Following the finale, we caught up with VFX associate producer Adam Chazen to learn about this season’s unique challenges and the importance of real-time video review when working with so many far-flung vendors.
The legacy of Howard Phillips Lovecraft looms large over incalculably huge swaths of popular culture. Books, movies, comics, video games, inexplicably cute toys for kids – HP has had a clammy-palmed influence on it all – which is impressive for a bloke who died in 1937. The latest video game to attempt to capture the uneasy horror and sense of dread from Lovecraft’s writing is The Sinking City from developer Frogwares, and while it’s a valiant effort, it also has some serious problems.
The Sinking City takes place in the isolated fishing town of Oakmont, Massachusetts, in the 1920s and is one of the more evocative video game locations in recent memory. You play as Charles Reed, a war veteran turned private investigator who is attempting to find the source of the vivid nightmares that assail him with terrifying regularity. As generic as the player character is, the town skews much more interesting. There are old families, racial tensions with the Innsmouthers, mysteries abound, unexplained murders and madness creeping into everyday life. It’s some classic Lovecraft gear and while the more prolific dialogue is let down by sporadically shonky voice acting, HP enthusiasts will be delighted by the various deep dives (literal and figurative) into the old master’s lore.
All good so far. Unfortunately, where The Sinking City runs into trouble (over and over again) is with the technical aspects of the game. Walking around the city in third person is adequate but combat is an unresponsive mess. The graphics look decent when nothing’s going on, but move that camera even an inch and get ready to see a bonanza of screen tearing, which is to say nothing of the clipping, pop in and slow down that will occur often and enthusiastically. No one of these elements is enough to completely ruin the atmosphere, but when they all start happening together the spell is broken.
It’s a pity too, because there are so solid ideas with the investigation aspects of the game, a Hannibal-esque “mind palace” is a great way to explore the various clues you’ve picked up, but it’s not enough to get past all the irritations that show their ugly little faces all too often.
Ultimately, The Sinking City is a conceptually strong title that suffers far too much at the hands of execution. All the bugs in the world won’t ruin the experience for the truly obsessive Lovecraft fan, but for the rest of us this eldritch horror needed a little more time being developed by The Old Ones.
In a parallel universe, where all the movies that could have been reside, there lies Quentin Tarantino’s The Vega Brothers. A prequel to both Reservoir Dogs and Pulp Fiction, the movie would have seen John Travolta and Michael Madsen as brothers in crime, Vincent and Vic Vega. Although that project fell by the wayside, Madsen and Travolta do finally share the screen in this is southern deep-fried drama from director, Karzan Kader.
Tapping into the same working-class vein as his previous film Life on the Line, Travolta plays Sam Munroe, a retired dirt car racer who has been shaping his son, Cam (Game of Thrones’ Toby Sebastian) to be the next big thing. Frustrated with a series of losses, Cam bails on his father to join forces with Sam’s nemesis, Linsky (Madsen). Sam disowns his son and decides to get back in the driver’s seat to prove he’s still got it.
Trading Paint is an extremely brisk movie and like Sam’s car, barrels towards the finishing line with a distinct lack of finesse. This can be felt throughout the film due to a number of unusual choices by the director and the screenwriters, Gary Gerani and Craig R. Welch.
Sam and Cam’s fallout and the latter’s betrayal literally happens within the first five minutes of the film, leaving us with whiplash and no real understanding of why Linsky is such a bad guy. There’s probably something there around his wealth and panache for cowboy hats that really gets Sam’s goat, but it’s never explored. We’re told they hate each other and that’s it.
Elsewhere, a flashback informs the audience that due to some reckless driving, Sam got his wife killed in a car accident. However, any remorse he had before the film is quickly dismissed after a picnic with new flame, Becca, played by country music superstar Shania Twain.
Twain, it should be noted, is one of the film’s strengths; managing to do something with the limited character development she’s given.
The most egregious part of the film’s narrative can be found in the race commentators whose sole job is to fill in the gaps or remind the audience of what’s going on. It’s perhaps one of the most flagrant dismissals of Chekhov’s ‘show, don’t tell’ rule seen in a while.
