yo I’m knuckles the fightin’ freak, pumpkin hill, I know that it’s here, I sense it in my feet!
this music, combined with the most tedious mission objective in the most boring stage with a boring character.
waaat the fuuuuck happened to you Sega?
yo I’m knuckles the fightin’ freak, pumpkin hill, I know that it’s here, I sense it in my feet!
this music, combined with the most tedious mission objective in the most boring stage with a boring character.
waaat the fuuuuck happened to you Sega?
One of the reasons why we started Ninja Dog Corps was to open up our in depth, nerdy discussions to a larger audience. We’re still getting our feet wet over here, but it’s nice just casting our thoughts out into internet-ether.
Sometimes it seems like we are alone, chatting away on facebook or even loudly in public spaces about the failings of Terminator Salvation, or the sorting out the virtues of Assassin’s Creed. It doesn’t really matter where we are, a nice restaurant, or walking down that most deviantl of streets in Toronto, Yonge Street – our various geekeries are always on the mind. I find it amusing how disinterested everyone looks and sounds as I go about my day. People idly chat away at those “whatever” kind of topics, but no one ever seems really passionate about anything.
At least, not loudly in the way the Ninja’s Dog’s bark.
It’s appropriate, although a bit of a shame, then, that so much stimulating conversation about the the nerdosphere happens on the double-you-double-you-double-you. Recently I’ve taken to reading the blogs of Iroquois Plisken, Leigh Alexander, and Michael Abbot, to name a few on the gaming side of things. There’s also a tremendous amount of good comic’s discussion going on, like Timothy Callahan, or the folks at Funny Book Babylon, to name a few. I’ve included a few on the side bar to the right of this page, and we’ll be adding more in the future as we go along, maybe citing a recommended reading post to go along with it.
Today I’d like to point out to a few game designers who also maintain internet web journals. Many of them peel back the curtain, and offer an insight into the production/development of games that communicate the struggles and the concerns of game making (and makers). Some of them make games that I haven’t played, some of them make games that I will likely never play, but it’s interesting to see the thought process behind these works. As a gamer, and one who is vocal about the potential of games, it’s cool to know that many in the industry feel the same way, and humbling to see thier struggles made bare.
Steve Gaynor of Fullbright : comes to us from 2k Marin, where I’m sure they’re busy putting the finishing touches on Bioshock 2. Recently he posted of a list, Design of a Decade , which looks at some of the most significant games from the past 10 years in terms of innovative design. I took to heart this post from 2006 about the value of keeping a notebook. I agree, it’s good for the soul.
Jordan Mechner’s blog: includes thoughtful pieces on art, cinema, and comics, all this from the man who brought us Prince of Persia. I find it interesting that he’s remained in close contact with his creation all these years, and in it’s various incarnations. He helped reinvigorate the series with The Sands of Time, wrote a comic, and is even lending a hand in the blockbuster movie from Disney. Even more impressive, Mechner displays a keen understanding of the unique power inherent in each medium. Lastly, don’t forget to check out his sketchbook entries.
Scott Rogers of Mr Boss’ Design Lair : has worked on everything from the first God of War, to most recently Darksiders, Maximo and even way back, Pac-Man World for the PS1. I’m quite fond of his level design drawings, which have a charm and immediacy about them independent of the game they’re meant for.
Clint Hocking of Click Nothing : comes to us from Ubisoft Montreal. He’s worn several hats but most recently he took up the role of Creative Director on Far Cry 2. One of his most talked about pieces is a thoughtful critique about Bioshock.
Soren Johnson of Designer Notes: has worked on the Civ games and most recently was a designer/programmer on Spore.
There are a number of God of War alumni: who have blogs but have remained stagnate for months or years now. Too bad though, many of them illuminate the challenges of combat design, and much to my surprise, many of them drew their inspiration from Street Fighter, of all things.
Of course, how can I forget the God of God of War David Jaffe. I love that his writing, and of course his games, come from a sincere, passionate place.
As an illustrator, I naturally gravitate towards other visual artists. I was surprised to find that many developers have some kind of background with the arts, either formally educated or self taught. Steve Gaynor took up illustration and transitioned in the sculpture, and a similar story is shared by Keita Takahashi. It’s something we should probably look into further in another post, perhaps.
