Showing posts with label films. Show all posts
Showing posts with label films. Show all posts

Wednesday, January 11, 2012

Gunhed / Blazing Lazers


There was a manga called Gunhed. There was a live-action movie called Gunhed. There was a game for the PC-Engine called Gunhed (aka: Blazing Lazers in the USA for TG16). There was also a Gunhed game for the ZX Spectrum in the UK All were somehow connected. This is about the movie.



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Truth be told I have no idea of the real intricacies between all three. According to Wikipedia – which is a bastion for misinformation and outright lies – first came the manga by Kia Asamiya, which resulted in creation of the film, upon which the game was then based. I don’t believe this though, since apart from an identical title the game is an overrated vertical shmup with seemingly no similarities. Also, the film credits list Hudson, implying that the film either came after or was made concurrently with the game. If the film was indeed made after or alongside the same game, then it’s another early adaptation, perhaps akin to Cyber Ninja?

The film itself, meanwhile, is simultaneously the worst and most awesome film I have ever seen. It is celluloid kusoge in its most concentrated form. A cinematic trainwreck so epic in its failings you can’t help but rubberneck through its 94 minutes, stunned at how it managed to be made. People accuse me of complaining too much about things, so it may seem strange that I paid for trash and claim to enjoy it. I discovered Gunhed by accident on eBay, recognised the name, and bought it for £5. The key point is I went in without expectations and, watching it with friends, it provided endless material for mockery and jokes. What connection has it got to Gunhed/Blazing Lazers on the PCE/TG16? Probably nothing at all!

The plot is pure, incoherent bullshit. Maybe the manga made more sense, but I’ve never read it and, watching the film, the script appears to have been typed by an alcoholic Chihuahua, ambling back and forth over a typewriter. It’ll take several viewings to actually piece it together, such is the confusing nature of it, but to make things easy: There was a war against a giant AI called Kyron5, on an island, which controlled the world but then became evil and tried to kill humanity. Think Skynet from Terminator. Humanity wins.

Next it’s the future, 2030, and a new element called Texmexium (this should be your first clue as to the film’s quality) is discovered. Microchips are also really valuable. A bunch of thieves go to the island, 13 years after the war ended, to steal chips. All the thieves are killed off in the first 20 minutes, except the main guy and his woman, called Babe, and some geek with a bandana full of badges. Next they discover a woman from the Texas Airborn Rangers, she’s chasing a biodroid from a nuclear facility that killed people and stole some Texmexium. They team up with the Texas Ranger woman. Now it turns into Ridley Scott’s Alien meets Predator as the three run around what looks an underground carpark filled with scrap metal.

Short-sightedness is nothing to make fun of in the future. Throughout there are ridiculous props such as these.

“OK, which idiot in the props department replaced my knife with a sausage?”


Ahh, the token Asian babe, a staple of generic action movies. She soon dies.

Sunglasses dude. He doesn’t even get any lines, and is the first to die.

A fridge full of guns.

Like many films from the 1980s it features pointless shots of computer screens which look fancy but tell you nothing.

Product placement anyone? Try new Robo Cola Pepsi!

It’s just a flesh wound, I can still make it!

Token big bald dude with gun-chains draped across him. The film is full of pointless posing shots like this, where the actors try to look cool.

His name is Bancho. Hilariously, the entire film appears to have been dubbed from the original, which is weird given the mix of Japanese and western actors. The director and most staff appear to be Japanese in the credits, and maybe the entire thing was made in Japan, but why dub the Western actors too? Lip-syncing is out for most of them and the voices don’t really match up. The black dude appears to have been voiced by Cam Clarke for example (he did Kaneda in Akira, and Liquid Snake in MGS).

The lead guy carries around a cigarette box with carrot sticks which he keeps putting in his mouth, but never actually seems to eat. After this they’re attacked by something unknown in an elevator and both the black dude and bearded dude die. No shots since they were too dark to photo.

This spray is meant to emphasise it’s the future. The Texas Ranger has just been impaled on a metal spike, but a quick spray of yellow fixes it up.

