Holding Out For a Hayao

With the retirement of Hayao Miyazaki and the uncertain future of Studio Ghibli I decided to check out some of the acclaimed work of other anime directors and writers. Not to fill the void Miyazaki will undoubtedly leave, filling that void is an insurmountable task, more aptly I was searching for someone or potentially several someones that were producing ambitious animation on the quality and scale of Miyazaki. A Sisyphean task I'm aware and yet I was ecstatic with my findings. What follows are some quick thoughts on some of the films in question as well as some assorted musings on the particular filmmakers.

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Wolf Children

 Written & Directed by Mamoru Hosoda

First up, Wolf Children, probably the most critically acclaimed and commercially known of the films I watched. Wolf Children was also probably the closest to a Ghibli film I found, and one of the reasons I wanted to start with it. The film mirrors Miyazaki’s penchant for blending grounded real world issues with imaginative fantastical elements filled with believable and well written characters. Wolf Children's key emotional pillars are motherhood and coming of age. And it tackles both with flawless precision and a deft touch, a rarity in animation. The film pivots pretty hard after an uninspired romantic opening, turning into a real trial by fire motherhood story for the duration thereafter and that’s when everything really begins to click. The film is far more subtle than most anime allowing for plenty of silent moments that say a lot. It’s in these quieter moments where the film really distinguishes itself from Miyazaki, where he bombarded the viewer with not so subtle commentary, Hosoda leaves a lot untold and unsaid giving the audience more to contemplate which shows both artistic restraint and trust in the viewer. It helps that Wolf Children is a simple story with only three key characters but even still it’s very commendable. The film is beautiful with a stunning level of detail and it’s to Hosoda’s credit once again that he finds interesting ways to play with how the audiences sees this world, with simulated camera moves and shots that are uncharacteristic of other anime and make the film stand out all the more. Wolf Children has a moving emotional story at its core that highlights and explores themes with a quiet assured touch, it’s mature while never delving into melodrama, it celebrates life and all the hardships therein. It’s an exceedingly well made and beautifully drawn film that may just rival that of the once assumed incomparable Miyazaki. A bold statement to be sure but one that I hope gets you to check out, Wolf Children. 

Garden of Words

Written & Directed by Makoto Shinkai 

Garden of Words is a romantic short film, at only 48 minutes including credits, the film resembles something more akin to an experiment for director Makoto Shinkai. What starts off as a generic meet cute romance quickly changes after an out of left field twist that alters the tone of the film substantially for the remainder. That twist comes too late and isn't sufficiently explored to turn around what is otherwise a rather lifeless story. The films greatest strength lies in its art, oftentimes bursting through the reality of the medium and producing an incomprehensibly photo-realistic scene with rain effects that are particularly staggering. Unfortunately the story is rather weak and the characters are nothing more than untapped potential, and quite frankly the entire film reminded me of a Lifetime original movie. I will admit I was surprised at how invested I became in the romance by the end of the film but it wasn't enough to make me forget many of the films glaring faults. The potential is there for a compelling romance and maybe with a longer run time more nuances could have been explored but as it stands Garden of Words is gorgeous artwork that lacks dramatic energy. It's pretty to look at but there isn't much substance, it's not bad by any measure but it won't be an experience you remember long after it ends. 