I think this is a good place to stop, I’ll have to revist gaming blogs another time, next up – maybe comics!
Believe me when I say this – but I’m sick of hearing about it too. You know, that blue bird, 140 characters, inane posts from people you don’t really care about…Ashton Kutchener (and no I’m not going to bother to check if that’s how you really spell his name).
It seems like I can’t watch a TV show without the host trying to pimp his twitter, and even the newspapers, already losing relevancy in a world of highspeed communication, have brought themselves so low as to promote their twitter account. Of all the social networking sites that I’ve signed up for over the years, your friendsters, your myspaces, your bloggers and facebook, twitter was the one where I joined in, simply because it seemed like, society demanded it of me.
Even now, months later I’m not entirely sure I’m using it correctly, but a week ago I happened upon an interesting phenomenon that makes me believe that twitter still has a purpose yet. For lack of a better term, let’s call it Nerdosphere Interconnectivity, to which you might argue, has existed since the early days of the internet, it’s called links, and so we’ll further add *science* to my newly invented term and call it, Dynamic Nerdosphere Interconnectivity.
My Twitter account is populated by a smattering of various representatives from different fiefdoms in the Nerdosphere – from “Internet Jesus” Warren Ellis (the comics Planetary, Nextwave), videogame creators like David Jaffe (God of War, Calling All Cars), to artists/illustrators like Paul Pope, critics like Roger Ebert, and even more off the beaten track – architecture site BLDGBLOG‘s companion account, or mixed martial artist Joe Lauzon, and ring girl Arianny Celeste.
The interesting little bit here is how these seemingly disparate elements sometimes converge. Like the time Gears of War designer Cliff Bleszinski (and yes I bothered to check the spelling on that one) posted about reading a certain comic:
A comic that I had just gifted to my brother for Christmas. And Marvel.com editor Agent M (who I also follow) picked up on this:
I haven’t bothered to check up on this if anything has actually come into fruition, because I’m not very thorough, nor am I a journalist – but it does point to the (dynamic) interconnectedness of our Nerdosphere. Afterall, why wouldn’t Bleszinski be a fan of Wolverine or Mark Millar? In the same way that many FPS games model themselves after Ridley Scott’s Black Hawk Down, or if you’re in the sci-fi mode, James Cameron’s Aliens. Unlike the call-and-response dialog that would happen before, where George Lucas creates a work decades after being inspired by Flash Gordon and Lord of the Rings, the “lag” between the creator/creation/inspiration cycle is in many ways shortened. George Lucas may have never actually spoken with say, JRR Tolkein, and I never had the chance to meet Jim Henson, but today in our twitter age, you can comment on Iron Man director Jon Faverau’s twitter (and he used to be fairly into myspace, back in the day – weren’t we all…), or David Jaffe’s account, and potentially even expect a response – so long as you aren’t a total internet asshole about it. In the case of Twitter, creators can exchange thoughts amongst each other with something approximating an actual conversation.
You might think my geekier pursuits have little in common with the macho world of Mixed Martial Arts, and yet Joe Lauzon proudly proclaims in his profile “Guy from Boston that fights in the UFC and plays a ton of video games.” Former UFC Heavyweight Champ Josh Barnett‘s account has a painting of the Warhammer 40k universe as his backdrop, you know, Space Marines in impossibly clunky armor, Space Orks, the tabletop board game you play with painted miniatures?
We live in a world where inspiration comes from the most unlikeliest places, and it’s application even more unusual.
Famously, current Middleweight Champion Anderson Silva watched Ong Bak and became obsessed with Tony Jaa’s reverse-elbow uppercut. Even though it was a move performed in a movie, Silva spent extra time – on his own outside of his regular gym – perfecting the move. Come fight night, this happened.
Twitter might not inspire someone to achieve a fantastic KO (or a elegant piece of music, or a thought provoking film), but as a vehicle for connecting artists, martial or otherwise, it can help generate dialog, and when all the disparate kingdoms of the Nerdosphere are talking, we just might see something fantastic.
For now though, I’ll just post about Chanukah.