It’s not just a ludicrous story and hammy acting, there are technically problems like this wide shot which loses the characters completely. Even if the film had been converted to VHS 4:3 from an original widescreen cinema reel, whoever was in charge should have re-entered the shot to avoid this. Sloppy, just sloppy.

Doesn’t it look just like Alien/Predator? Too bad it’s not as good. The geek with badges dies around this point. And then there were 3.

This bit is ridiculous. the group encounter an audio mine – which goes off based on sound. Why would anyone manufacture such a pointless security device? Surely a visual mine would make more sense - one that can see enemies. Not that it matters, the main guy recognises the device and realises it’s past its use-by-date and so doesn’t work. Except it does still work. Except he doesn’t die when it goes off.

Which guy hasn’t fantasised about his girlfriend jumping into a pool of green jello? The gang has a shoot out with the biodroid in a chamber with green goo. He dives in and swims away. Then this character, who seems to be called Babe, falls in. After this she is either transformed into a biodroid herself, by the green stuff, or she ends up linked with the biodroid that swam away. Because from this point every time we see the boidroid she appears in its visor and seems to partially control it. Is she in another dimension? If not, and she is the droid, whatever happened to the first droid? Are there two droids? Nothing in this film makes sense. After this it’s just the main guy and the Texas woman, Nim. Having shot the biodroid they also now have the Texmexium, which looks like a piece of graphite.

The best scene in the film is where the main guy rolls around in a pile of trash. Be-ba-pa-bada-boo, I said be-ba-pa-bada-boo! Jam to the beat, you jive turkey. After this the main guy and Nim find two children. Apparently survivors from the custodians who lived on the island before the robot war. They are aged 7 and 11, and are called #7 and #11. Turns out #11 is mute. But if the war ended 13 years ago, how can they be 7 and 11? After the war ended, and humans won, did the custodians stay on the island for a further two years, have kids, then later die so they had to grow up by themselves? Why weren’t they all evacuated? Why would the custodians stay on a ruined island? None of it makes sense.

More plot revelations. Turns out Kyron5 gave up the war 13 years ago because 20 years ago it psychically predicted that humanity would discover a new element, so it’s bided its time, and now there’s a countdown, and the biodroid which stole the Texmexium will re-activate Kyron5 and give it the Texmexium and it will TAKE OVER THE WORLD after using a special activation word which it doesn’t know. Yeah, I have no idea what’s going on either.

This is the biodroid, which looks like a kind of mechanical fly.

This is Babe, trapped in the machine, or in another dimension linked to the machine. Look, stop asking questions, I’m having enough trouble trying to coherently type this up without nitpickers demanding an adherence to some kind of narrative logic.

The only hope is for the main guy, along with #7, to rebuild a Gunhed robot left over from the war. Cue several lengthy sequences of them tinkering with garbage.


Meanwhile Nim the ranger and mute #11 start climbing the 300 floors of this tower on the island in order to reach the Kyron5 control room in order to... do something, something... Why they couldn’t hang with the main guy and help fix the robot I don’t know. Anyway, there is this awesome sequence where the droid uses a magical laser grappling hook device, which can bend around corners, to shoot all the way up the building and grab the Texmexium right out of Nim’s pocket. Seriously, that’s the plot twist right there. He uses magical lasers to take it without a fight. Doh!

Eventually Gunhed gets rebuilt and can talk to them and they go off to reach the Kyron5 control room several hundreds floors above the ground. The Gunhead unit is a tank though, and it’s never quite explained how it’s going to get up there. Turns out it can drive on walls – no, seriously, the thing just shoots a grappling hook and then rocket boosts up the side of a 300 story building. But before that it has to drive through a canal of oil. Presumably engine oil? This oil has been sitting there for at least 13 years, and the Gunhed unit leaks, so the main guy gets coated in it. So what does he do? He pops out his fingers and starts brushing his teeth with the oil. For the love of God man, that stuff must be filthy and probably fatally toxic, what the hell are you doing?! I’m not even making this crap up.

There’s a confusing bit where he needs some coolant so he gets out the tank and runs around this carpark for a bit.

