“Games ceased being $60 products ages ago; they’re now hundreds-of-dollars investments across a multitude of ever-thinning digitally downloaded expansions and merchandise. Loyalty is measured in dollars spent and games owned. How many games have you pre-ordered this week? How much did you spend on the last Steam sale? You have all the expansions for Destiny, right?
And now Sony is asking fans to front the costs for a major (albeit niche) game that will almost certainly wind up being a PS4 exclusive. Suzuki’s project has broken Kickstarter records on the backs of people willing to pay money for a product that doesn’t yet exist, because a company knew how to market emotions. The barrier between consumer and corporations is dwindling. Maybe there isn’t one at all anymore. This is not capitalism—it’s a twisted and disfigured form of commerce, and it worked, and it will work again, when the next company tries it.”
Read my full editorial concerning Shenmue III on Playboy
“The park is open. Blaring the magnificence of composer John Williams’ Jurassic Park theme, the sights begin dropping in droves. There’s Jimmy Buffet’s Margaritaville in the corner. A licensed gift shop to the left. Corporately named restaurants following up the street. Coupled with the identifiable theme, Jurassic World seems to be celebrating itself. How odd.
That is corporate culture though. Bloated, self-indulgent. “Look what we made with our money.” Jurassic Park is like that. Here’s a CG dinosaur eating someone. We made that. Here’s another. Made that one too. Cost a ton, spared no expense. It’s a rally of reptile feasting and human bloodshed. In short, two full hours of extinct, digitally formed creatures munching on an island of tourists, including those who wish to save their $20 booze while being dive bombed by Pteranodons.”
Read my full review of Jurassic World on DoBlu
“Characters are jokingly separated: men are heavy and exist to build or shoot things, women are agile leapers and enjoy jumping in piles of dino droppings. Someone appears to be referencing Jurassic Park’s “sexism in survival situations” line. Women will do anything to stay alive, even if it involves swimming in Lego poo. Dinosaurs eat man, woman inherits the Earth. Laura Dern was right.”
Read my full review of Lego Jurassic World at GameSkinny
“The monsters are but a catalyst in an irregular science fiction story. There’s the point: Everyone is so pre-occupied with killing one another – the Arabic populace fighting for the death toll caused by the bombings; the Americans for the retaliation – no one appears to see the wonder or the sorrow. The monsters emote. Directly, the beings only appear instinctively curious. Never once do they kill. They die because they’re in the way of stopping terrorism, which in turn only exists due to their death. The real world cycle as visually portrayed is tragic.”
Read my full review of Monsters: Dark Continent on DoBlu
“Tracing steps through a Particle Zoo disaster, the many caretakers of this literal zoo of Bosons, Leptons, and others, seem oblivious to the mess before them. Such a game is willing to process how perplexed many are regarding their own sub-atomic reality. Guards to various exhibits read a newspaper as alarms blare. Others work only as hard as their minimum wage security job tells them to. It’s an adorable poke at scientific naivety – religions need not apply. Exclamations of, “Holy Higgs!” firmly place Schrodinger’s Cat on the side of human wisdom as opposed to higher powers.”
Read my full review of Shrodinger’s Cat on GameZone
“Yes, Splatoon is at odds with all consumers know, nay expect. That’s very Nintendo. They remain a studio either blissfully unaware of their unorthodox market tactics or completely at ease knowing they have built (and sustained) a voracious, defensive fan base. Splatoon’s pop-up, user-made messages in Inkopolis are bizarrely safeguarding of their chosen corporate monolith. “Our game is better than this one” and “Nintendo is awesome” are their sole projections to the outside world, their whole exterior identity. This community is safe but not personable unless you made them a video game. And you work for Nintendo.”
Read my full review of Splatoon on GameSkinny
“While pasty, cult-ish people are being flipped through windshields and their midsections are stomped by monster trucks, Charlize Theron’s Imperator Furiosa cuts a wide patch of feminism through the brutish heart of this traditional guy flick made of oil, smoke, engines, and heavy metal. This is an unorthodox blockbuster, a generation’s Aliens or Terminator flexing all-female muscles, as good, nay great, as those too. Mad Max (gruff spoken Tom Hardy) – quite literally – hangs on as the ride begins and continues to do so throughout.
Importantly, this is not a “female Mad Max.” Separation is necessary to distinguish Fury Road from tiresome, pandering Barbie doll cinema. A female Hangover, a female Ghostbusters; movies are being made like toy aisles. It’s insulting. Hollywood clothes women in pink. They must wear dresses and kiss in the rain. Furiosa soaks in Castrol and drives a big rig named War Machine. She can play with any toy from any aisle, so where is her action figure?”
Read my full review of Mad Max: Fury Road at DoBlu