Last night, my bro informed me that the Dante’s Inferno demo was available on the PSN, and while I’m not a big fan of game demos, I decided to grab it.
I guess Visceral Games loved the PS3 enough that they released the demo to us weeks ahead of the 360. Additionally they announced the other day that the Sony version would be essentially the definitive version, with tons of Special Edition like extras (artbook,soundtrack, even a digital copy of the epic poem) all in the normal ed of the game – no need to preorder or to shell out extra dough for it. The 360 version lacks these frills completely, bummer.
So with that much Sony love, I thought I should at least give the demo a go. After watching two movies (The Prince of Tides and The Four Feathers) I was good to go on EA/Visceral Games action epic.
Broadly speaking, I’ll say that I enjoyed the demo, having played it twice now, but I do have some concerns…
First of all, lets get this out of the way, the game is nearly straight out plagiarizing God of War. I don’t know if they had access to the source code or anything, but everything from the control set up, to the opening of treasure chests (fonts in this game) and the red and green orbs is GOW.
I’ll try and leave it at that , as far as GOW comparisons to go ( and fail miserably, as you’ll soon see) – this is going to be discussed endlessly when the game comes out, and then brought back up again once GOWIII arrives. Instead lets talk about Dante’s Inferno.
Back at Sheridan, I was supposed to read the original poem, I didn’t. At least not thoroughly – so I can’t talk about how exact a representation this game is. My gut reaction is that it isn’t.
What I can talk about is the stylistic choices Visceral has made, many of them feel shallow, or at the very least, ill considered. Already, I find myself breaking my promise and thinking about that other game, where on the graphically limited PS2, legibility was a primary concern. Bad guys in DI are hard to discern amongst the murky browness of the stages, but as a rule of thumb, I simply starting attacking at the nearest thing that moved. Still, even the grand Boss of the demo, Death incarnate, seems to be an amorphous black shade, and not intentionally so.
I have a hard time trying describe the look of the titular character – he’s bare chested, yet his arms are heavily protected. He wields in one hand, Death’s scythe, and the other, a holy cross (that shoots out glowing crosses, like a divine care bear stare). On his head he has what seems to be a iron crown of thorns, and facially, he reminds me of my barber.
Oh, and about that chest, he has some kind of magical tapestry stitched onto it, the art constantly shifting around – it’s bloody and makes squishy noises when he pokes at it, and I don’t really know why he should be this way.
Sometimes, the game goes into a 2D animated cinematic, which to me, evoked those McFarlane/Korn music videos from the years ago. I was later told that they were supposed to resemble stained glass windows, which I think missed it’s mark by a wide margin. Other times, the game uses CG cinemas, and other times, it uses in game graphics, and regardless of the style, you’ll frequently see bare breasts. All of this seems kind of inconsistent and poorly paced…but bear in mind we’re dealing with a demo here, so we’ll let that slide.
It’s as if Rob Leifeld, Todd McFarlane and an army of Metal album cover artists collaborated on this game, which is to say that it’s kind of cool in a hollow sort of way. Then again, that other game isn’t all that different – but DI has a weird image (Image?) within an image effect, as if a game was made through the lens of GOW and then filtered and distorted.
So basically, the game looks kind of stupid, but somehow I’m ok with this. You get a glimpse of further stages at the end of the demo (each one patterned after the “levels” of hell, and modeled after the deadly sins), and while it all looks kind of samey – I could see myself getting used to DI’s skulls and guts and blood aesthetic.
At the end of the day I want to just beat the shit out of hell’s minions, and on this, DI delivers.
The demo doles out a new set of abilities every few minutes, which interrupts the game-flow, but when you do get down to the berserker action, it is incredibly satisfying. Halfway through I found myself wailing on hordes of bad guys, sometimes grabbing and tossing them, other times jacking them up into the air, mixing in a magical ice dash attack or using my care-bear-crucifix-stare. The breadth of your moveset, even in this brief demo, is varied enough, and the controls solid enough, that you can creatively mix and match attacks and feel confident enough that you’ll connect with them. That’s a key ingredient in these types of games, and with the promise of tons more moves in the full game, I’m sure that at least in terms of combat, DI is a very solid effort.