The Girl Who Leapt Through Time 

Written by: Satako Okudera

Directed by: Mamoru Hosoda

Well it had to happen, but The Girl Who Leapt Through Time is the first bad film in this endeavor. It was particularly frustrating since so much of the film is quite strong, the writing and voice acting were top notch (I watched an English dub) the female protagonist is wonderfully realized and the school aged characters are all surprisingly well depicted in both animation and writing with plenty of subtle and believable interactions. Unto the mechanics. Time travel is a difficult subject to use in storytelling because instinctively the audience wants to understand how it works they want to know the possibilities and the limitations. And on top of establishing the boundaries of the ability it needs to be easy to follow as jumping through time can be quite confusing.Therein lies where the movie falls apart. The films final act, the climax, the reason the entire film is happening is so completely and utterly botched I'm amazing this film was ever released. There is a twist near the end of the film where a character from the future is revealed and the reason he traveled to the past was to see a painting. A painting. Once more in case you didn't yell out "WHAT!?!" in disbelief, a painting. It's never explained why. Nor is it explained what the final statement this future traveler says to our young protagonist means. "I'll wait for you in the future". Why not just stay in the past? Or go to the future and then come back immediately. What about the painting? There is a theory I have, because that's all I can do since the movie explains nothing. The main characters aunt is restoring the important for no reason painting and she explains she traveled through time in her youth as well. She also feel in love with a time traveling boy and has been waiting for his return. Is it the same boy? Still doesn't explain WHAT IS WITH THE PAINTING!!! The whole thing is just frustrating, there is a difference between a open-ended conclusion that encourages contemplation and a jumbled mess of incoherence that quite frankly isn't good enough in the rest of its parts to justify continuously thinking about. The Girl Who Leapt Through Time has a compelling lead character and humorous moments throughout and even inventively plays with the concept of time travel but quickly squanders all of its potential in one of the most staggeringly unthought third acts I've ever witnessed. 

What I've Been Up To

Ryse: Son of Rome (1 out of 5)

Ryse: Son of Rome is more concerned with crafting a visually impressive immensely cinematic experience rather than a video game. Ryse falls short in one pretty important department, fun. The game is staggeringly arduous and monotonous, which is actually impressive when you take into account the game is only 4 hours long. In that time you'll mindlessly hack apart thousands of the same four character models in a display of astounding audacity that only served to bring my initial boredom of the game to a boiling rage. The combat is entirely color coded prompt based, every action you need to take is loudly telegraphed. Add to that scripted sequences that are meant to add variety which are then in turn repeated ad nauseam and you have one of the most unnecessary games I can think of. It does nothing. I can't think of a way to devalue it any further. It serves no purpose and should not exist.

Alien Isolation (Did Not Complete)

Alien Isolation is one of the first in a sudden and exciting rise in big-budget horror games. It attempts to redeem the recent trend of piss poor adaptations of the Alien franchise, focusing on what made the original film so ground breaking. Alien Isolation is a horror game in the vein of Amnesia The Dark Descent. There is one major unbeatable threat that hunts you for the majority of the game while you attempt to make it through each environment alive. Isolation does throw in some other adversaries including terrifyingly helpful to a fault robots and human looters but it's the Alien that provides most of the game most memorable moments. Unfortunately the game is a little clunky and so much of the experience leans on AI systems functioning correctly, which it often struggles with. Alien Isolation's greatest accomplishment is perfectly, and I mean perfectly, recreating the look and feel of the Alien movies, particularly the first film. The game is stunning with pixel perfect environments made better with great lighting and ambient effects. The atmosphere is spine tingling right up until you run into a wall trying to survive, the game often times doesn't respond or allow you to respond the way you may want to and it quickly becomes frustrating. It was fun for a few hours but I quickly gave up and left after a few hours, the presentation makes a strong impression but that is a facade that hides a far more unimpressive mechanical mess.

Roundabout (4 out of 5)

Roundabout is one of the most random and absurd video games I've ever had the pleasure of playing. Tasked the controlling an perennially spinning limousine as you take passengers, all of whom are introduced in magnificent FMV cut scenes, to their destinations. Reductively it's Crazy Taxi in a limo, but Roundabout has so much more heart and damn good game design it managed to spin right into my normally cast iron heart. It's easy to play but difficult to master, the game wonderfully ramps up the difficulty throughout the roughly 3-4 hour campaign while also introducing new mechanics at a steady pace that vary up your driving style till the surprisingly touching conclusion. Roundabout is indelibly sweet for what could have been a simply joke taken too far, the FMV cut scenes start off as one off gags but quickly start forming an arc for main character, Georgio Manos, and even introduces a romantic relationship which becomes the driving force in the final hour or so of the game. Roundabout is an absolute joy and way more thoughtful and engaging than I would have initially guessed. Do yourself a favor and spend an afternoon with Georgio and the increasingly hilarious denizens of Roundabout (yes, the city is named Roundabout) you'll have a mile long grin plastered across your face for the duration.

