C’est la Divertissement Vie. (That’s the Entertainment Life.)

Games:

I may seriously never purchase another game from Konami again.

mgsvYes, I’m late to the party. But their last great game, Metal Gear Solid V, was never given the chance to be completed. The game was delivered in an episodic fashion that spanned 50 missions. 51 was supposed to effectively be the game’s final boss battle. Cut material from the collector’s edition showed a half complete last episode, which would have been an excellent note to satisfy one last dangling plot thread and go out with a bang.

It was never released. And according to Konami’s spokesmen, never will be.

This information was never quite clear to me given the layouts of story-focused wikis, or the strategy guides and commentary boards that avoided discussing the plot for fear of spoilers: I only just learned of the mission conclusion after completing 89% of the game. But imagine, if you will, the Harry Potter series sans the final battle with Voldemort and the epilogue. Or Star Wars: Return of the Jedi without the Battle of Endor.

Others have covered the likely cause of this sad state of affairs better than I have, but the likely culprit was the Konami/Kojima split. I’ve played several Kojima games in my life and I know that he would never willingly leave a story incomplete. Of those titles were Zone of the Enders and its sequel, as well as Metal Gear Solid, Sons of Liberty and Snake Eater. While he always had more stories to tell, leaving the current arc incomplete was simply never his style.

Of the game itself, I could see how it was almost a masterpiece. Almost. The game play constantly brings me back again and again for its completeness, it’s total immersive elements. The depth of strategies is profound in and of itself, where no item or weapon ever seems to have just one purpose. Every game play session, I learn something new about how to combat my foes; some trick, a tactic or vantage point I never considered before. Even without the cut ending the story was somewhat weak, but this was countered with dozens of great moments that constantly made me forget vulnerabilities in the overall tale. Mission 51 would probably make me condone this, but I will never know for certain.

That being said, I refuse to give up after coming this far. I’ll see this through to the end but that is all, despite my disappointments and reservations.

Movies:

The Professional: Golgo 13golgo13 feels like something that could and should have been better.

Golgo 13, sometimes known as Duke Togo, is Japan’s answer to James Bond: an ageless, ongoing assassin whose stories often have to entertain without ever developing the man himself. Instead, the creators rely heavily on crafting sensational plot twists, over-the-top sex scenes, backstories for his victims, visually insane villains or researching mind-boggling but physically possible acts of sniping such as ricocheting a bullet off an ocean wave. Anything to avoid piercing the titular character’s stoic demeanor and mysterious allure.

In this film, Mr. Togo is contracted to end the life of Robert Dawson. However, it happens at a sensitive time during a company coronation, when Robert is dubbed the new CEO of a massive, massive enterprise. Although Togo succeeds, the contract’s legacy turns sour as the would-be CEO’s father (the current CEO Dawson) seeks revenge for the death of his son.

The beginning feels almost distracted by another contract that Golgo accepts, which concludes with him being chased by the FBI, CIA and Pentagon. All these agencies under the employ of Dawson himself, who wields his company’s power in a way that the Sherman Antitrust Act was exactly designed to prevent. Despite the threat, Togo seems oblivious to the danger and completes another contract. Only then does he realize how unrelenting the government’s hitmen are, as Golgo’s informants are either killed or turn on him.

The visual style of The Professional was somewhat distracting. While the action scenes were straight forward, coherent and well handled, Director Osamu Dezaki seemed determined to punch up even basic dialogue with flair unnecessarily. The movie also used some CGI animations to handle some helicopter assault scenes, but the technology was simply too immature at the time to effectively tell a story. Likewise, the story concocted several Bond-level villains for Golgo to fight as well, the story actually suffers from the introduction of too many antagonists to effectively develop in its 90 minute running time. However, the final plot twist at the end was somewhat satisfying (highlight to see spoiler): It turns out that Robert Dawson ordered the hit on himself, an act of suicide because of his fear of being unable to live up to his father’s expectations.

Television:

I gave up on Orphan BlackAmazon’s sci-fi series about clones.

“Where’s this madness going?” I asked myself after the ninth episode of season two. The plot consisted of most of the characters milling about in circles. Once again, the protagonist’s daughter had been kidnapped, after a long season of hiding about the countryside to no real effect. Meanwhile, antagonist Helena was stolen by some strange religion-meets-genetics commune who took her eggs. After she escaped and then willfully came back, she threatened a harsh nanny for mistreating the children under her care, not long before Helena sets the compound on flame regardless of the lives of the kids inside.

Characters portrayed by anyone besides Tatiana Maslany became less interesting, and except for concerns regarding a genetic disease amongst the show’s many clones, the entire season felt like little more than “filler.” ggrThe show felt like it willfully resisted growth despite a strong first season. Only Maslany’s skillful acting kept me going this far, as she slips in and out of versions of herself in a believable manner.

