I just saw Mortal Engines. I have no idea why it is getting such bad reviews. Was it the next Perfect Movie™? No, not at all. But was far more good than bad, only one part that was truly bad, and several elements that were quite good.
I’ve strayed. I thought I had learned my lesson in grade school when I picked up a cool Tente space truck. Or maybe in middle school when I got some Tyco Super Blocks as a present. I certainly “knew” that the clone bricks just aren’t worth it—sure, you might get some cool shapes you can’t find in Lego, but at what cost?
I’d keep seeing these Mega Bloks Halo sets, with their many different curves and gorgeous shimmery purples. And there was that big puzzle-piece dome. Of course I knew I shouldn’t. But Nnenn did. And then I saw this Silent Running-esque ship using the Mega Bloks domes. And Jang (of Jangbricks) started buying and reviewing Mega Bloks sets. And I started looking a little too closely when I was in the store. I’d pick a box up, turn it over and check out its pieces. Look at the little window where you could see some actual pieces shimmering.
And then one day I thought “well, it can’t hurt to look”, and checked a price.
I think I’m becoming disenchanted by Doctor Who–still love it, particularly the individual stories, but the story arcs are starting to be more annoying than wonderful. Which is very surprising to me. Either I want what I can’t have, or it is possible to have too much of a good thing. When I was a kid, the thing that most disappointed me about Star Trek: The Next Generation (and any number of other shows) was the lack of development—the way that the characters and setting didn’t seem to change nearly as much as episode events seemed to warrant. Sure, solving the problem of the week was interesting, but it just left me feeling unfulfilled. Ongoing development of the story and the characters is what made me love Blake’s 7 so much. Continue reading
We went to see Red Riding Hood last night. It’s really not anywhere near as bad as reviews–or the Tomatometer–would make you think. In fact, most of it was great fun. Oh, no art here–but the acting was actually pretty decent and the story mostly struck a good balance between cliche and surprise. However, to explain both what was good about it and, crucially, where they totally f’ed up, is gonna involve spoilers. I’ll try to keep it to a minimum, but it will give some things away. You have been warned.
I played Dixit at a friend’s New Year’s Eve party, and can’t wait to play it again. Everyone who played it absolutely loved it. Dixit plays on the intersection of the visual and verbal parts of the brain in a way that is just about perfect. Unlike games like Pictionary, a lack of artistic talent is no impediment. And unlike Scrabble or Taboo, a large vocabulary or particular facility with language isn’t really required, either.
The basic game play is very simple: everyone is dealt out some cards, and then each player in turn chooses a card from their hand. Everyone else then chooses a “matching” card from their hand, the chosen cards are all shuffled together, and everyone tries to identify the original card. So far, much like a lot of games out there. Where the wonderfulness comes in is in the details.
A couple years ago, some of my friends were loving the new Doctor Who series, and curious about the classic series. I loved the idea of having an excuse to watch it again, but when they found out just how much of it there is, they were more than a little daunted. Plus, honestly, a lot of the stories just don’t stand up to a modern audience. So, I put together this guide for them, highlighting what I feel are the best and most-essential stories from the original 26-year run.
In order to keep it down to a manageable list, a lot of very good stories were left off the list–if you look around at reviews, you’ll find a lot of good, even great, stories that aren’t on this list. I was also trying to cover as much as I could of the mythology and universe of Doctor Who in as few stories as possible, and with as little duplication as possible. So in a few cases, a really great story was left out only because all of the territory it covered was already covered in some other story or combination of stories. So, for example, there are some other good cybermen stories–but they don’t really add anything to the overall canon of the series.
Smallville is this season very transparently stealing the mutant registration act storyline from the various X-Men comics. I’m impressed at how many ways it doesn’t work. For starters, it just doesn’t fit the tone of the series or the universe, IMHO. But that might just be me; the other problems are more significant.
The Mutant registration act was, of course, an allegory of the Holocaust, and various other historical–and current–attempts to scapegoat a group of people. As such, the allegory required that the victims be blameless, at least as a group. In the Marvel universe, nobody chooses to be a mutant. Thus, condemning them for that status, irrespective of their behavior, is what makes the allegory work. Vigilante is a behavior–a profession, i suppose–and something that the characters clearly chose. So the “Vigilante Registration Act” is not immorally condemning them for an accident of their birth, or even for their beliefs, but for their actions. It’s like the writers completely missed the allegory of the mutant registration act, so when they went to copy it, they copied the superficial details, but changed the one bit that gave it moral weight.
On top of that, they chose as their “persecuted group” those who made a set of decisions and behaviors that is pretty morally gray. Which could possibly work–you could explore some really complex questions, and Smallville has at least taken stabs at them in the past–except that they’re not examining the morality. They’ve simply replaced “mutant” with “vigilante” wherever it appears in the script, and written the stories as though “vigilante” is inherently and obviously good. Our heroes are the good guys because they’re the good guys. Which, I suppose, takes us back to the origins of Superman. :-/
What’s worse is that Smallville has flirted with these themes in the past–in fact, for the majority of the run–and done it much better. So a heavy-handed attempt at cloning a popular theme from the rivals is even more insulting, since we’ve seen them much-less-clumsily tackle this same theme on the show already. The persecution and ostracization of “meteor freaks”, most obviously. But for a couple of seasons, at least, they’ve toyed with the question of “alien invasion” or how the populace would react to knowing Clark is an alien. They’ve tread this ground before, posed some great questions, answering some of them and letting us mull over the others. This new plot arc wouldn’t be doing anything new or interesting even if it were doing it right–which it’s not.