Lastly I’ll mention that DI calls upon another gaming fixation that seems to have cropped up in many games in recent years, the morality system. You can choose to either “punish” or “absolve”, your foes, punishing them powers up Death’s Scythe, and saving them powers up your Care Bear powers. My main concern here, is that like inFAMOUS, it impacts your powers, but not necessarily the world or the story in any meaningful way.
If DI is an echo of GOW, I would hope that it copies one thing above all else, crucially, which is “that moment”. And I can’t really describe it more than that, but GOW I (and II in some ways) had “that moment” which elevated the game beyond a frivolous action romp, and actually gave you a moment of pause. “That moment”, which we often attribute to more artsy games, like Ico, or SOTC, or even something like Flower, and in some ways is expected for those games, was a nice surprise in GOW. The dev’s at Visceral, if they’ve truly done their homework, would do well to keep that in mind, but I fear that emulating this aspect of GOW might be harder than the other more salient aspects.
Dante’s Inferno: The Game: The Demo feels like a guilty pleasure, perhaps that might be enough for some, and maybe even appropriate given it’s sin-filled content. When the full game comes out, we’ll know if the game aspires to be more – shouldn’t the Divine Comedy deserve that?
Check out our super sexy new header image, curtosy of Eshwin. So long, generic urban streetside, hello vicious ninjitsu canine!
The unfortunate demise of Bruce Wayne, and the somewhat middling comic stories that have cropped up in his absence has sparked a debate amongst the Dogs – how long is this going to last? was this a good idea in the first place?
We get into tons of stuff here, and I’m sure there is more to discuss, but for now, here is the first salvo…
First off we have Ricky who comes to terms with the insignificance of death in comics:
On to comic books. I know most of you don’t read GL corps and don’t give a shit about Kyle Rayner, but it seems he’s dead. My first reaction to this was “i wonder how they are going to bring him back?” After this event I realized how insignificant death in comic books is to me. Remember our conversation about how long Bats should stay dead? I was saying 5 years is good but now I’m going to have to side with Ross and say 10 years.
I go off on a tangent about Dick Grayson being the story of an entire life:
About death in comics. I’m going to have to go with 5 years, or less, for Bruce Wayne, and for Kyle, well that could comfortably go to 10 and I don’t think the general comic book reading audience would miss him. (How did he go anyways? Was it gruesome?)
Even so, I don’t think we’ll see him gone for that long. Think about how much shit happens in comic books in a given year. Alternate universes are discovered, and destroyed, discovered again, all in the span of like, 12 months.
I know the argument is, 10 years, or it doesn’t mean anything. But in addition to just being good business to keep your biggest and brightest names in circulation, I just don’t have that much faith in the creativity of this industry to provide a decade’s worth of stories that *don’t* have Bruce Wayne in it.
When Hal Jordan kicked the bucket, we got Kyle Rayner, and while eventually he found a place for himself in GL lore, he still really never gained public acceptance, not in the way Wally West took over Barry for the Flash. While DC might play with the notion, Batman, as a concept, isn’t a legacy character like GL or The Flash. Dick Grayson is also not Kyle Rayner, nor is he Wally West, I think in the years he fought as Nightwing he’s earned an identity that feels unique to him.
Being Batman, and probably even a competent and good Batman, is all part of Dick Grayson’s ultimate realization that he is his own man.
Plus, we know from interviews that Grant Morrison has a specific beginning, middle and an end for his whole run in Batman, which began waaay back in Batman and Son. If DC’s intention is to let the man who made the mess clean up after himself (ala Brubaker over in Cap), I have a hard time believing that DC signed him to a 10 year contract. The best basketball players in the NBA don’t even get contracts that lengthy.
Anyway, thinking about this makes me realize how fascinating a character Dick Grayson really is. You can follow, basically the life of a human being. From his adolescent years to his rebellious teenage days and now as an accomplished young man who other younger heroes look up too.
Following that logic, I wonder if we’ll ever see him grow old, like to 50, and then at 87, die, lets say…from natural causes. Wouldn’t have be an interesting death, and an interesting life?
