaas, Hoyt and Citra definitely rank amongst the more memorable characters from recent first-person shooters.
Graphically, the game is lush and even beautiful. Whilst not quite the equal of the still-astonishing Crysis in its depiction of a jungle environment, it is still a remarkable graphical environment. Combat is much more satisfying than its predecessor, with a pleasing mix of long-range sniper and close-up assault options. The 'magic binoculars' from Far Cry (and missing from FC2) return, allowing you to 'tag' enemies and keep track of them even through walls. Whilst still being completely nonsensical, they are nevertheless a vital and welcome tool to help plan attacks.
On the negative side, the game is tonally disjointed. The main storyline features a thematic element in which your character's evolution from urban city-dweller to mystical jungle warrior (complete with magical tattoos) is commented on, with a sideline in musings on the corrosive effects of violence on the soul. Whilst it remains interesting that a game which features shooting people in the head actually takes time out to dwell on the consequences of such violence, it's also the case that this element is not particularly developed very far. Also, every violent game of recent note has done this, leading to the suspicion that such an element is being thrown in as a sop to justify its violence rather than a genuine attempt at commentary. Less philosophically, the game sometimes feels like a bit of a mish-mash between a linear, story-driven adventure and an open-world free-for-all, with the two sides of the game not meshing as well as they could.
Ultimately, Far Cry 3 (****½) is a ridiculous amount of fun. As a pure first-person shooter, it's the finest example the genre has thrown up in several years. It's a careful and successful refinement of the best elements of its predecessors, with the negative factors mostly removed. Whilst not as broodingly atmospheric as the recent Dishonored, in terms of a game being a sheer joy to play, it's a triumphant success and one of the best games of the year. The game is available now on the PC (UK, USA), X-Box 360 (UK, USA) and PlayStation 3 (UK, USA).
Minggu, 23 Desember 2012
Cover art for Christopher Priest's THE ADJACENT
Given that waits for a new Christopher Priest novel are often measured in half-decades (or, in the case of the last one, a full decade), it feels like we're being spoiled with a new book so soon after his previous one. The Adjacent will be published in June 2013 and now has some cover art:
Priest calls this the longest and most complicated book he's ever written, which coming from the author of The Affirmation and The Separation is saying something.
Priest calls this the longest and most complicated book he's ever written, which coming from the author of The Affirmation and The Separation is saying something.
A LIES OF LOCKE LAMORA TV series?
The new Gollancz catalogue reveals some interesting information about Scott Lynch's Gentleman Bastard series.
For the obvious question, the catalogue reveals (on page 47) that the latest hand-in date for The Republic of Thieves (the third book in the series) is at the end of January. If Lynch can hit this date, the book will be published in July. Of course, after almost six years of getting hopes up, I wouldn't be too surprised if this date is not achieved.
More intriguingly, the press info also reveals that The Lies of Locke Lamora has been 'optioned for television'. I can find no information at all about that elsewhere online, which is odd as that kind of news is normally formally announced to the trade magazines before anywhere else.
More news as I get it.
For the obvious question, the catalogue reveals (on page 47) that the latest hand-in date for The Republic of Thieves (the third book in the series) is at the end of January. If Lynch can hit this date, the book will be published in July. Of course, after almost six years of getting hopes up, I wouldn't be too surprised if this date is not achieved.
More intriguingly, the press info also reveals that The Lies of Locke Lamora has been 'optioned for television'. I can find no information at all about that elsewhere online, which is odd as that kind of news is normally formally announced to the trade magazines before anywhere else.
More news as I get it.
Amour (Love)
First and foremost this is a Michael Haneke film, a 100% Haneke film very similar in almost every sense to his previous films. Yes there is love in this film but also there is illness and death. It's an extremely hard-to-watch magnificent oeuvre and know that as happens with all Haneke's films, each viewer will see what they want to see. The difference seems to be that this time many coincide in seeing love with some saying that is expressed with detachment and coldness. What all seem to agree is that is a great movie. I say no different, but then by now many of you know that I'm a HUGE admirer of master filmmaker Michael Haneke.A very intense experience that crushed me into tears, exploded all kind of emotions in me and made me think about old age, illness and death, my own. After watching I experienced an intense sadness and took me days to overcome the feeling; but I'm grateful as was able to do an introspection into subjects that you tend to not think about, that tend to avoid. Yes, also saw love, the most realistic love I have seen in film, the one that celebrates qualities and defects, the one that exists when you are partners.