Shovel Knight (5 out of 5)

Shovel Knight perfectly recreates classic Nintendo platformers from the 8-bit era. It adheres to the same limitations as well with color restrictions and number elements on screen. The games tight controllers and careful balance are necessary as the game also evokes a level of difficultly often unseen in today's games. Every boss and their associated worlds all make a strong impression which is surprising considering how many there are. I kept waiting for the one level I wasn't going to like, but it never came. Shovel Knight isn't for everyone but it is for people who love games, even if you don't have any nostalgia for the era of games Shovel Knight emulates it manages to capture the immeasurable quality of classic games such as Super Mario, Mega Man, and DuckTales to such a degree it feels in the same league. I'm struggling not to call this game perfect because no game is ever perfect but Shovel Knight is so finely tuned and meticulously designed and crafted it comes damn close. A game layered with nostalgic tinges that improves on those it emulates with smart modern design senses. Shovel Knight is a true homage, it doesn't lean on the games that inspired it but it uses them as stepping stones to achieve something altogether new.

Dead Rising 3 (2 out of 5)

Upon first booting up Dead Rising 3 I was met with the warm and fuzzies, it was like returning to a familiar and comfortable bed, but those feelings quickly slipped away into the darkness and that same bed quickly chewed up and spit me out in a horrific nightmare of an experience. Dead Rising 3 has a lot of the things the franchise has always done well, or really the one thing the franchise has always done well, killing thousands of zombies with ridiculously random weapons. Each game has added a minor tweak to that core concept, the first sequel added combo weapons and now in this third entry combo vehicles. Both of these things are great additions but not with a formula that is in desperate need of resuscitation. Dead Rising 3 is filled with laborious missions that are all the same and task you with treading over the entirety of the map multiple times needlessly extending the already doldrum filled experience. The bosses are weak, the story is tissue thin and the entire experience outstays it's welcome after just a few short hours. It's a shame such an ingenious and wacky franchise has gone the way of populous trash. Dead Rising 3 is disappointingly dull and entirely forgettable.

The Vanishing of Ethan Carter (4 out of 5) 

Emerging from a train tunnel into a beautiful forested area you breathlessly take in the gorgeous environment and wait for some clue as to what to do next. But it never comes. The Vanishing of Ethan Carter never explains what you are supposed to do at any point and rewards exploring every nook and cranny with excursions into reality bending side stories hidden in little side areas throughout the game. You play a classic hard boiled detective investigating a mysterious town and deducing the events that transpired before your arrival. The game boils down to finding clues and then ordering the sequence of events correctly. But game play is not what Ethan Carter is all about, the game is at all times haunting, a nervous feeling of unease permeates the entire game as you endlessly wonder whether whatever mysterious force is at work in this small town will come out from the shadows and confront you. I won't spoil exactly what awaits anyone who decides to give this game a look, but suffice to say it provides plenty of intoxicating atmosphere and a real sense of mystery which while disappointing in its final moments doesn't detract from the experience as a whole. I loved every second of this game, it evoked a great sense of  wonder and lured me in by my obsessive need to discover. I hypnotically made my way through the ominous mystery discovering every secret along the way without pausing once. I was completely enamored with the game and was only slightly disappointed with how it wrapped up.

I'm Back

Hehvjfabdk.... Gtluabbdj ..... 1984631864 ..... Hello!! Phew, thought I lost it there for a second. It's been awhile and I’m still working out the chinks. I figured what better time to restart this little side project then in my final semester of college amid the biggest workload I've ever had to deal with. Logic be damned. I wanted to kick off my overdramatized return by tackling a medium I regularly bash and actively despise, Anime, bet you didn't see that one coming. Let’s start off with a little groundwork I think anime is weird. It's immature, tone deaf, oftentimes obnoxious, it glorifies violence, lacks any subtlety and it's more than a little pervy. But I want to learn, and so …

I stand at the precipice of what I already perceive to be a terrible idea.  Join me as I dive into the depths of anime. I don’t know what I’ll find, but I’m already excited to discover it. There will be laughs, tears, and a fair amount of introspection I imagine. A treacherous road lies ahead any number of things could bring this adventure to a halt; I expect it will be the astronomical number of tropes and clichés. I’ve got everything I need, a backpack full of sarcasm, two bottles of facetious comments, and a Nutri-Grain® bar. Here goes …. 