Eshwin chimes in with 2 years, and gives us an overview of the current Batstories:
I was really excited about this era in the beginning, but I am losing interest. My favorite series right now is ‘Unseen: A lost tale from the life of Bruce Wayne’ which I think says it all. I’m not blown away by BnR anymore like most people, Red Robin started off amazing and now its mired in some convoluted league of assassin’s plot and as far as Detective Comics … there shouldn’t even be a Batwoman, let alone an ‘edgy lesbian’ Batwoman, I don’t care how great the talent on that title is. Judd Winick’s run on the new Batman main title was forgettable at best, but I have a little more faith in Tony Daniel.
Anyway, that’s all I have to say. sorry to derail the more thoughtful questions on an older Dick Grayson …. to attempt to answer that one, I don’t know if DC has ever handled a life in continuity like this. From boy, to teenager, to young man, to finally a guy who’s likely in his late 20s or 30s. But except in alternate universe, we don;t see those characters as old men because they are part of an ensemble, and Grayson’s not so popular that people aren’t going to be asking: Damn, so where’s Bruce Wayne now, is he still alive?
Every day I buy a comic book, people are talking about the resurrection of Bruce Wayne, how there are clues in Crisis of Infinite Earths and various other DCU events that Grant Morrison retroactively mined for clues for his story. Please …. please. No longer than 2 years.
Take Captain America for example. Brubaker has did an incredible job with the change from Steve Rogers to Bucky Barnes. He took his time and for about 9 issues there was no Captain America character in the Captain America comic. 9 issues from the death in #25, Bucky did not become Cap and don his version of the uniform until #34. That’s almost a whole year, while Dick became Batman in 3. I’m not saying that DC should have done the same thing as Marvel with Batman. All I’m saying is that maybe if they let it sink in a bit longer – say another issue of Jason Todd as the gun totting Batman terrorizing Gotham – Dick finally taking up the mantle could have had more impact.
But 5 years of no Bruce Wayne? Definitely a no.
Now Kyle Rayner’s ‘death’ in GLC is really a question mark. Is my favorite GL really dead? If I hadn’t seen the whole BN cheklist from the beginning, I’d probably be swearing left, right, and center.
Reading through what’s been said though, there is one character that I don’t think anyone has mentioned and has been dead for about 5 years now. I give you a hint: Grant Morrison killed her at the end of his stint at Marvel (at least i think it was the end), and after all this time, it still works without her.
Furthermore, I think that however they bring back Bruce Wayne, it’ll probably feel disappointing. After years of build up…how could it live up to the hype. This compounded with Grant Morrison’s (and many writers these days) tendency to write for collected editions means that the story, taken in pieces, is just going to feel a little flat.
Even now, and I echo the sentiments you guys have about Batman and Robin, it’s just kinda, whatever, type of comics. I might just wait for the trade, I remember similar feelings about Morrision’s past run on Batman, but having read them as a collection, I think they’re brilliant.
I really can only think of two comics creators whose stories in single issues actually felt satisfying, Jeff Smith’s Bone, where I collected almost the last 20 issues, and Paul Popes THB, which almost never really comes out at all, so every issue is a rare treat, on top of being weirdly cool stories to begin with.
It saddens me that you guys expect Bruce back that quickly. We SHOULD be sad that Bruce is gone. It shouldn’t be an annoyance that he is dead. We shouldn’t just be looking at our watches waiting for the writers to bring him back to life. His death should bring about a genuine feeling of despair. BATMAN IS FRIKKIN’ DEAD GUYS! And before he comes back they need to make you guys (yeah especially you Ninja Dog) miss him.
But I’m more sad that I’m *not* , and I feel like time won’t foster the proper emotion in me. While his demise was poetically symmetrical in a way, it was also just another death. I think everyone here knows that death in comics is simply a binary state. Dead.Alive.Dead.Alive.
Even our superheroes are sort of in on the joke about death too…
In Identity Crisis Green Arrow summons the ghost of Hal Jordan, they have a bit of a chat, and before he leaves, GA asks, “soooo…when are you coming back?”. Jordan, as the Spectre, plays dumb at first, then gives a knowing little *wink* and says, “I’m working on it”. *wink wink*
In Infinite Crisis, the heroes gather on the moon while Superman delivers Martian Manhunter’s eulogy…everyone is in tears and Supes ends the scene with “…and let us pray, for a resurrection”. *wink wink, nudge nudge*
This is jaded curmudgeony comics fandom at it’s worst, but what does it say that the people in the comics itself are aware of how impermanent death is?