I'm so tempted to really dissect film but will stay out of it by saying that Haneke is as controversial as always with his excellent exploration on human dignity in the most difficult moments a person can live, when everyone wants to help the helpless, when outsiders have to help in the caring but for them is just work, when you see the person you have spend your whole life becoming ... a different being, but you still see that the person is still there, suffering. And all of the above applies to the ill and the caretaker.
This is a film so perfect that is impossible to talk about film as a film as you are absolutely overcome by what you saw, you felt and you are still thinking. You are overcome by images, performances, story and Haneke's mastery in filmmaking and storytelling. Still film is crafted very careful as much as a musician has to carefully interpret a masterpiece, with much work, much detail, much technique, much brain and at the same time with much feeling, much brilliance, and much emotion so those that hear the performance are moved beyond their self consciousness.
Some are talking about Haneke's rigorous, liberating unsentimental world view which I clearly understand what they are saying but absolutely disagree. I believe there is nothing unsentimental (or cold) in this and other Haneke's films as his work always make people feel something, make them think and make them to have "sentiments". Maybe he is very objective, his camera surely is, but unsentimental, no.
Subtle and moving performances by French cinema icons Jean Louis Trintignant and Emmanuelle Riva are breathless perfection with face expressions that say a lot more than what words say and sometimes contradict what they are talking reflecting the truth of the situation. Impressive. I am a huge follower of Trintignant and have seen almost all his movies, he has many where his performances are exquisite but in this "comeback" his performance has become one of the few that excel. Isabelle Huppert is magnificent as always in a role that is not like the ones she usually performs as she is not often only emotional in the screen.
Story is about Anne (Riva) and Georges (Trintignant), retired music teachers in their 80s, living in a handsomely furnished, book-lined Paris apartment; they are happy, affectionate, loving, active and content. We can hardly see them when they attend a concert (a magnificent scene where the concert audience is actually the film audience of unknowns) and see them coming back home to his life. One day Anne suffers a stroke, has a 95% success surgery and becomes one of the 5% unsuccessful cases. Everything changes for them and you know the end of the story as is the opening scene.
Filmmakers live from seeing his ideas materialized in the screen, perhaps that's their ultimate reward but they also live from recognition and viewers seeing their films. I believe this is Haneke's year and even when he already was honored with his second Cannes Palm d'Or for this film plus collected many more honors, is time the American Industry recognizes his immeasurable talent. This film deserves an Oscar (is Austria submission to foreign language category) and even a nomination in the Best Film category. Still, you never know with Academy members and its powerful influencers.
Truly believe that Haneke has to be seen in a very special mood, you have to prepare yourself to be surprised by whatever he selects to explore. No matter what you have read about story I strongly urge you to NOT skip this film, you only have to find the right moment to see it and you will have one of the most intense cinematic experiences of your life.
BIG ENJOY!!! PERFECTION!!!
Watch trailer @MOC
Sabtu, 22 Desember 2012
피에타 Pieta
Hugely disappointed by film as story was unbelievably predictable -very early I could tell you how film was going to end-, production values are not on the good side and has a Kim Ki Duk playing with metaphors in perhaps his most commercial film to date. Film is very similar to many Hong Kong movies, the kind I see sometimes but mostly avoid as tell grim/dark tales in very unpleasant ways.Vengeance is the obvious story but he presents us with metaphors to his vision of what money does to people; have to say that tragedy is not one of Kim Ki Duk fortes as also is not his filmmaking in close environments. For me he is a poet and nowadays there is not much poetry in films or at least like he masterly did in Spring, Summer, Fall, Winter ... and Spring, Dream, Breath and The Bow. That's the Kim Ki Duk that leave me breathless in total awe. In this film the poet is gone and just hope is not gone for good.