Fullmetal Alchemist: Brotherhood (Ep 1-17)

First up is Fullmetal Alchemist: Brotherhood. The original 2003 series was actually the last anime I had seen before abandoning the genre completely. I remember the first episode very fondly, the scene where the Elric brothers try to resurrect their mother is one of the most mortifying yet memorable things I had ever seen and still percolates in my mind a decade later. But I fell out of love with anime and abandoned the series less than 10 episodes in. Upon returning to the genre for this feature I learn there is a new series based on the same story but this time sticking closer to the original source material.

Brotherhood was the first anime I watched when starting this feature and I couldn't have picked a better show to start with. The show encapsulates anime quite succinctly and is one of the best examples of the genre and a great introductory series. It eschews from the obnoxious elements found in most anime focusing more on relatable its characters. The action is over the top but the human drama stays grounded. The state of the world is grand and fantastical yet the stakes are believable and scary. Brotherhood also deftly balances wackiness with complex human darkness. It's almost surreal how quickly the show shifts its tone from scene to scene yet never once is the transition jarring, an impressive acrobatic feat I still struggle to fully understand how it's pulled off. 

Hyper realism is where most anime lives, everything is very bold and obvious. Simple human emotions are overly exaggerated and expressly conveyed. Brotherhood is filled with moments like this but they are relegated to the comedic moments. The drama is portrayed with the utmost seriousness with protracted moments of silence allowing the audience to drink it in. Every character is surprisingly fleshed out, even character that come off as one dimensional initially are finely drawn in later episodes (I'm looking at you Armstrong, you beautiful brute you). Brotherhood directly addressees blatant problems with the anime genre but stil manages to appeal to stalwart fans and newcomers with strong characters mixed in with more typical anime tropes. I don't think I will find an abundance of shows like this along this journey but this is one I will assuredly revisit. 

Kill la Kill (Ep 1-4)

While Fullmetal Alchemist: Brotherhood represents an anime series learning from the criticisms leveled at the genre. Kill la Kill embraces those criticisms and runs with them at unsettlingly high speeds. The violence is exceedingly over the top, every character is defined by a single trait, titillation is at its breaking point, and everyone is screaming all the time for no apparent reason. And yet it’s done with such aplomb that it, even if unintentional, comes off as satirical.

Kill la Kill plot takes places in a not so typical school, of course, and centers around a fiery young girl fighting a series of older students for the other half of a magical sword with vaguely defined powers, because why not throw in every tired ass trope in one pot. It’s dumb. But it sort of works. I’m not sure where the series goes after the first handful of episodes, maybe the action gets tiresome, but it starts off strong if not entirely compelling. I would say Kill la Kill is fun in an ironic way, I refuse to believe anyone involved in its production or anyone who claims to like it takes anything that happens seriously. 

Top Ten Movies of 2013

Blue is the Warmest Color

Blue is the Warmest Color was a huge surprise for me, a 3 hour french film, that stole my mind and heart and held them both captive for weeks following my viewing. An intense story of passionate love and sexual exploration, a film that perfectly captures the indescribable feelings that entangle us when lost in the euphoric and sometimes painful place that is love. A feat I thought to be impossible to translate unto a script but are seamlessly portrayed by the actresses in the film, Adele Exarchopoulos and Lea Seydoux, who you quickly forget are acting in a film with their longing stares and bated breathes, committing fully to each moment unabated by cameras, a script or a director. The film oftentimes feels voyeuristic, looking into the intimate lives of two lovers so hopelessly enamored with eachother that every step that distances them manifests itself as a sharp sheering pain in the viewer. I can't praise this film enough, it's intoxicating and mesmerizing; a truly unique, perfectly encapsulated depiction of life and love.

her

Her is a thoughtful romantic film for the modern, technology obsessed generation. Surprisingly poignant and heartfelt, Her delves deep into its fascinating premise and transcends genre conventions all the while delivering a both emotionally and visually beautiful film. Joaquin Phoenix gives a sweet and charming performance, but it's Scarlett Johansson who steals the show giving one of the best performances of the the year solely through the use of her disembodied voice. A man falling in love with an Operating System seems like an easily exploitable premise, but it's handled with such sincerity that it becomes quite touching. Exploring highly relevant themes such as loneliness in an increasingly connected world and the connection between a person and increasingly lifelike technology her is astonishingly funny and poignant all within a wonderfully realized and wholly plausible near future.