Everything about death in comics, and Batman’s, is symptomatic of a larger problem in comics, the lack of creativity and originality, but that’s a whole other issue. Believe me I wish it weren’t so, that I’d elicit some kind of emotional response from death in comics, but you know…Ouroboros.
The end result though, is that people just wait impatiently for comics to return back to the safe, save state. And why not? It’s preferable, and comforting, to have slightly predictable Real Batman stories than slightly predictable and disappointing Batwing stories.
Anyways, my favorite comics these days are bat issues. My next post I will post here will be a review of what I feel is the definitive Batman issue, and my favorite Batman comic of all time. Then I think I will post it on Ninja Dog Corps after it sees a few more posts from you guys
Dialogs is an ongoing feature at Ninja Dog Corps – discussions of the various nerdy topics we love (or hate) oh so much. Each of the Ninja Dogs bring a different angle to the argument, and it should be interesting to see how we weigh in on each subject. Today, we’ll be looking at Transformers 2, in honor of the recent home video release.
You’ll notice that we each saw the movie at different times, and we threw down our thoughts soon after watching it.
First up we have John, who saw the flick at a midnight release.
so. many. robots. so very awesome. watching it again in imax.
ignore the scathing reviews and bad press, the reviewers are really just reaching out for things that don’t belong in an action movie let alone a Michael Bay helmed action movie.
yes, if you really want to get down to it, the movie is held by a thin plot. but like i said, it’s a Michael Bay action movie – one with giant robots beating the shit out of each other. it’s not supposed to be some hyper intelligent drama that draws you into each scene. it’s frigin’ robots in disguise duking it out. why spoil the fun of that basic premise?
so yeah: megan fox + other hot babes + fair amount of humor+ robots in disguise + optimus going ape shit and owning everyone + devastator + soundwave x lots and lots of explosions and action = awesome.
and sorry, i just read roger ebert’s review and it pretty much solidifies my stance that all reviewers suck and whatever they write is bullshit. make a “dumb action movie,” they want more intelligence; make an “intelligent movie” and they want more action.
haha. sorry. go see it. seriously. beat someone for their ticket if you have to, but go see it.
Next up we have Eshwin
Here’s my reasons, without spoiling anything, of why I liked this film and also some small problems.
The main issue with Transformers 1 was the over-filling of senseless and pointless human narratives who were basically cartoons. This would not have been a problem, if the sheer abundance of pointless gags didn’t outweigh the screentime of the Transformers, who were little more than speaking props.
While I’d still care for a lot more screen time and relationship building and characterization for the autobots, the essential motivation and plot of this film is far more centered on the Transformers. The generally simplistic nature of the humans plays well with the still simpler robots, who to their credit, display a lot more character than they did before.
Of specific note, Bumble Bee expresses a far greater degree of character than he did before, and for once, Starscream and Megatron play out their unique tensions onscreen as well. Optimus has a bit more attitude and things to do as well, and I rather enjoyed his interactions with humans aside from Sam. There is far more Transformer mythology here, including the origins of the Transformers and the real reason the Autobots and Decepticons are at war.
The robot fights here are very well choreographed and shot, and must have been very, very complex to organize into the practical world. And there are a lot of them. Also, in the cartoon, Transformers fight in a variety of non-urban landscapes. We get to see that in full effect here.
Dramatically and narratively, I have no issue with the simplistic nature of the story. Firstly, the essential robot story here is no less complicated than an episode of the cartoon or the animated Transformers movie. The inclusion of a few new characters who weigh in for good exposition only make it better. In fact, I would give it some nerd cred for getting a little geekier than it was in the first movie. Also, the inclusion in the middle of a real sense of evil winning and the world being somewhat devastated worked in this kind of simple story, and is not to be overlooked as enough of a dramatic push to make the fights much better.