The impressive movie poster is just a poster with a clever image that is not in film. To me that's kind of cheating viewers by offering a scene that they will not find in movie plus doesn't reflect the filmmaking and storytelling style at all.
If you are not familiar with Kim Ki Duk this is NOT the film to see, no matter if has been honored in major festivals that probably celebrate more his body of work than this film. If you are a Kim Ki Duk fan, suggest to skip film as you probably will be as much disappointed as I was.
Sigh.
Watch trailer @MOC
HIT AND RUN
Dated Released : 22 August 2012
Quality : BRRip 720p
Info : imdb.com/title/tt2097307
IMDB Rating : 5.9 (3,285 users)
Star : Dax Shepard, Kristen Bell, Bradley Cooper
Genre : Action | Comedy | Romance
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Former getaway driver Charlie Bronson jeopardizes his Witness Protection Plan identity in order to help his girlfriend get to Los Angeles. The feds and Charlie's former gang chase them on the road.
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Former getaway driver Charlie Bronson jeopardizes his Witness Protection Plan identity in order to help his girlfriend get to Los Angeles. The feds and Charlie's former gang chase them on the road.
Jumat, 21 Desember 2012
Rebelle (War Witch)
A magnificent film by Kim Nguyen with a very-hard to watch story but in Nguyen's hands becomes easier to see while still clearly getting the straight terrible message. A true master storyteller.Film will make you feel all kind of positive and non-positive emotions, maybe you will smile at some moments, marvel with the poetic magic, imagine the unspeakable that's never shown, shed a tear or two, your stomach and heart could ache, and more; but fast, really fast you will know that you are watching a great film.
Film tells the story of Komona, from the moment she is kidnapped in her little village by the rebel army up to the moment she returns to bury her parents. In between there are approximately two years, a slice of life from when she's 12 years-old up to when she's fourteen. Even if you try to imagine what happens you will never guess right as is impossible to imagine the unimaginable. But while you can read elsewhere details of the storyline, here will tell you that this is a story of survival under the most severe circumstances a person can endure, much more a child, but also is about making peace with yourself. It is a contemporary tragedy that does not belong only to African countries and unfortunately not only to war.
But as said from the very first paragraph story becomes easier to watch as storytelling style is simply fabulous as mixes raw realism in an almost documentary style with a magical realism that borders magic poetry. This time I'm not talking about visuals, I'm talking about how the director chose to tell his story. Filmed in chronological order, with actors and non-actors not knowing the complete script, some improvisation and with a voice-over that will guide the narrative, film becomes impressively good and story easier to digest while absolutely being mesmerizing, especially thanks to Rachel Mwanza.
Rachel Mwanza was discovered in the streets of Kinshasa, a non-actor that magnificently carries the entire film with a superb performance that recalls great performances from more mature European actresses. She is so good that everything that happens to her and around her becomes natural, as natural as it is in real-life when a child is not allowed to live her childhood and is violently pushed into faster maturity. Her magnificent performance gave her the Silver Bear for Best Actress at the 2012 Berlinale and the Best Actress Narrative Feature at 2012 Tribeca fest; all honors are well-deserved and hope that she collects more in the future.
Somehow I found many similarities between this film story and Beasts of the Southern Wild but they are two very different films. Didn't liked Beasts but highly liked Rebelle, the main difference is how the similar story is told and how a more experienced filmmaker can add brilliancy to the storytelling. After watching film think about the magic poetry involved in searching for a white rooster, how she becomes a " witch" or the visual presence of the ghosts. There is nothing executed alike in Beasts.
Film premiered in competition at 2012 Berlinale where won a Special Mention of the Ecumenical Jury, won the Best Narrative Feature at Tribeca and collected some more honors. But Nguyen mentioned in an interview how difficult is to get distribution for a film like this one, which is highly regrettable as film and story definitively is worth seeing. As we know is Canada submission to Oscar and let's hope that gets a well-deserved nomination as could mean that many will have a new chance to see this great film and story.
