Wolfenstein Animation Central

I’m a well over half way through Wolfenstein: The New Order and I feel that if there’s one element of this game that stands out, beyond any other, it’s the damn animations. I first noticed it when sneaking down a corridor in the first level and a patrolling guard turned his head to look down the corridor as he passed. It didn’t make much of a difference functionally, the A.I. itself seems to be as near-sighted like most first person shooters, but it was that appearance of, well, humanness. In most games the interaction with the environment is that of a robot, pushing past things that it doesn’t think should be there and overall being quite stiff. I’ve been struggling to articulate how to phrase it, the only way that I can is that they act as though the ground is the only real thing and other objects are just solid untouchable barriers. Games have improved on this over time of course, wooden barriers now tend to get shot up, railings vaulted and glass smashed in an attempt to kill the player.

Animations feeling real does a great deal to improve the overall experience, you can have the prettiest skybox in the world but if your character gets stuck on or completely ignores geometry then it’s all buggered. The first game that really impressed me with this was Uncharted 3, a beautiful game but more importantly one where the playable character Nathan Drake reacts to being close to walls, he puts out his hands rather than bumping robotically against them, it’s not perfect and the A.I. in that still has remnants of finding solid objects mere barriers. Nevertheless it helps, it helps to have a world where you and everything else reacts it and that in turn the world reacts right back.

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Extract from Reflections on the Novel

Before broaching our third and final question (“What are the rules one must follow in order to succeed in perfecting the art of the novel?”), we must, it would seem to me, reply to the constant objection if certain melancholy minds who, to give themselves a gloss of morality wherefrom their hearts are often distant, persist in asking; “Of what use are novels?”

Of what use, indeed! hypocritical and perverse men, for you alone ask this ridiculous question: they are useful in portraying you as you are, proud creatures who wish to elude the painter’s brush, since you fear the results, for the novel is – if ’tis possible to express oneself thuswise – the representation of secular customs, and is therefore, for the philosopher who wishes to understand man, as essential as the knowledge of history. For the etching needle of history only depicts man when he reveals himself publicly, and then ’tis no longer he: ambition, pride cover his brow with a mask which portrays us naught but these these two passions, and not the man.

The novelist’s brush, on the contrary, portrays him from within… seizes him when he drops this mask, and the description, which is far more interesting, is at the same time more faithful. This, then, is the usefulness of novels, O you cold censors who dislike the novel: you are like that cripple who was wont to say: and why do artists bother to paint full-length portraits?

-Extract from Reflections on the Novel by the Marquis De Sade

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A Shattered Consciousness

I consume some films, ones that I feel require attention, often as I can in an altered state. I don’t do drugs, not illegal ones anyway, so my method is late, late nights and caffeine. The subsequent result is a feeling of disconnect with the world and that loosened mooring joins more readily to the flashing lights and quiet sounds on the television. The darkness outside helps too, no singing birds or rejuvenating sun. My mind on edge, I’ve been here before, eager to see the dawn one moment and determined to crawl into bed the next. These are the nights that I remember, these are the moments that cling on and won’t get go. To read a book as the sun rises and this frail world spins and that little thread that binds concerns disappears is, to put it simply, magical.

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A Place Beyond My Sanity

Place Beyond the Pines, starts with something like a magic trick, Ryan Gosling goes into the cage on a motorbike after a long uninterrupted shot, therefore Ryan Gosling must be in the cage doing those stunts. Perhaps, the function of the long shot seems plain regardless it serves as an entry point to the characters skill and Gosling’s on the bike.

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A Stream of Constant Noise

Time to try something different, the object of this blog is at least partially to discuss things that twitter would simplify in a way that distorts the conversation unhelpfully.

The Rules of Attraction, first thoughts; the way the suicide scene is shot juxtaposes it with the sexual climax previously. The denouement for both women is ultimately unsatisfying. Both acts are tied to James Van Den Beaks character (Peter is the fake name he gives, I don’t remember the real one) ah Bateman, it’s unclear the roommates motivations for sleeping with him at this point.

While the revelation of the constance presence of the girl is somewhat over wrought it fits with the frantic style that pops in and out of the film.

More possibly later.

My god Victor, that was an explosion of imagery and noise, I think he might end badly.

Oh god, no one knows anyone both literally and metaphorically. Ha!

I feel as though unsubtlness has been perfected in films over the last fourteen years, here it feels as though its trying a little too hard. But then again Starship Troopers managed satire of the most overt kind without it feeling forced. That’s not to say I didn’t enjoy my time with the film, but it didn’t capture me the same way that say, Spring Breakers did.

