Reviews of games new and old, discussions of games and game design, and looking for those hidden gems you might not know about.
Monday, July 22, 2019
[Game Review] Diablo II
In more than one way, Diablo II was a precursor to Blizzard's wildly successful World of Warcraft. At the time of Diablo II's release, PC RPGs where mostly among the CRPG genre (Clicker RPG), based around the AD&D style of character sheets, dice rolls, and adventurous storytelling. Diablo II took an ARPG look at the darkest of the D&D and Christian cannon, and made a game that submerged itself in an adult take on the fantasy genre. This style gave it and its predecessor a unique place in the RPG market, but what made the game infinitely replayable was it's thinning of plot focused adventure in favor of what made RPGs a game: stat management, class building, and loot. That isn't to say that Diablo II doesn't feature some pretty sick lore, so much as it is to say that even without that lore, Diablo II would still feel distinct in its own right, and its legacy owes nearly all of its clout to the gameplay.
MMOs were certainly around at Diablo II's release, but none had quite taken the world by storm the way Blizzard would in a little less than a decade proceeding this release. Blizzard's take on game design has always been on gameplay over all else, with worlds easy to get lost in but only for those willing to read supplementary materials or those with the patience to overwrite the addictive pull of their games' designs. While it is possible to stop and smell the flowers in both Diablo and WoW, it requires intense restraint to slow down the propulsion of these games' core loop: leveling up and looting. In particular, it is the loot that really shines in both of these games. The synergy of spells and ablilities your chosen class would learn as you went encouraged particular builds and play, but loot gave you the opportunity to truly excel and push these class boundaries into becoming a singular powerhouse. Diablo II in a lot of ways was like the proto-MMO, even if MMOs had preceded its release. It encouraged multiplayer play, with the more in a given game lobby, the more experience you were able to accrue. Likewise, trading rare loot or working together to collect the correct runes to create that endgame gear became the whole reason to play once the final boss was finished for the first time. A single playthrough of Diablo and quitting is a bit like beating a dungeon in an MMO and quitting: you've seen what was there, but you haven't really played through it all.
Diablo II's max level is an intimidating level 99, one which takes copious amount of hours to actually reach. Leveling, however, is only ever the real pull for the first half or so of the gameplay. While leveling is great for unlocking skills and abilities and enhancing specific stats like vitality or strength, the game slowly transitions away from this being the main pull in favor of gear by the time you reach about half of max level. Gear comes in many different shades, from basic gear to magic gear (enchanted with various buffs such as health leech or regenerating mana or double damage to demons) or sets (where buffs become unlocked the more pieces of the set you have equipped). Some of the irony in this design is that while some of these magic loot drops are absolutely core to many of the best builds in the game, they are always designed around simple gear with something called slots. Slots allow you to place gems in them to essentially customize the buffs your gear can get. Greater than gems for your slots, however, are the runes. Runes are rare (oftentimes extremely rare) drops that come from particular bosses that can be combined in different orders to create rune words, which give you incredibly powerful endgame buffs that outmatch just about everything in the game. Most end game builds are essentially built around particular rune words. Replaying large chunks of the game an absurd amount of times is paramount to being able to gather the runes required for your particular build, something very akin to grinding raid drops in an MMO. The addictive nature of playing a game to try at what is essentially a slot machine in order to win the particular drop you need to complete your build is the basic draw of the game. It plays into that hopeful "maybe this time..." mentality that is the basis of a gambling addiction, the intense desire to try one more time for that big win. This loop has been perfected by Blizzard in the years since with their integration of basically the same system on a larger scale with WoW or loot boxes in Overwatch. It has become such a permeate part of the gaming landscape that people wonder if this may have detrimental effects on children who are being conditioned to gamble at a young age. It's fun, but not without its ethical issues. Regardless of the good-or-bad debate around this type of game loop, Diablo II very much popularized it and, in a lot of ways, perfected its implementation (and I would argue far more morally sound than subsequent attempts, such as loot boxes, by not allowing real world money to be spent in game).
What is most notable looking back at the legacy of Diablo II is in how much basis it created in the gaming landscape for the next several decades. Loot-based gameplay is now in everything, from RPGs to shooters, and can even be found in survival games, a genre that could be considered the loot-based-RPG's opposite in that its sense of empowerment is built around allocating resources and self preservation for lengthy periods of time and against great odds. Diablo II feels very much in all things these days, and easily put RPGs in a more accessible state. Games such as Fable, Dark Souls, and Borderlands owe a great debt to this mammoth of gaming, the game that is still played online today despite sequals, despite imitators, twenty years later.
10
[Film Review] Child's Play (2019)
This review contains spoilers.
The inherent horror of the killer doll trope is in seeing something not-quite-human spring to life, like an unnatural mimic flaunting it's abomination status and using its unsuspecting nature to kill you while your guard is down (preferably when it is dark, when you can hear the patter of little feet and a sudden streak of shadow pass in front of a puddle of moonlight). In the original Child's Play, one of the ways it exploited this horror was by twisting the doll's cute face into a nasty snarl and having him spew vulgarities at his victims. It was equally horror and camp, a classic styled horror with the vulgarity of the 80s. When the doll can move on its own from the start as an inherent function, part of the horror is lost.