Big Enjoy!!!
Watch trailer @MOC
85th Academy Awards Foreign Language Film Shortlist
A few minutes ago the shortlist of nine films was announced and what everyone was expecting, except me, became reality. Yes France advanced to the next round and bet you will get a nomination; still deep inside me wish to be wrong.With that awful exception the list is almost perfect as there are three excellent directors that deserve a nomination, Haneke, Mungiu and Meier.
These are the films that will advance to the next round.
Austria: Amour (Love), Michael Haneke
Canada: Rebelle (War Witch), Kim Nguyen
Chile: No, Pablo Larraín
Denmark: En Kongelig Affære (A Royal Affair), Nikolaj Arcel
France: Intouchables (The Intouchables), Olivier Nakache and Eric Toledano
Iceland: Djúpið (The Deep), Baltasar Kormákur
Norway: Kon-Tiki by Joachim Rønning and Espen Sandberg
Romania: După dealuri (Beyond the Hills), Cristian Mungiu
Switzerland: L'enfant d'en haut (Sister), Ursula Meier
What I wish will get a nomination are Austria, Romania, Switzerland, Chile and Canada; but you know that's only what I wish. Sigh.
The shortlist will be winnowed down to the five nominees by specially invited committees in New York and Los Angeles. They will spend Friday, January 4, through Sunday, January 6, viewing three films each day and then casting their ballots. Can't help but to comment that three of the above movies per day will be "torture" as most are really intense; so the first they see each day has better probabilities than the rest and yes, of course, there is only one movie in list that's "entertaining" which will make it look different to the others.
The 85th Academy Awards nominations will be announced live on Thursday, January 10, 2013, at 5:30 a.m. PT in the Academy's Samuel Goldwyn Theater.
FRANKENWEENIE
Dated Released : 5 October 2012
Quality : BRRip 720p
Info : imdb.com/title/tt1142977
IMDB Rating : 7.5 (9,053 users)
Star : Winona Ryder, Catherine O'Hara, Martin Short
Genre : Animation | Comedy | Horror
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Bercerita mengenai seorong tokoh bernama Victor Frankenstein, seorang ilmuwan jenius yang terobsesi menghidupkan makhluk ciptaannya.
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Bercerita mengenai seorong tokoh bernama Victor Frankenstein, seorang ilmuwan jenius yang terobsesi menghidupkan makhluk ciptaannya.
Kamis, 20 Desember 2012
The Art of Predicting the Oscars
The following are some curious Oscar data; it includes data from the 2012 LA Times survey.
Academy Membership Profile
94% White
2% Black
2% Latino
2% Other
77% Male
23% Female
14% are younger than 50 years old
86% are 50 or older
Median age: 62 years
Members live in
Los Angeles 89%
New York 7%
London 3%
Santa Barbara 0.8%
San Francisco 0.5%
The profile tells us that Academy members probably does NOT look like you and me; it is safe to assume that also we tend to like different things in our movies. So when predicting their behavior we should not think about what we like but about what they most likely prefer in their movies.
AMPAS' 2012 Branch Count
Branch | Active |
Actors | 1,178 |
Art Directors | 370 |
Cinematographers | 212 |
Directors | 371 |
Documentary | 173 |
Executives | 447 |
Film Editors | 227 |
Makeup/Hair | 124 |
Music | 231 |
Producers | 462 |
Public Relations | 371 |
Shorts/Feature Animation | 354 |
Sound | 402 |
Visual Effects | 302 |
Writers | 377 |
Members-at-large | 255 |
TOTAL VOTING MEMBERS | 5,856 |
Associates (non-voting) | 158 |
As we already know or suspected, the Actors Branch has the largest amount of active voters (1,178), followed by Producers (462), Sound (402), Writers (377), Directors (371), Art Directors (370), Visual Effects (302), Film Editors (227), and others that also have Guilds or associations that give yearly awards; but besides Actors, Guilds/Associations yearly winners tell us not that much about possible Oscar winners as each group has not a significant number of Academy members and each group has many more members that are NOT Academy members. Also there are more voting Academy members (1,600) that do not belong to any workers union but they vote to decide winners.