It might not be clear from the photo, but there’s a weird bit where there’s a radio message, presumably from Nim, who says they’ve been coming across stashes of food and water (where did it come from?!), they’ve marked safe stuff with the number 7, and bad stuff with the number 11. Apart from the logical problem of why not just get rid of the bad stuff, why leave rotting food in a cupboard but mark it with the number 11, there’s the added of problem of when did they find time to do this? All the action appears to take place over the course of one day. Do they really need access to snacks that badly? This cupboard was marked 7, meaning it’s not rotten, but I’m at a loss to work out when Nim got there, where the supplies came from, or indeed why they felt the need to mark stuff. Couldn’t they dispose of bad stuff and just leave good stuff, and if they did, would they need to point out: this is food?

Nothing like backlit shots of a toy model.

Up until this point #7 seemed to be travelling with the main guy, but then suddenly he abandons the Gunhed to stay on this level and drop bombs down below to distact the Kyron5 defence systems. After which it cuts to a totally random scene of him watering this garden. There’s no context, he just decides to go off and abandon his post, where he’s supposed to be activating bombs, to water some lettuce. Turns out Nim and #11 are on this level and, hearing a noise he starts firing a machinegun into the dark.


The next scene switches back to the Gunhed and the main guy. They’re running out of time and now the Gunhed is out of fuel. Ahh well, we’re all dead, right? Not so! The Gunhed unit explains he can run on anything, even whiskey. And yes, you guessed it, those barrels are whiskey barrels. At this point I had to pause the tape to laugh loudly for a good 2-3 minutes. That’s right folks, the entire film hinges around: A GIANT ROBOTO THAT RUNS ON WHISKEY! How did all those barrels of whiskey end up on an island housing an AI that controlled the world and started a robot/human war 13 years ago? Did it belong to the island’s custodians and scientists? Were they all a bunch of alcoholics and that’s why the AI went mad? Did #7 and #11’ parents die from alcoholism? Who cares, there’s A GIANT ROBOTO THAT RUNS ON WHISKEY!

Next we switch to #11 who is her knees screaming, and Nim goes to hug her. It appears she was shot and now light is pouring out of her mouth. Is she a robot? Did the machinegun bullets create light in her stomach? Is #7 a robot too? WTF is going on here?! The next line is great as #7 says to his presumably dying sister, in a tone that can only imply major sociopathic tendencies: “Serves you right, you scared me.” After this #11 jumps up, shuts a gate locking Nim and #7 inside, and then climbs up to reach the green water room and place the Texmexium on a pedestal. I can’t remember how she ended up with it – I think they fought the biodroid at some point. Amazingly, once she reaches this section the wounds in #11 are totally healed and she’s back to normal. Was it nanomachines? Was she a droid? Were the bullets only set to stun? If you know the answer, please don’t bother telling me – I don’t care.

Then there’s a whole bunch of running around and badly lit action scenes with the Gunhed plus Nim shooting the biodroid. If you’re disappointed by the photos I’ve got, it’s because every action shot in the film was poorly lit and so close you couldn’t see anything. Obviously done to cut costs, since flashy edits of nothing happening can make it look like action.

This is exactly what it looks like.

During a showdown with the biodroid, Babe, who appears trapped in some kind of dimension of fuzzy TV static, pulls the pin out of a grenade on her belt and, back in the real world, the biodroid disappears in a flash of light. Nope, I have no ****ing idea what happened there either. The biodroid didn’t pull the pin, it was just her, in another world, somehow connected.

With all bad guys dead we finally get a kissing scene between Nim and the main guy. All two seconds of it.

“This means we’re going to have sex later, right?”

Does this mean you two are our new mommy and daddy?

The happy ending. I don’t know what young number 7 is seeing in this shot, but crikey the boy seems happy to be seeing it. My guess: is it boobs? Either that or the golden arches of McDonalds. It’s probably boobs.

And now for our ending bonus:
The Credits, which I uploaded to Youtube. The main theme sounds like something from Panzer Dragoon, with drums and eerie percussion, and then it suddenly switches to a J-Pop song. Come on everyone, sing along even if you don’t know the lyrics.