On the plus side however was Good Girls Revolt, an amusing and unexpected show actually made me realize how bloody boring Mad Men sometimes was.

I can see how Good Girls Revolt was probably stiff-armed by Amazon for years until the latter show came to an end. Mad Men was/is the Oscar of television, but sometimes didn’t feel like it wore enough of the sixties (at least the pieces we wanted to remember) on its sleeve. GGR certainly does, but the other huge difference is that the series focuses around one major climax that the main characters built towards through behind-the-scenes politicking and subterfuge.

The girls seemed to truly wrestle with their guilt; a sharp contrast to the occasional acts of Mad Men’s cruel, tragic and unapologetic attitude.

The bad news however is that the show isn’t going to get a second season, at least not on Amazon. One aspect downplayed is that GGR is built on real events, namely Newsweek’s EEOC lawsuit in 1969. Although the name was changed to the fictional “News of the Week,” the historic aspects are still very highlighted. It’s safe to doubt that Newsweek enjoyed someone dredging up a nearly 50 year-old legal filing that put them in a bad light. And I could see why Amazon might not want to start a mudslinging contest with the news outlet in all in the name of entertainment.

Silent Hill: Homecoming

I like Alex, but his under development doesn't quite put him on the same level as James Sunderland.

I like Alex Shepherd, but he feels under development compared to James Sunderland.

There’s always a sense of nostalgia when a long time Silent Hill fan goes back for a visit. There’s a few monsters who are just, classic. The creepy atmosphere. The same sense of foreboding and the story concept often have to do with the subject of sins left without atonement.

Let’s start with the story and characters. A major difference between this Silent Hill and others is that the likeable main character, Alex Shepherd, knows almost everyone in his home town. This sets the plot apart in that Alex has existing biases (both favorable and not) for the people of his hometown. I feel this better drives the story than a handful of strangers. Yet at the same time, the story itself wasn’t exactly well executed. I had to deduct points for the poor voice acting with memorably bad lines like, “Where’s… my… brother?!”

Although the developers did a great job of maintaining the mystery element, the ending was not quite what I expected.

One can draw a lot of parallels between Silent Hill 2 and Homecoming. At its heart is the denial of one’s sins and atonement. However, it is hard to top the overall experience and discovery of the earlier game. Homecoming‘s ending surprised me, just as SH2‘s did. But it does not give you time to really reflect on the surprise. I like, if not love, twist endings. But the main character needs a bit of time to really reflect on the surprise. That was something I got with SH2 but not with SH:H.

Another point of contention that many fans feel is how Pyramid Head was resurrected strictly to draw upon SH2 appeal. Rather than as a masculine avatar of self punishment that he was for James Sunderland, Pyramid Head was used as the Boogeyman for Shepherd. A scary entity of revenge.

Although the third possible ending made some sense of Pyramid Heads return, Konami blew two great opportunities here. First, they had a great opportunity to develop a monster that is parallel to the original Pyramid Head, but different and just as memorable. Considering how awesome the bosses were in this game, they have no excuses.

Scenes like this make Sunderland difficult to forget.

Scenes like this make Sunderland difficult to forget, and hard to compare too.

Second, they never successfully developed just what the Boogeyman was, a conjuration of childhood fears manifest from one’s lack of parental protection. Instead, they plugged Pyramid Head into a role that didn’t quite fit.

Again and again, the developers wrestle with the combat system. I admit they have to strike a difficult balance between keeping the main character as combat green as possible, while allowing the player to succeed against rough odds.

One considerable difference is that Alex Shepherd is a soldier, and it shows in the game. He can switch weapons on the fly, which is great because the various monsters are weak to various weapons. He can evade and duck, and recover from being knocked down. Getting your timing down for dodging is very tricky.

The music is good as ever, as are the sound effects and the atmosphere. I got a little frustrated by the shadow effect that creates pixel-shadows on the characters during cut scenes.

I think what frustrates me the most about the Silent Hill series, and SH:H, is that the game developers don’t want to get off the path they’ve worn. Sure, there was Silent Hill 4: The Room, but the game play wasn’t terribly different.

Personally? If I were to develop another Silent Hill game, I’d focus a lot more on sneaking around. Sure, you can cut out the light, kill the radio, but there are areas where combat is unavoidable. I want to move with stealth across the map. Even with bosses, I’d try to avoid being spotted and steal or undo something important that kills them. Combat would be a last resort. Shake it up already.

Silent Hill: Homecoming was satisfying enough, but will not enter my hall of favorite games.