Tag Archives: 2017

Syberia 3 (2017) Video Game Review

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After 13 years of waiting, this game was finally released and much like Kingdom Hearts fans waiting for number 3, fans rejoiced.  Compared to the original 2, Syberia 3 was eager to give back to fans by not only being available on PC, X-box One, Nintendo Switch, and PS4, but by also selling premium editions which included artwork, an art book, the game’s soundtrack, a 23 page comic book (which is also sold on comixology), a poster and a small figurine of the main character, Kate Walker.  At £100 for the console versions  and £40 for the PC version (which excluded the figurine and had everything else in a digital form) on release date, I chose to get the PC/Mac version, simply because I didn’t have the money.  Anyway.  Lets read about it.

Our story begins sometime after the events of Syberia 2.  Hans Voralberg, the last heir of the Voralberg automaton factory, has finally accomplished his goal by finding Syberia with Kate Walker, and then riding on the back of a large, wooly mammoth into the arctic sunset.  Such an ending then brought up the question – What happened to Kate Walker?  Well, in Syberia 3 we see this;  Kate ends up travelling (by foot) through the vast snowscape, until she collapses .  She is then found by a tribe of Youkols, natives to Syberia who haven’t changed with the times of the world around them.  The Youkols are on a pilgrimage, a long path to a land where their Snow Ostriches can partake in their mating season (or go extinct).  Kate wakes up in a hospital, where she is sharing the  room with Kurk, the young guide of the Youkols, who lost his leg and needs a prosthetic.  After finding out that there are people who are not only trying to stop the Youkol Migration, but also aiding the New York Detective, Nic Cantin, who was sent by Kate’s ex-law firm employers to find her and place her under arrest for various charges – Kate makes it her goal to not only avoid capture, but also to help the Youkols (and their ostriches) finish their pilgrimage.

Now to discuss components:

First of all, this game really nailed the artwork!  Benoit Sokal, a comic artist himself, worked as both author and art director, and contributed in the concept art.  The art itself was mostly done by Amanda Goengrich and Sebastien Bousquet.  I love how everything is presented with tons of quirks, much atmosphere, evident steampunk mixed with 20th century Russian stylisations and a very european charm that’s either found in european cinema or Wes Anderson movies.  The art book was a lovely addition to this also.

The graphics are…almost understandable, since this game was in development hell for so long and visuals in video games have grown so much since then – It’s safe to say the graphics are a mixed bag.  When I first bought the game, I was presented with the option of “beautiful but with fewer frames per second” or less detailed and faster.  I close detailed and slower – and I did rather enjoy the graphics around this time, despite the cinematic lag in framework.  However, about 3/4 of the way in, a patch was created on the PC/Mac version, and when I played the game afterwards, I could no longer choose my presentation.  In the end, the game did play a lot faster, but the textures were evidently worse.

The gameplay animation for this game, much like its previous chapters, is terrible.  It’s made even worse when you consider it’s 2017 when you look at it.  I can compare it to the animations in Frogware’s Sherlock Holmes PC game series, which were as stiff as the Tin Man in the middle of a good oiling – but I guess it has become a running trend – that while Sokal gets amazing artists, his renders, animators and possibly his choice in software, leave a lot to be desired.

The cutscene animation is better than the gameplay animation by a long shot – but when compared to its contemporaries, it’s pretty ordinary at best.

The gameplay has an inconsistent quality with a number of curveballs thrown in.  Several puzzles were very easy, others had me wandering around lost for 20 minutes.  But many-a-times you need to think outside the box.  Such as 1 particular puzzle that seemed to require a code, when in actuality, I just needed to smash it with something.  Little things like that which can go over your head.

The voice acting seems to vary in quality, depending on the character.  I played it in english, but when I watched the cutscenes again in French it sounded (and looked) so much better!  Much, much more endearing.  Makes me feel like I’m watching a Jean Pierre Jeunet film in places.  But since my ear to the quality of french voice acting is limited, I can only talk about the english version.  The voice for Kate Walker (Sharon Mann) is by far the best, while many other voices don’t seem to match the characters, especially Mr Steiner the Clockmaker (who sounds like a bank clerk than a grizzled artist) and Olga the evil doctor (who sounds 30 years younger than she looks).  They sound so much more in character in the french voiceover.

The characters are what you would expect from the series.  With the exception of Kate herself, many are there for a short time.  Full of character?  Yes.  But their time in-game doesn’t always last, as the story likes to progress rather quickly (depending on how good you are at this sort of game).  During their short stints, you basically know who they are in their appearance, the environment and their dialogue by the end of it.  Which, to be honest, can take great skill.  Enjoyable, and 1 of the better aspects of the game.

The Story’s actually very good when you’ve been following the rest of the series and manages to maintain a consistency.  It’s like the series has been able to continue without much time gone past.  It’s colourful, funny, and full of twists and turns to the point of finding its 1 problem after another as an amusing wink to the audience.