Gravity 

Gravity is an unforgettable theater experience a breathtaking and nerve-raking thrill ride that transports you into this painstakingly detailed environment that will fool you in its validity for its duration. Gravity stars an understated yet powerful Sandra Bullock in a deftly told allegorical story of rebirth. This film feels like a sincere fist-pump in the name of scientific progress that not only shows the ingenuity of our race but celebrates our limitations and flaws. This is a movie that shouldn't be seen in any other way than IMAX 3D it is a legitimately awe-inspiring experience that's easy to lose yourself in. Movie so rarely surprise lately but Gravity is an astonishing breath of fresh air. A harrowing and simple yet compellingly told story that encapsulates everything that makes the cinematic movie-going experience so precious.

12 Years a Slave

12 Years a Slave sits among rare company, a large-scale mainstream film depicting incomprehensible horror, in this case, slavery in America. Steve McQueen's proclivity for long shots extract every ounce of suffering from every scene, portraying this deadly serious time with near infinite depth. Every silent moment speaks volumes, every symbolic moment creates striking imagery; it's a film so unrestrained it's oftentimes difficult to watch. Not a single weak performances in a movie with dozens of multifaceted characters, none are oversimplified monsters even when they act monstrously, every action is driven by sound logic however flawed and twisted. A powerful, harrowing, unflinching look into an oftentimes overlooked and oversimplified time in this countries history. 

Dallas Buyers Club

Dallas Buyers Club is a remarkable true story, faithfully recreated by two incredibly dedicated actors. The film will always be remembered for the lengths to which the actors went to dangerously emaciate their bodies to properly portray AIDS victims. But the real takeaway should be the dedication and commitment the actors showed that comes through a thousand fold on screen. In what is the best performance of his career Matthew McConaughey plays a stereotypical southern man whose entire belief system and life are shattered when he is diagnosed with AIDS. McConaughey magnificently plays a man who is all at once, cocksure, kind, bigoted and charming it's a tough role to pull off but he embodies the character so well you'll forget he was ever terrible in anything. Jared Leto's similar dedication transforms him completely into the transgender woman hopelessly dependent on drugs. Dallas Buyers Club is a heartening film about an initially self-serving man who in utter defiance of the FDA saved the lives of countless victims of HIV.

The World's End

The World's End finds a group of old high school friends reliving a failed bar crawl attempt. Simon Pegg and Nick Frost swap their usual roles with Pegg playing the perennial fuck-up and Frost the straight man. Both give impressively nuanced performances for a film that deceptively sells itself as a sci-fi comedy. The films thought provoking themes of friendship, alienation, addiction and homogeneity invite thoughtful discussion to an already ripping fun action comedy. In typical Edgar Wright fashion, The World's End is sharp, stylishly shot, reference heavy, action packed and refreshingly thoughtful, a genre film that aims to entertain and enlighten. Despite the energetic action scenes and sharp witty humor the film never loses it's surprising emotional depth, delivering an unforgettable ending that is both tragic and hilarious. 

Before Midnight

Before Midnight is the latest in a series of films that keeps finding profound things to say about love, charting a romantic relationship over three films and 18 real-world years. An unprecedented concept for Hollywood, arriving at sequels naturally and patiently. Before Midnight finds the couple, portrayed by the enrapturing Ethan Hawke and Julie Deply, in their forty's dealing with decades of baggage, parenthood, and even resentment. It's a realistic portrayal of a committed relationship that is oftentimes difficult to watch, made even more heartbreaking by the effortless looking performances of the two leads. The film like its predecessors is made up of 40 minute impressively engaging uncut walks filled with existential conversations about life, hopes, regrets and beliefs. Before Midnight may very well be one of the most grounded portrayals of long-standing relationships ever filmed and it's utterly brilliant.

