Left 4 Dead

These past several Mondays, my regular game of Halo 3 has rapidly and with a feeling of potential permanency changed to a new game. Left 4 Dead is close to unique in my experience in that it has almost no single-player component, no particular plot beyond the thumbnail sketch of world destroyed by zombiepocalypse with which we are all so familiar, no character growth to speak of. It is a pure game experience, divorced entirely from any other considerations. I mention this primarily to explain why you’re getting this review instead of a variety of other games I have played for considerably more hours but not yet completed. Halo 3, for example!

The inevitable big question, therefore, is how does the gameplay work out? I haven’t played by myself, but I’ve played a few other ways: two-player split-screen, two-player online, four-player online, and up to four-versus-four player as well, in all four game maps. So I’ve pretty much hit the whole thing by now. In case you don’t know what a zombiepocalypse is… you know what, nevermind. I think you’re just not allowed to read this anymore. Because, come on! Anyhow, there are these four single-dimensional survivor characters about whom you can tell basically everything just by looking at them, and they are surrounded on all sides both by hordes of zombies and by specialized über-zombies that grow to incredible strength, have entangling frog-tongues, pouncing cat leaps, or blinding toxic sludge. And the goal is to either cross the dead, destroyed city (or whatever) to unexpected safety, or, on the other side of the aisle, to devour all flesh.

Hey, look! I haven’t really said how the gameplay works out! It is frenetic, fast-paced terror as the survivors. Everywhere you turn, there could be a zombie with nothing to lose, whose only goal is to hurt you a little bit more, in the knowledge that you’ll be dead eventually. You’ve got limited weapons and ammo, limited ability to heal yourself, and essentially unlimited enemies. And as the zombies, it’s a strategic game of cat and mouse, in which you have nigh unlimited ability to find the survivors, and if you’re doing it right, herd them into cooperative traps with your über-zombie cohorts. You always come back, the only penalty for death being a period when you can’t keep attacking. On the downside, you’re pretty easy to kill and it’s hard to attack people who can shoot you from across the parking lot, well outside your range.

I guess it’s like this. Remember when Roddenberry introduced the holodeck in Star Trek, and any time the writers got tired of aliens, they’d have the opportunity to do a historical simulation of some kind, inevitably from the ever-popular twentieth century? The way I see the game is like this: thanks in part to the brilliantly conceived XBox Live network’s capability for connecting you with friends and letting you easily communicate with them however you want to, but mostly due to the beauty of the game itself, I see Left 4 Dead as pretty much the last necessary link for zombiepocalypse experience other than the invention of the holodeck.[1] It might actually be the perfect video game experience.

[1] Which really won’t ever happen, since the event itself will hit long before our technology is ready for a holodeck version.

Perkins’ 14

The last Horrorfest review has been delayed, by virtue of the fact that I am a lazy bastard and finally didn’t have a big stack of behind staring at me. A little behind, that’s okay! Um. To be clear, I am referring to my having a backlog of reviews to write, not to Baby and the positive and negative aspects of her back-capacity. Of course, now I’m all distracted by the Jonathon Coulton music in my head.

So, anyway, I saw the last movie, right? Right. Perkins’ 14 has barely a shell of a plot, if you look at it very closely. There’s this guy who kidnapped a bunch of kids ten years ago, for, you know, some reason (which may or may not have been made clear), and now they’re all back to destroy the town they were stolen from, which they do mostly by running around, grabbing people, and eating them. But I’m pretty sure they weren’t zombies. The inexplicably dark and/or flickering sets make it difficult to be sure, of course. And there’s a cop with a dark history related to it all who’s trying to atone for a crime nobody but he believes he committed. A metaphorical crime, you understand. At least, now that I’ve told you. Because, honestly, that would’ve been unclear, right?

But it’s the mood and the philosophical underpinnings that make it work. I read the Thomas Covenant books sometime during early high school at the latest, I think, and almost nothing has stuck with me, except that one book in the second trilogy was too depressing to read, white gold is cooler than yellow gold, and of course the infamous and somewhat inexplicable rape scene right at the start. But what did stick with me was a line from early in… well, one of the books, probably the start of the second trilogy. It explained that there’s only one thing you can do to hurt the man who has already lost everything. You give him something back, but broken. So, one of the things I liked about the movie was that it was entirely based on that premise. It may have actually not had anything but that, so if you don’t find that this resonates with you, the rest of the movie probably won’t work.

Also, though, it kept reminding me of playing Resident Evil 2, and that’s always cool. ‘Cause, you know, chased into and through a weirdly laid out and defectively lighted police station, by things that want to bite you and kill you. So.