The music by Inon Zur is 1 of the best parts of the game.  A mixture of Tribal music, chanting, wooden instruments, brass and some strings, it manages to provide an oddly magical sound to the game that would have otherwise suffered without it.  You feel the adventure, the mystery, the danger (in a quirky, theatrical way), the struggle, the sadness, the longing, and the hope, which are just some things I love about it.    Even when the game’s over, I’ll be sticking this on for some ambience or pondering.  Really, really great stuff!

Would I recommend Syberia 3?  Maybe.  It depends.  As a whole, and within context of the times in which it came out, it’s safe to say that Syberia 3 is not as good as its previous chapters.  It struggles to make any impact on the modern market, the attempts to give back to fans have possibly been thrown back at them (with their broken statues in £100 premium editions) and at times it feels like the world has very much moved on without it.  It’s the little fishing boat chasing the large cruise liner containing the Triple-A developers.  As someone who creates things without “going through the system” – I actually feel for this game and its developers.  It’s created by people who tried, and wanted it to succeed.  They had hopes of it doing well and putting the franchise back on the map, and it ended up being disappointing, even when I was willing to accept all of the things that they would have been ashamed of themselves (which was usually in the animation department more than anything else).  Fair play to them, they managed to get the game out there after 13 years with some wonderful qualities to it.  But the whole thing feels bittersweet.  If they release Syberia 4, I’ll be ready for it.  Whether it’s an actual game or a Comic-book-continuation that’s similar to how Buffy, Angel and Firefly are still going in comic form, even when the show has finished or been cancelled.  Either way, as someone who enjoys Sokal’s work, may this story keep going somehow.

Art Style: *****

Graphics: **3/4

Gameplay Animation: *1/4

Cutscene animation: ***1/2

Gameplay: **3/4

Voice Acting: **1/2 (**** in French)

Characters: ****1/4

Story: ****

Music: *****

Overall: ***1/2

Ghost In The Shell (2017) Movie Review

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Dear goodness…the amount of crap this film got while it was in production was staggering, and the amount of crap it’s getting now that its been released to the public hasn’t actually subsided.  “They’re whitewashing a Japanese story by casting an American in a Japanese role”  “It’s a hollywood movie – so of course they’re going to mess it up, since it’s something we love and they want to destroy it for profit!”  “How dare you… in general!”  But is it really as bad as they say? – lets find out.  Keeping in mind, I’m a Ghost In The Shell fan who enjoys the movies, TV show and Manga.  So here goes:

Set in the near future (around 2029, since the manga is a product of the late 1980s), our story revolves around Major Mira Killian (Major Motoko Kusanagi in the other stories and played by Scarlett Johansson), who awakens after what seems like the aftermath of a horrible accident involving a refugee boat.  She finds herself lying on a table.  Her body is that of completely augmented cybernetics – a robot body that resembles a human being is nearly every way.  The only ‘old’ thing about her, is her brain, hence her ghost.  Shortly after this, she is flung into working for the anti-terrorist organisation known as Section 9, which includes Chief Daisuke Aramaki (played by Takeshi Kitano from that kooky Japanese game show Takeshi’s Castle), ex-ranger Batou (played by Pilou Asbæk, aka Euron Greyloy in Game Of Thrones), full-human detective Togusa (Chin Han), behind-the-scenes guy and tech specialist Ishikawa (Lasarus Ratuere) and the sniper Saito (Yutaka Izumihara).  When a hacker is using other augmented cybernetic beings to kill off key figures at a Hanka Business Conference, it’s up to Section 9 to find out who this hacker is, and to stop him.

Now to talk about various factors:

First of all, the main 1s that people complained about – the casting, acting and characters.  They complained about whitewashing the film…even though it’s a multinational cast.  You have a Jewish American, American, Japanese, Danish, French, Chinese-Singaporean, British varieties, Fiji-Australian, Romanian and Canadian, among others.  To suggest any racism involved is complete madness!  Consider the possibility of them trying to please the culturally sensitive…and Ladriya?  Ladriya is new!  She’s played by a Kurdish-Pole from London named Danusia Samal, and why is she there?  Because in the source material the Major stands out by being the only female in Section 9.  You want a strong independent woman?  The Major in the anime and manga could beat up the rest of Section 9 with the possible exception of Batou.  They added a 2nd female to the team to avoid accusations of male-dominated workplaces in movies.  It also needs to be considered that there are justifications to such choices throughout the flick.  One of which would be a spoiler.  Another is to recognise a very subtle possibility, which is immigration.  The prospect of Non-Japanese people living and working in Japan.  It’s already happening.  What if some politician decides to open the borders, UK and US style, in Japan in the future?  It’s unlikely.  But consider everything.  It is a seemingly unwritten future doomed to repeat itself after all…then you take the narrative of Ghost In The Shell to thought – The Ghost In The Shell universe saw World War 3 from 2000 to 2015, the second Vietnam war from 2015 to 2024 and the second Korean war which takes place in 2024…That can merit immigration to some.  Was the acting world-class?  No.  But it worked fine and nobody was bad, even though Kaori Momoi would probably have been more comfortable speaking Japanese rather than english…but then again she isn’t speaking to a Japanese character.  They did their jobs pretty well.  Nothing stood out as amazing acting, but nothing fell into Tommy Wiseau territory either.  The characters, when compared to their anime and manga roles, were mostly moved a bit out of the way to focus on the Major and occasionally Batou.  We forget that this mostly happened in the 1995 anime movie as well, but we love that movie and don’t question it, so we continue poking at the flaws of this 1.  Did they tell a different story that isn’t in the source and is different to the 1995 version?  Yes!  How Batou got his eyes is different (in fact, it’s given an origins to those who haven’t seen any other material) and how the Major came to being is different…It is its own film borrowing from excellent sources, like samples for every rap song you ever loved.