Saturday, April 30, 2011

Movie Review: GET LAMP



I didn't get off to a good start with text adventures, originally. Played a few bad ones back on the C64 and wasn't that impressed. The early Sierra graphic adventures weren't fit to convert me, either. No one can describe the frustrations the genre often implied better than Ron Gilbert did on his Maniac Mansion Postmortem talk at GDC 2011:

You'd see a bush on the screen. You wouldn't know what to call it, so you type "PICK UP PLANT", and it's "I don't know what a plant is", so you type "PICK UP BUSH" and it's "I don't know what a bush is", you'd say "PICK UP SHRUBBERY" and it's "I don't know what a shrubbery" is, so eventually you type "FUCK YOU", and it's, you know "Do you really need to swear?" and I'm like "Yes, yes, I really need to swear."


Oddly enough, it was also Sierra that won me back for Interactive Fiction many years later, with Leisure Suit Larry 7. While the game was a slick point & click graphical adventure as modern as could be in 1996, it had that neat little parser thing underneath, where all commands that could be executed with the mouse could be typed in instead. But that was only the beginning, as soon I found myself fascinated with the idea of trying out the strangest commands and searching for the naughty easter eggs. That got me to give text adventures a second chance. And as it turns out, the parser often isn't too awful after all, as soon as one gets a general idea how it works and which basic verbs it uses for the most part.

The genre was already about 20 years old then, though. Now it's more than 30. Its mainstream commercial days are long gone. Playing catch-up, with the games itself as with the genre history, has become a thoroughly daunting task as a result. Well, now (since last year's summer, to be exact) there's a documentary to watch to get the greater picture of an unique chapter in gaming history, when computer games aspired to be like books rather than movies, advertised under the only slightly pretentious name Interactive Fiction.


This documentary is the result of a monumental effort, shot and produced by Jason Scott over the course of more than three years, with over 70 interviews being conducted in the meantime. The title of the film? GET LAMP, named after an essential command at the very beginning of many early games, notably the first adventure game ever, simply named Adventure by Will Crowther & Don Woods.



I was curious how GET LAMP would handle the visual representation. After all, what can there be to show about games that consist of plain text only? First of course comes the DVD case, which tries its best to honor the Infocom tradition of unique packaging, with some gorgeous artwork and a numbered coin, which shows the lamp the director kept carrying around while shooting the film, and which shows up in the picture all the time, I suppose in case you feel like playing a drinking game (in which case the movie might actually kill you, I guess).

The film itself starts showing the exploration of a real cave and interviews with various cave explorers. There's no narration, but the documentary generally does an excellent job of telling its narrative through the skilled assembling of interviews. Only here in the beginning I was a little confused for a while until I got that this was actually dealing of the very cave that was used as a model for the cave in Adventure, Colossal Cave.



The rest of the film is much more heavy on the interviews, but contemporary TV footage and newspaper clippings (the latter usually shown too briefly) help to set you back into ancient times of electronic entertainment, while the film goes on to follow the history of Adventure International and Infocom, the two major text adventure companies.



Most adventure game designers are quite funny guys, and thus there's plenty of amusing anecdotes, like business conversations you could only ever have at Infocom, like the one Bob Bates remembers: "The elf is drunk, but I gave him the magic wand..." But it's not only entertaining, but most of all highly educational. Or did you know that the first dissertation on game aesthetics was written in 1985, by a graduate in German literature of all people (her name's Mary Ann Buckle)?



The second half deals with the playing experience (drawing maps!) and the indie IF scene that's thriving nowadays, producing odd name sublines like "interactive fiction author" or "long-time game player," often with no clue what the particular interview partner actually did, so this part is initially much less impressive than the portions full of genre legends sharing their wisdom.

Very interesting to me, however, was a chapter on blind people playing text adventure games. One quote sounded particularly inspiring: "I think it's actually liberating, because you can explore a world with sight." A screen message like "It's pitch black. You don't see a thing," is bound to carry a certain irony in this setting.