My only problems are, as I said before, the same old human gags abound in this, including Michael Bay’s obsession with absolute sluts and facile 7th grade sex jokes. While the first half of the movie establishes the Transformers as being bigger players in the human narratives, the last half of the middle act mired itself in human heroics … however, these are short lived and also, not that bad. I actually liked John Turturro’s role this time around a lot more. My last problem is the slight, short lived blasphemy in the first going on second incident in which the film suggests an aspect to Transformers that in my opinion, pose a conceptual threat. Thats all I will say without spoiling anything.
Besides that, yes, the robots could have been bigger characters again, but this is a significant improvement and the mythology and inclusion of more awesome fights and actions pieces make this less of an issue. I liked this movie a lot.
SOOO I finally got to see Transformers 2. I have to admit, I went into the movie with some pretty high expectations, part of which can be attributed to the immense amount of BULLSHIT that I’ve had to put up with to see this thing.
First there was last weeks turn around, and this week, now with the family (surprisingly my mom and dad wanted to see it), we were again faced with the show being SOLD OUT for the time we had wanted. Ultimately we got the tickets, and we finally got to see the movie, with even more retarded bullshit inbetween, but I’ll spare you guys that particular rant.
So with that in mind, I have to say that Transformers 2 was well worth the effort in seeing.
This movie has balls.
It’s flawed, and maybe in some important areas, but it fulfilled my criteria for the movie: A – It had shit loads of robots, B – not only did they fight but they even had some acting going on too C- human stuff never drags on for too long. It’s the type of movie that I imagine Transformers 1 wanted to be.
As you guys have mentioned already, I like how it acknowledges the greater world and mythology of Transformers. It was enough to make to peruse the Wiki to get caught up with The Fallen and the Dynasty of Primes.
I have no problem with the shifting and mutation of Transformers Lore and it’s details. Any conflicting details seem more in keeping with Transformers, given it’s various shows over the years have always seem to strike out on its own. At it’s core Transformers comes down to some essential elements, and by and large, this move gets that right.
I liked those two little “gangsta” robots. If you’ll remember from the first movie, the way Transformers come to understand our culture is through our media, they’re simply a reflection of our own cultural misgiving and failings. I find it more racist that people are reading into these characters as being “black”. Get over it.
Jar Jar Binks is also ok in my book.
I think one of my favorite bits was having Optimus Prime discuss with a Goverment liason the politics of having Transformers as allies to the US.
The characterization of Prime is probably my biggest sticking point though. He’s essentially the robot equivalent of The Punisher. Not only does he kill other robots, he does so in the most brutal fashion, ripping off heads, tearing away faces and punching through chests to grab hearts.
It made me think that maybe the Decepticons are misunderstood,
I can’t recall any Autobot being murdered in an equally vicious manner in this movie. Transformers 2 also makes the effort to show that not all Decepticons are even truly evil – the little RC Truck changes sides, and so does Jetfire. Perhaps more of these Decepticons are fighting for this side for their own personal reasons, and yet we have Optimus Prime more than willing to tear off arms and disembowel you without hesitation.
We also see that the main drive for The Fallen/Megatron and Starscream (chiefly Starscream) is actually to provide an energy source so that the hatchlings can live.
I’m sure you can look into all this more, and delve into what all this means. Is Optimus Prime an American? Or even more so, an American Soldier that shoots first and asks questions later?
But at the end of the day, it’s fun.
It’s best to simply enjoy the clash of metal robots and leave the more thoughtful discourse to Watchmen or Batman.
Michael Bay has found in Transformers, something that I think will become his signature series. He’s made tons of blockbusters but Transformers strikes me as something perfectly suited for him.
It occurred to me while watching this, that Transformers 2 is exactly how I imagined my toys would be fighting while I was playing with them.
I’d flip Optimus Prime in the air and while blasting Megatron ( well, more like Grimlock – I didn’t have Prime or Megatron), I’d set up ludicrous scenarios which I’d revise or even forget about halfway through, go off on weird tangents, and even better, introduce other toys (in the case of Trasnformers 2, army men) into the fray.
Transformers 2 has that kind of joyful, wild imagination.
It also had gigantic clanging balls. Like, huge robot balls.
How can you not give this movie an A+ just for that alone?
And finally, Eshwin once again