The CGI and graphics can be a little hit and miss.  Where it works well, it’s fantastic, and where it doesn’t work as well, it’s pretty obvious…believe it or not, the presentation of traffic is pretty bad.  But the presentation of the Major’s building blocks and action scenes were really good.

The art style and decisions borrow a great deal from Cyberpunk and particularly from the legendary film Bladerunner.  People can argue that it “doesn’t cover much new ground”, but I say it’s a welcome return to some charismatic and likeable settings.  I miss good looking cyberpunk, and I’m happy to see it return in some way.  You’ll notice a lot of interesting choices, from ’90s haircuts to smoking to heroin chics to Hologram advertising to dark passages and night clubs…it has character.

The music is done by Clint Mansell, the english composer who has done every Darren Aronofsky film (and is famous for his composition Lux Aeterna) – he provides an excellent soundtrack that is pure cyberpunk and very 80s (in a good way).  At the same time, he manages to take Kenji Kawai’s score from the 1995 Ghost In The Shell and both faithfully and respectfully reintroduce it to the public with remixed elements.  The music helped make this film feel like a classic cyberpunk film…something I’ve hoped to see in a while.

The Story is easier to digest than its anime original and the manga, and for good reason, 1. It’s Hollywood, and 2. The Manga is chaotic with a lot of fine print about technology and engineering.  You’ll find the movie scattered here and there throughout the pages of what is a very episodic read.  Is it bad?  No, in fact it’s quite a tight film in its own right if you treat it as an interpretation of the series rather than a piece of the puzzle.  “The film was humourless” some people have said – well, the 1995 film was mostly humourless as well.  The manga and the Stand Alone Complex TV series are where you’ll find most of the humour injected into the characters.  Then there are the other films – 1 thing that wasn’t covered in this film that was in the 1995 version was sexuality and gender identity, as the Major’s body is designed as a mechanical replication of a woman, rather than 1 that has everything from before, including being capable of reproduction (If this is the future of the human race or man’s forced attempt at evolution, this factor is to be considered).  Here it was all about Major’s identity and questioning her own humanity, and sometimes that’s fine.

The Cinematography was done by Jess Hall, whose work includes Edgar Wright’s Hot Fuzz…And he did phenomenal work!  He stated that he wanted to pay homage to the anime through both his choice of camera (wide-angle with no lens distortion) and his choice of perspective.  While it’s a loose interpretation of the 1995 film with many differences, he managed to faithfully remake in live action some of the ’95 film’s most famous scenes, including the Major’s development, the shallow water fight scene, the rooftop scene and the boat scene, to name a few.  The lighting was well chosen, as was the colour grading.

Would I recommend Ghost In The Shell, the 2017 whitewashed hollywood-bastardised monstrosity that deserves to die 1000 deaths film?  Yes.  Yes because I know you’re a much more intelligent person than you’re letting on.  Yes because the madness of crowds is exactly what it is – a big pile of temporary fluff that comes and goes like fog.  Useless.  Boring.  Dying.  It is up to us to decide if we like this or not by seeing it.  While it’s not as good as the Anime film, or even other Ghost In The Shell related outlets…I see it to be a good starting point into the series (some even consider this an old persons series now…like Power Rangers, Transformers and Chips), and after that starting point you’re free to call it the worst of the bunch.  But in my opinion, it didn’t deserve all of the crap it got or the low ratings.  It is what it is, an easy-to-digest sci-fi movie that chose not to be overly complicated.  It’s also porn for a visual artist, especially in its photography, music and design.  I loved looking at it, so even during some of the different story elements, my eyes got a feast.

Graphics: ***3/4 (***** in places and **1/2 in others)

Art: *****

Acting: ***

Characters: *** (**** in ’95 and ***** in Stand Alone Complex and other movies)

Music: ****1/2

Story: ***1/4

Cinematography: *****

Overall: ****