Not all is great, though. A serious issue to me was the way the DVD is put together. There's an "interactive" version and a "non-interactive" version of the main documentary, eventually the interactive one presents three choices, asking which content you want to watch next, but there's no real information on whether the other parts would follow afterwards, or if you'd have to go back to the beginning first, or whether the non-interactive version contained all content from the interactive one. Also, because of the whole interactivity thing, the film is broken down into different titles, so DVD players only display the running time of the current title, which makes it a bitch to refer to or find certain sections. Then there's the menu points "EXPLORE BEDQUILT" (which deals with the cave) and "EXAMINE INFOCOM". I clicked on the latter, and it started with familiar scenes from the main documentary, leaving me wondering whether this was merely a recut of Infocom-relevant bits and I was wasting my time. Turns out most of it was new, but I almost skipped the whole thing. I get that they were going for an "adventure"-like composition, but with a documentary, it's just incredibly confusing. Even after clicking on all the main menu points, and also watching the extensive bonus footage on the second disc, I'm still not sure if I've seen everything. The Infocom feature also has a lot of commentary, but it is all in plain text, displayed while the interviewees are talking, which makes it hard to follow, at least for bad multitaskers.



I was also a little bit disappointed that it didn't go into the transition to point&click adventures at Sierra and Lucas Arts. Infocom's and Legend's attempts to add graphics to classic text adventures are mentioned, but that's it. It's easy (and totally legitimate) to just say that was out of the scope of the project, but I personally would have welcomed such a chapter. Also, the second disc contains the music video "It Is Pitch Dark" by MC Frontalot, but no interview with the man, another missed opportunity in my book.

Despite its few flaws, GET LAMP is a must-watch for anyone interested into the history of adventure gaming or even the history of video gaming in general for its myriads of interesting anecdotes. The DVD is rather pricey, but I figure you mostly pay for the packaging.

Information and ordering is available at www.getlamp.com




Sunday, March 20, 2011

Parasite Eve & Tango and Cash?

We're not had an update in a couple of days, so just before we do the HG101 update entry (I've seen some nice articles planned), let me squeeze this bit of ridiculous nonsense in. Parasite Eve was recently released on PSN, which I've been enjoying the hell out of (despite not being able to skip cut-scenes). I first played the Japanese import back in the day when a guy brought his chipped PS1 to school and we spent several lunchtimes at school going through it - this was my first my time playing it in English, and while it somehow seems drastically different from those halcyon high-school days, I did notice something: the whole time while playing, the Missing Perspective theme in PE sounded very similar to the main theme from Tango and Cash. Just a few of the opening chords, maybe if you sped PE up bit... Anyone else agree? No...? Hmm, might just be me then.




Wednesday, February 23, 2011

Yakuza film review PART 2

With the nearing release of Yakuza 4 in the West I’ve been hurrying to complete Yakuza 3 (despite the deplorable removal of my beautiful mahjong), and so I thought it time to rewatch the two live-action Yakuza films that were produced. Today: the Follow Up.
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Sometime in 2007 I became aware of this feature-length film based on the first Yakuza game. I wanted to buy it, but all the DVDs I saw didn’t have any English subtitles. It had been pirated though and put online, complete with fan-made English subtitles. So after several days of downloading I put the two together and burned myself a custom DVD – as a neat bonus I included the prequel film on the disc.

Unfortunately the subtitles had been made by someone who clearly hadn’t been listening to what characters were saying – the most outlandish example being in a store, when Kazuma is asked a question by the owner. The subtitles say: “Your store sucks.” When in actual fact he said: “Dog food.” Not in Japanese, he actually used the words dog and food in English, which only proved how pathetic the fansub was. I declared the film to be crap and stopped watching at around the halfway mark because it didn’t make any sense. While individual sentences were logical in isolation, there was no context to any of them – characters whose dialogue was setting up later scenes were reduced to spouting nonsense with no relevance to anything else. It was surreal and unpleasant, since the film is quite complicated anyway.

Last week though I saw that it had undergone official subtitling and had been available in the US for some time, unrated and cheaply published. It cost $20 to be shipped to Europe and in preparation for Yakuza 4, I was keen to see what it was actually like.