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Random Musings on Three Films with No Conclusion Asked or Given

‘Stoker’ is the third film I’ve watched this month to deal explicitly with male obsession in regards to women. The first and most overt was ‘Under the Skin’, that particular film intimately explores heterosexual male and female relations, giving particular focus to the role women have as sexual objects for men. It is at times, deeply uncomfortable and in so being forces the watcher to confront a darker reality than is usually witnessed in conversations in the light of day. It concerns itself with what happens in the darkness of a club or the predawn around suburban houses, the edges of existence. To a great extent the film conveys an atmosphere of uncertainty and fear in being alone and objectified.

The second is a film that I am a little confused by, the film is ‘MASH’, a film that is heavily critical of war as a practice, yet the characters who embody this viewpoint in one memorable scene, humiliate a woman, making her suffer for their amusement. My problem with it is that up until that point and even after, I watched a film with a perspective on war that found itself based on compassion. But in that scene the principal characters demonstrated such cruelty and callosness and had their actions rewarded and endorsed.

The third and final one that I mentioned earlier is ‘Stoker’, I won’t get too deep into the specifics of the film, as at least part of my joy in watching it involved unravelling the characters and their motivations. What I will discuss briefly is about the central figure of the film, India. She is throughout defined by her sex, and her sexual awakening coupled with the arrival of her Uncle leads to some disturbing violence. It’s also, out of the three, the one I have least of a handle on and I’m certainly going to try to find a decent article that gives a reading of this film.

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I just had a discussion with a mate of mine who adored ‘The LEGO Movie’, so much so that despite seeing it in the cinema he now also owns a copy on blu-ray. That talk made me work through my feelings on that particular movie, feelings of which I am going to to articulate/vent/spew here.

Firstly, I was intrigued by the film, I certainly didn’t loathe it, I even rewatched it, not only because I enjoyed my experience but also to figure out what precisely was nagging at me, why was it that when I watched the film there was this little nugget of conflictedness rearing itself in that squishy thinky part of me. The conclusion I came to, and a rather unpolished one at that, was that it felt like Toy Story with real, preexisting toys. This conclusion, while not incorrect, lacked a certain level of nuance. So the talk earlier with my ‘The LEGO MOVIE’ loving friend helped me flesh out those feelings and give a little more substance to my thought than I had previously.

Animated shows of the late eighties (which I wasn’t alive to see but regardless) and nineties (which I was) existed to sell shit, Transformers, Biker Mice from Mars, that one with the Sharks in a motorcycle gang, yet even when revisiting them I don’t get weirded out. Probably because I first watched them as a child, so at that time you’re not really thinking on any sort of ‘THESE SONS OF BITCHES ARE TRYING TO MANIPULATE ME!’ level. But also and I think importantly here, they exist on a level of abstraction, Transformers as far as I recall was never something I watched (it may not have been on British tv?) but in both the cartoons and Michael Bay’s films you aren’t watching the toys, what you are watching is either drawn or computer animated machines of alien origin. Whereas ‘THE LEGO MOVIE’ has the toys in a fashion that while slightly idealised (no chew-marks from difficult to separate pieces) are completely representative of the product you get out of the box. You could of course argue that like the Transformers, the lego characters move on their own, without a child’s hand to manipulate them. Except of course for the part of the film where a child does manipulate and play with the lego figures, and his developing relationship with his father, which then leads directly to a scene that epitomizes many toy commercials of my youth, that of the FATHER FIGURE PLAYING AND HAVING FUN WITH HIS SON! You actually root for this reconciliation during the film, you want that scene to happen and like a dog following a trail of treats, inevitably find yourself trapped in an upturned washing basket.

I know when I watch this film that I’m being manipulated and the film tells me; ‘HEY DUMB-ASS! HERE ARE A BUNCH OF LEGO PRODUCTS, DON’T THEY LOOK FUCKING COOL?’ The worst thing is that they do! The toys do look cool and fun, the film succeeds in persuading you that lego is a great thing to play with, especially as it allows you to FORM INTIMATE AND CLOSER BONDS WITH FATHER! And that’s what gets to me, it’s like a conman telling you he’s going to pick your pocket then you’re all surprised when you can’t find your wallet. You’re a little impressed but also annoyed, you’ve paid with whatever is in your wallet to be fooled and that, despite all the glamour and skill involved, rubs me the wrong way.

If you didn’t pay for this entertaining commercial, either through someone else buying it or literally ANY OTHER WAY that didn’t involve you giving money to film that tells you to BUY BUY BUY! Then you’ve won! For the rest of us, I feel compelled to re-purpose a quote from a classic;

But it was all right, everything was all right, the struggle was finished. He had won the victory over himself. He loved ‘THE LEGO MOVIE’®

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