To end on a more positive note, if you’re a petrol head, there’s a chance you’ll get some traction from the race scenes which, whilst hardly Days of Thunder, add some well needed adrenalin to the proceedings.
In the world of ARPGs (Action Role Playing Games), the king of the hill is, arguably, Diablo III. Blizzard’s staggeringly popular demon-hunting jamboree has managed to conquer PCs and consoles since 2012-2013 respectively; although there have been plenty of contenders to the throne. The latest example is Warhammer: Chaosbane, and while it lacks Blizzard’s honed slickness, it’s not without its charms.
Warhammer: Chaosbane is set in the dizzyingly massive Warhammer universe – the fantasy branch, not the sci-fi ‘big men in armour go shooty-shooty’ one – and tells the tale of a group of adventurers and their quest to battle a great evil and save the world of men. Players can take on this daunting task as an Imperial Soldier, High-Elf Mage, Slayer or Wood-Elf Scout. Three of these classes are a lot of fun, with the Mage in particular pulling some funky moves, but the Imperial Soldier is a bit dull, to be honest. So either by yourself, or teamed up with friends or online randoms, you’ll battle through towns, dungeons, castles and swamps on a lengthy quest for victory and a new hat with better stats.
Chaosbane doesn’t exactly break new ground in the ARPG mode, in fact if you squint really hard it can look and feel like you’re playing Diablo III, but in terms of moment-to-moment gameplay it can be a lot of fun. The controls are snappy and responsive, the combat colourful and splattery and with a group of mates it can be a blast. Problems do occur when it comes to longer term involvement, however, as the enemy types and environments do a lot of recycling. You’ll lose count of the number of times you run through the same cobbled courtyard, the same dungeon hallway, and at the time of writing there’s not a huge end-game to keep you coming back for more.
The story, also, is a whiff, with occasionally hilariously bad voice acting and an overall journey that will have you shrugging with either boredom or bewilderment. Still, it’s early days for Chaosbane – and apparently big plans are afoot for further content – so these negatives may be irrelevant in future months.
Ultimately, Warhammer: Chaosbane is an above average ARPG with oodles of future potential. If some of the rough edges, and lack of variety, can be polished over time it could be truly grand, however right now it’s stuck firmly in the kingdom of “Pretty Good”.
Did you know The Wolf of Wall Street was funded by Malaysia’s sovereign wealth fund? The Kleptocrats wants to make sure you never forget. This documentary on the ongoing, messy saga of 1MDB, the scheme that brought down Malaysia’s government and was so corrupt it could have made Hun Sen blush, is cleverly structured like a heist: the yellow titles even mimic Wolf of Wall Street.
The film is the product of years of investigative reporting by a motley crew of journalists, US Department of Justice lawsuits and persistent discontent from the Malaysian population. It must be the first film to lasso together the seemingly disparate worlds of the Hollywood entertainment industry and Southeast Asian crony politics. On the style front, it’s tremendously entertaining, flitting between the Cannes Film Festival and million-dollar Vegas parties (“I thought he was like Malaysian royalty, whatever that means,” drawls one entertainment promoter), and dominated by giddy overhead shots of New York and Kuala Lumpur.
A glance at the careers of directors Sam Hobkinson and Havana Marking reveals much of their previous work has been on documenting white-collar crime, from jewellery theft to art fraud. The Kleptocrats glimmers on a surface level of personalities and intertextuality: it doesn’t have a lot of depth or thoroughness on a forensic level. An obvious drawback of that approach is that it privileges the voices of the investigative reporters who pursued and broke the story. The Malaysia material is touristy, with a few talking heads around the edges; virtually the only non-political voice comes from a student driven towards activism, and her presence is so fleeting as to feel like an afterthought. And who is Malaysia’s disgraced former Prime Minister, Najib Razak, and what drove him? The film doesn’t offer any answers, even though it scores an interview with his brother, who you’d expect to be able to provide at least a few pointers.
Still, this is a story amply worthy of cinematic treatment, the outrageousness of the conspiracy outdone only by the clichéd way in which it was perpetrated.