Child's Play (2019) is decidedly less horror than it is dark comedy, which is a smart decision. The film plays with jump scares, tension, and brutal violence but spends a lot more time getting to know Andy and his mom. Andy this time around is about 13 and his mother about 30, and Andy is having trouble making friends. Chucky this time around is an AI Alexa-type bot that can walk and talk and control all of your appliances. All Chucky wants is for Andy to be happy like a homicidal take on AI: Artificial Intelligence. You probably know the beats already: the horrors of interconnected technology gone wrong, the conflicts of simple AI in a complex world, and the disillusionment of youth, attached to technology without realizing the repercussions of being too reckless with it (it is, after all, the kids who teach Chucky to curse and stab). The film works best when it's trying to be funny, like when Chucky watches Andy sleep and sings the best friend song to him all night, even when Andy asks him to go to sleep. After all, you already know just about every incarnation of the doll trope (this is something like the eighth film with Chucky in it, not to mention the Annabelle films, of which a new one released this weekend). One of the more memorable moments has Chucky skinning the face off of Andy's mom's boyfriend, who Andy hates, and putting the face on a watermelon. Andy and his friends decide calling the cops is not an option (because they are dumb kids), and decide to wrap the melon up in wrapping paper to throw down the trash shoot. When Andy's mom catches them, they come up with the lie that it is a present for the old lady down the hall, the mother of a detective Andy has somewhat befriended. Que an awkward exchange where Andy is trying to give this not-a-present to the old lady while preventing anyone from opening it. There aren't nearly enough of these darkly funny scenes to really fix the tonal problems of the movie, but what's there is enough to show real promise in this new incarnation of the 30+ year old series.
Mark Hamill replaces Brad Dourif as the voice of Chucky, which though he cannot hold a candle to Dourif's snarling representation of the character, he does about the best job anyone could ask for. Hamill has the benefit of reinventing the character, which gives him far more leeway than if this had been a one-to-one remake. Instead of Dourif's sociopathic and vulgar Chucky character, Hamill is given a naive and impressionable AI, one that is malfunctioning no less. Given his malfunctioning nature, Chucky makes a lot less sense. His motivations are generally to make Andy happy, but literally no one makes Andy as unhappy as Chucky does, which we would think would cause some kind of internal conflict in the doll, but it never does. The film glosses over most of its machinations in favor of moving along the plot. Chucky seems to teleport from place to place, and seems bent towards torture more than anything practical like we'd expect out of an AI. All of this is more passable when the film is acting as a dark horror-comedy, but when things turn straight horror these kinds of inconsistencies stand out as tonally inconsistent and silly.
There's really no reason for this film to exist, and it barely has anything in common with the original to really warrant taking its name, but it's a flawed, fun time regardless. If the series invests deeper in its campy and horror-comedy inclinations, then a sequel could actually improve on what is here, but I'm not holding my breath. It's the kind of odd-ball thing you'd watch on Netflix during a dull night on your own, and it's more than serviceable as just that.
6.0
Tuesday, July 2, 2019
[Film Review] Child's Play 2
This review contains spoilers.
The question on your mind going into Child's Play 2 is more than likely "How does Chucky come back from being burnt to a crisp and beheaded?" The answer is corporate greed. Child's Play 2 opens with a Frankenstein type sequence where Chucky's burnt remains are rebuilt like new so that the Good Guys Corporation, who have taken a significant hit with this story of their doll murdering people (even if no one believes it actually happened), can run diagnostics on it, thinking maybe there is a kernel of truth in the story and that maybe it was one of their own disgruntled workers who may have tampered with the voice box or something. They find nothing, not to much relief, as their stockholders still aren't happy. The CEO and his protege the film introduces us to in this opening are cartoonishly corporate, with the protege mentioning at a liquor store that only accepts cash "Cash? That's a gold card. It's as good as cash. I don't carry cash." It sets the tone well, while also bridging some of the themes from the first film.
Child's Play 2 doesn't double down on those themes of consumerist over-saturation in kids TV, but instead goes for the tongue-in-cheek approach. After all, the talking doll horror is old as Twilight Zone at the very least, nearly 30 years this film's senior. There really isn't much place to go without getting overly meta about it, so instead here we get a film that revels in slasher film tropes and the ridiculously entertaining performance by Brad Dourif. If not technically better than the original (nor scarier), it's a hell of a lot more fun.
No time is wasted before hearing Chucky speak (or seeing him kill someone), because tension is saved for the smaller moments. Andy is in foster care, where his foster parents bicker over whether or not they should foster such an obviously disturbed child. The use of tense, slow pans from either the foster parents' arguing to Andy or from Andy to Chucky give a nice sense of eventuality, of things coming into play. One of the best cliches in these types of Stephen King-esque "only the kid knows the true horror of what is going on" types of stories is the isolation of our protagonist and the empathetic anxiety and frustration we feel for him. Child's Play 2 introduces Kyle, Andy's older foster sister who is a misfit in a very late-80s way: she smokes, she curses, she sneaks out of the house at night, and thus is a perfect sympathizer with Andy's seemingly odd and often dark behavior. But her sympathy comes at a cost in the final third of the movie: the film ceases its horror elements and becomes more of an action film, sort of like the latter part of The Terminator, where it becomes about teaming up to kill the evil machine before it kills them.
The movie really isn't scary at all, rather playing joyfully around its ridiculous premise (it's reminiscent of a Goosebumps book gone R-rated) and its vulgar villain. It's a popcorn monster movie meant for late-night watching and maybe a few drinks or bowls to let the silliness stretch its legs. It's simple and a well-worn story, but so obviously made for fun and with a wink. Too bad Child's Play 3 is a thing.
7.0
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