Inside Llewyn Davis

Inside Llewyn Davis is the cinematic equivalent of a folk song, by the end not much has changed but you've hopefully reached a better understanding. A melancholic few days in the life of a struggling artist in the folk music scene just a few months before becoming the genre became a nationwide sensation. The story is traditional Coen brothers ilk as Llewyn Davis, soulfully played by Oscar Issac, meets with a series of eccentric fellow musicians while constantly being belittled. The unforgettable music, played live during filming, allows every musical performance to burst with context, as each respective performance blends with the song and the state in their lives. Downbeat, yet humorous with understated but strong performances rounded out with catchy music propel this film among the Coen brother's best.

The Act of Killing

The Act of Killing is a chilling and terrifying documentary that follows the lives of infamous mass murderers in Indonesia. Men who graduated from simple street hustlers to committing government sanctioned war crimes during the 1965 purge of communism from Indonesia. Their satisfied recounts of what they perceive as the glory days all the while filming elaborate and feverishly insane staged reproductions of said events will disturb anyone with an ounce of humanity. While morally depraved these men are the center of the most mesmerizing and fascinating in-depth look into their guilt ridden psyche and the power of documentary film-making. The ability to expose, enlighten, and edify that which most deserves a thorough examination and evaluation.

Pacific Rim

Pacific Rim is unabashedly the most accurate realization of a young child's imagination. Fueled by a palpable passion and love for all things fantastical and just straight up cool. Like the mechanical giants that populate it, Pacific Rim gleefully strides forward, confident in the utter smack-down it's about to bestow upon an eagerly anticipatory audience. The movie embodies everything movies can be when made with love and attention to detail. It boasts some of the biggest action ever seen in a movie, yet it never loses sight of the human element. The movie is big, loud, and sometimes dumb but it delivers one of the most singularly engaging and rousing movie-going experiences of the year. It's playful and earnest and all the more endearing for it. 

Honorable Mentions: *coming soon*

2013's

Matthew's Game of the Year 
     

                         Jonathan's Game of the Year

Alberto's Game of the Year 

                     Valeria's Game of the Year 

Quick & Dirty Reviews

Typing of the Dead: Overkill (2 out of 5)
Having added nothing more than a teach typing overlay, Typing of the Dead: Overkill suffers from it's original lethargic design. The original Typing of the Dead for Dreamcast was a funny and interesting game for its time, not revolutionary simply inspired, combining teaching tools with mass "mutant"slayings. But this entry takes a sub-par Wii game and replaces the motion controls with typing which unfortunately makes for a clumsy and overly easy typing game. I appreciated the effort and even enjoyed the first level unequivocally but the humor in this grind-house inspired "of the Dead" entry is grating and the methodical pace of the original light gun-esque Wii game makes the typing challenges too easy for any long lasting enjoyment.

Batman Arkham Origins (4 out of 5)

Origins is saddled with a brand new development team and the now requisite prequel entry in one of the most inspired franchises of this generation. Origins does its best but not enough new ideas and a few too many technical glitches hold back a surprisingly significant prequel conceit. Being a prequel Warner Bros Montreal, the developer taking over from Rocksteady, is restricted in making advancements to the formula, for one Batman can't have anything in this game he doesn't have in the previous but chronologically later games and the story also can't contradict anything that has already been established. Given those limitations I think they pull off the near impossible and craft and even larger more fully realized chunk of Gotham with a story that expands the established relationships in compelling ways. Some of the things WB Montreal pull off with certain characters are the best I've seen in any of their incarnations, truly an impressive feat for characters who have been around for half a century.

Killzone Shadow Fall (1 out of 5)
Killzone Shadow Fall is a game completely devoid of any sensible game design. A game whose only positive trait is it's visuals which are stunning at the best of times and unvaried at worst. The level design is atrocious with near impossible objectives and directions, a game so bereft of logic each level feels like an obligatory addition as opposed to a part of a more cohesive whole. It may be a launch game but some of the decisions made in all aspects of the game from story and characters to frustrating last stand missions and escort missions. It is a game so lifeless and painfully tedious it may as well not even exist, no effort was made to make a decent game, just one that could be shown in 5 minute chunks at press conferences or demo reels. Killzone Shadow Fall better spell the end of the franchise for quite a while because if this is any indication of what the next generation is going to be like in AAA game development I rather it end right now.