That is why guessing the Best Picture category can sometimes be not that easy, like for example when The King's Speech won when everyone was expecting the more popular (with younger audience profile) The Social Network to be the top winner. Definitively the first is a good movie that better fits the Academy members profile, even when some branches suggested slightly different.
More curious data.
28 Actors have been nominated for playing royalty, 7 won.
8 Actors have been nominated for playing USA President, 0 won.
The 85th edition has in the Best Actor category Daniel Day-Lewis for his performance in Lincoln as the favorite and IF he wins, will be the FIRST time an actor playing US President wins.
No more interesting data, what follows are instructions on how to vote (we thank Variety for helping the majority of Academy members that probably are not much tech savvy), contenders profiles with suggestions and people praising other people. Indeed magazine seems more addressed to the industry than to us, but it's kind of especial to be able to browse what Industry and Academy members are exposed to.
From all articles, that look more "For Your Consideration" than anything else, perhaps this one is the best because who wrote it and the subject of her comments.
CATE BLANCHETT ON MARION COTILLARD
in ‘Rust and Bone’
So the art of predicting the Oscars has something to do with analyzing numbers from the past and then predict future, but also has much to do about guessing true influencers, those that generate buzz that will touch Academy members and move them to do a specific action. The second work is done by many in the Industry, but we "normal" beings have access only to the critics.
Ah! and now for the first time we have Variety open to everyone. Cheers!
Rabu, 19 Desember 2012
Kon-Tiki
Directed by Norwegian most famous directing duo, Joachim Rønning and Espen Sandberg, film tells another Norway's history not that much known tale. First was 2008 Max Manus and now Thor Heyerdahl amazing story where to prove he was right on his scientific findings crossed the Pacific on a balsa wood raft in 1947.The story is truly fantastic and one the world should be aware as he was the first to prove that the Inca traveled to Polynesia which before trip he hypothesized but no one believe him as then it was common knowledge that Polynesia inhabitants origin came only from Asia. So film presents us the character as a kid, an excerpt of his life in Fatu Hiva -where he creates his theory-, his inability to find interest in the expedition, his persistence until succeeding, and the 101-days trip across the ocean.
But as fascinating as the story is, the movie is not much entertaining as drama is built oddly, action takes too much time with the sharks and script needed much more development for viewers to sustain the almost two hours film takes to tell story. There are moments -when the group is at the sea- that you get tired as story doesn't built up but becomes repetitive and some of us knew the end, so movie was about the ride not about reaching an unknown end.
Then acting is too stiff for my liking even when I imagine that they had to represent Nordic behavior under extreme circumstances as close as possible to reality; but a bit of less stiffness could have been more emotions shown by actors while still being very Nordic.
As can be easily imaginable, film has many outstanding visuals; but the most extraordinary does not come with the men at sea, but from the beginning. The opening sequence with a still camera is impressive as also are most of the winter scenes. While watching spontaneously thought that movie keeps the same camera style no matter where they are (winter, hot weather, urban setting, etc) and perhaps if they had changed the style according to the setting then probable visuals would have been even more remarkable in the non-winter moments. Tech specs are great in general as is the biggest ever Norwegian production up to date - co produced with UK and Denmark-.
But if you wish to learn the story in a more engaging way I suggest you watch the "real" documentary directed by Thor Heyerdahl with the same name that went to win the 1951 Oscar in the documentary category. There are two versions, one narrated in English and the other in Norwegian, both narrated by Thor Heyerdahl himself. Still I know documentary is not easy to find, so many will have to conform with the 2012 film.
As we know film is Norway submission to 2013 Oscar, got a 2013 Golden Globes nomination, and more honors surely will come to film. I liked Max Manus as director's storytelling and filmmaking style was good for the story they were telling, but in this sense I find Kon Tiki not as good as their previous film.
Enjoy!!
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