If there was a film-applicable term for kusoge (awfully good?) then Yakuza: Like a Dragon would carry it proudly. It’s 110 minutes of visually splendorous violence and lunacy, only barely coherent and so overdone that the original storyline from the game (which it’s based on) only just manages to be heard. It’s an example of excess and, while it fails as a film for the uninitiated, as a game-to-film adaptation for those who know the source material it’s a strange kind of awesome.

The basic premise of: Kazuma gets out of jail, looks after small girl, fights one-eyed freak Majima, finds girl’s mom who dies, and then kills his best friend Nishki, is still there, but it weaves in several other storylines which ultimately steal the audience’s attention. Throughout the film we also view the following.

A pair of incompetent bank robbers in colourful knitted ski-masks on the hottest day of the year attempt to rob a bank which has no money and then their air-conditioning breaks down. A pair of delinquent teens go on a robbing spree, first with a knife and later with a gun. A Korean mafia assassin visits town to kill an important politician. Majima is bored and is determined to fuck shit up for everyone. All of the above is interwoven with great complexity and is so focused on, that by the time Kazuma finds Haruka’s mom, who turns out to be Yumi, and then fights Nishki in Millennium Tower, you’re wondering who the hell these new characters are and why they’re even here.

Kazuma’s character is never fleshed out, apart from two sections of dialogue where Detective Date asks when he got our of prison (it’s never explained why he was in), and later on, when it’s mentioned that Kazuma, Nishki and Yumi were all at the same orphanage. Or course Yumi and Nishki’s screen time is about five minutes combined at the end, making the exposition pointless. In fact Kazuma’s role in the story is almost redundant, and if anything is more like a Maguffin for Majima’s rampage through Tokyo looking for him. And here’s the thing, Kazuma is meant to be the lead in the Yakuza film, but all the supporting characters prove more interesting than him – from the silent assassin who makes great cocktails to the hardcore masochist who sells guns – they’re all more interesting and better developed.

The crowning character, and main allure of the film, is Majima Goro. He was insane in the games to begin with, but here he’s elevated to what must be one of the most outlandish, flamboyant, deranged villains in film history. Despite his brutality and irredeemable personality, you can’t help but like him by virtue of how alive he appears (and how difficult he is to kill). Majima gets all the cool lines, while Kazuma is simply shunted from scene to scene, overshadowed by everything else. He’s also far too young looking to be playing someone who spent 10 years in prison.

The other major draw for the film is the well-choreographed fight sequences backed by some pretty awesome heavy metal music. If Yakuza the Prologue was tasteful, subtle and subdued, then Like a Dragon is the absolute opposite. Violence is frequent, gratuitous, and so over-the-top it takes on a fantasy element. When Kazuma isn’t bursting into blue flame you’ll see character’s heads used as baseball-bat sponges, a dozen shotguns destroying a bar replete with wine bottles, and bizarre CG sequences which need to be seen to be believed. It’s a cartoon become live, which is perhaps why it’s such a good game-to-film adaptation despite being a terrible film. Games are not even remotely like films, contrary to what a million shrill voices try to bleat, which is why adaptations often suck. Games are fantastical creations traditionally not bound by any kind of rules or logic, even if they appear to have a realistic setting. A film trying to replicate a game should therefore be void of traditional film-making logic.

I suppose a final highlight is that Nagoshi-san himself, the creator of Ryu ga Gotoku, makes a cameo as Jingu the politician flying around in helicopter – and ends up shot in the had (pictured). He doesn’t say anything and ends up being killed. Twice. Which isn’t really a spoiler – you’ll know why afterwards.

In a way, Like a Dragon is very similar to Miike’s other film, Ichi the Killer, containing flamboyantly dressed yakuza members, acts of extreme cruelty, masochists, depravity, surrealism and plenty of colour on screen. I can’t say I particularly enjoyed Ichi the Killer, but as a standalone film it was more coherent and functional than Like a Dragon – which I actually enjoyed more by virtue of its association with one of my favourite game series. Confusing and akin to reliving a fever dream, Like a Dragon will prove impenetrable for anyone unaware of the Yakuza games. But if you can find it cheap, and like the Yakuza games, it has a strange allure to it.

Our rating: 3 stars out of 4 (but only if you’re aware of the source material)
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