Resogun (3 out of 5)

Not a system seller by a long shot but Resogun occupies that perfect 10 minutes at a time itch that while unfortunately isn't designed to keep you coming back still offers an enjoyably challenging interim between the bigger titles. With only 5 levels, each unleashing the enemies in a predetermined order and pace Resogun doesn't offer enough variety to engage the average player longer than it takes to beat it through once. It's a great game to play while something else is installing or downloading but it wears thin quickly and may be forgotten when the more ambitious titles start rolling out.

Lego Marvel Super Heroes (2 out of 5)

Packed with references and details that feels like you're sharing in your comic book passion with old friends, Lego Marvel may very well be the best Lego game yet but it's inherent Lego-ness holds back what needs to be the last entry constructed in this exact way. An open world Manhattan contains every inch of the Marvel universe you could possibly think of but it's restrained by level design and a puzzle structure that hasn't changed in 10 years. It's inexcusable and this really is the last straw, something major needs to change about these games or they are going to be become irrelevant. The game quickly starts to feel like a grind, which amounts to zero fun and 100% boredom, the humor is childish but endearing but it can't save these games any longer. Telltale clearly puts tons of effort into the showing up their intimate knowledge of all things Marvel, to even an obscure degree but levels and design decisions that slow that experience to a crawl make the whole game feel rather like work instead of play, and really what are Legos for if not to play.

Tearaway (4 out of 5)

Tearaway very nearly justifies a $200 purchase all on its own but fails with a story that goes in circles and frustrating platforming near the end of the game. Tearaway is absolutely stunning, it's not so much a technical powerhouse as the most ingenious art design I've seen in years. The world of Tearaway is believably made entirely of paper and it's a great look that evolves throughout the game as you the player interact with it in more blatant ways towards the end. Taking pictures of real world objects and transposing them in the game, drawing things with the touchscreen and having those things used in game, dictating the way the level moves based on tilt, and best of all having your face reflected at all times on the sun within the game. Tearaways is the first and hopefully not last game that pushes the Vita from an interesting slick handheld device into a viable and exciting avenue for interesting new video games.

The Wolf Among Us: Episode One: Faith Review

Telltale has done it again, crafting yet another addictively compelling narrative. Set in the fascinating world of Fabletown, a New York neighborhood where all the characters from various fairy tales and folklore live. You play as Bigby Wolf (The Big Bad Wolf), the sheriff, as you try and keep the fairy tale creatures protected from those in the real world as well as each other. Coming off of the astounding success of The Walking Dead, Telltale has delivered another fantastic comic book adaptation, but more surprising is the fact that The Wolf Among Us improves on every facet of the adventure game formula they seemingly perfected last time. Better written and voiced, each character breathes life into a world bursting with details and intricacies the likes of which are rare in any video game genre but near absent in modern adventure games. Character animations and scene transitions are smoother making it more seamless than ever, even the technical blemishes that plague The Walking Dead have been ironed out.

The first episode of The Wolf Among Us plays out like a typical detective story, searching for clues in the environment and questioning people for answers. The way Telltale ties all the different fairy tales together is astounding and easily one of the most engaging aspects of the entire game. Bigby is a tad to cliche, with a gravely voice worn down by chain smoking and whiskey; the stereotypical noir detective in a brutally violent rendition of fairy tale lore. Gameplay is choice focused with bursts of button prompt actions that are more fluid and exciting than those from The Walking Dead. The games striking aesthetic are achieved through impressive lighting and a comic book heavy outline. The game is dense with references and names from the decades of comic book history and can be overwhelming but the story smartly focuses on the characters involved, and what a bunch of characters they are. Without a single weak link or lacking moment this first episode of The Wolf Among Us is a massive technical and storytelling accomplishment for a developer who seems to be getting more proficient in its execution with each new endeavor.

(5 out of 5)