Du saram-yida

I could look really cool right now, if I had mentioned in a review what I thought at one point over the course of the weekend, that it was odd how in the past 16 Horrorfest movies last year and this year, there have been no more Japanese horror entries since Reincarnation the first year. Then, to my surprise, Voices was populated with Asian people speaking in subtitles! They turned out to be from South Korea, though. And more importantly, it turns out that Korean horror has no particular relation to Japanese horror, which is probably pretty reasonable of an outcome, when you think about it. But during the first moments, I felt unrecognizedly prophetic.

So the deal is, members of a certain family believe they are under a curse, because they keep killing each other for no particular reason. The deaths are scarier than what I’m used to seeing because they’re very matter-of-fact. No dramatic build-up, no terrorized flights through darkened woods, because the people killing you are people you have no reason to distrust, people who have no motive, no beef against you. They just suddenly strike. So, anyway, this is happening, and it’s confusing and motiveless, and maybe there’s a curse, but maybe not, and maybe there’s a surprisingly Western-feeling trickster spirit involved, which I mention not to accidentally spoil things so much as because I’m interested in either the connection between the trickster characters I know about and Korean ones, or else in the parallel but unrelated development of the archetype in vastly divergent cultures. (In particular, I note that Chinese trickster characters I’m aware of are usually beneficial or somewhat heroic, as opposed to the Western ones and apparently Korean ones.)

Interesting movie, in any event, but more for the underpinnings than as a scary movie in its own right. As a scary movie, it was basically fine, in keepng with the expectations I have for Asian horror movies. They are either brilliant, or else acceptable. I suppose I may never see bad ones because of the exportation filter, but for now, my knowledge indicates they are much better craftsmen than we are. Good for y’all, Asia!

Slaughter (2009)

I know what I just said about Autopsy being my favorite. As a pure horror movie, yeah, it was. But I think Slaughter was the best movie I’ve seen so far this weekend. And I’m pretty sure it’s too complexly layered for me to explain why. Although the fact of it is a pretty good indicator, I guess? Without going into the spoiler-laden detail, it tells the story of a troubled girl trying to escape from her abusive past who befriends a younger and possibly more troubled girl who seems to be following the classic Dr. Drew scenario of looking to older men for the approval that her father never gave her. Which would be more Lifetime than Wolf Creek[1], except for the fact that her father seems to be paying rather more attention now! I mean, there’s no proof that he’s killing the men she brings home and feeding them to his pigs. But… well, let’s be honest, I saw this movie at Horrorfest. It’s a good bet he is, all other data being equal. I think that might be what was happening even if there weren’t any pigs, or in fact an isolated, picturesque and yet creepy farm to feed them on. That’s just the way we roll, y’know?

[1] A) I really can’t stop referencing that movie. I guess it made quite an impact! B) The description I read reminded me of Wolf Creek more than the actual experience of Slaughter did, but there’s still some good parallels to be drawn.

Autopsy

1 Reply

From the frenetic photo-documentary beginning, Autopsy was a movie that knew exactly what it wanted to accomplish, and knew how to do it, too. No screwing around with a long introduction to characters that we all know are mostly going to die soon, or a backstory about how they ended up in a drunken car crash on an abandoned highway. Just some odds and ends of credits, and then bam, plot! Which was about a creepy abandoned hospital in which this one dude is performing experiments to keep his wife alive in some ill-defined and ultimately irrelevant-to-the-story way.

What is relevant is that teens are being separated from each other, experimented on, covered in gore, and otherwise abused for being in the wrong place at the wrong time and thusly falling in with psychopathic medical criminals. And I guess partying at Mardi Gras and consuming alcohol is enough low morality to justify a horoor movie fate. But I could wish for some gratuitous nudity to seal the deal. All that said, I think this was my favorite movie of the Fest so far, because it made no bones about being anything other than what it was: a pure, unadulterated old school horror movie. And yay, that.

The Brøken

Horrorfest III, day 2 opened with The Brøken, starring modern Sarah Connor as the daughter of an American embassy worker in London who wanders the city in a cloud of foreboding and dramatic strings instrumentation. Things happen, for sure. Like, there are doubles climbing out of mirrors to wander around confusing people about one person being in two places at once. And there’s a mysterious car crash where nobody seems interested in the other victim. And most important for our purposes, Lena Headey is pretty sure that her boyfriend has been replaced by a duplicate. Which, considering the mirror-people, is a bit more plausible than anyone around her thinks.

Mostly, though, we have foreboding thoughts, weird flashbacks, dramatic strings, and ominous London backdrops. Let me throw out an example that is representative of what I’m talking about: Lena is going somewhere on the Underground, only she gets scared by an ominous bag lady who is saying foreboding things about the other passengers right before staring at Lena in ominous confusion. So, Lena gets off at the stop, only to discover it’s closed at the surface, the only notice being a handwritten sign at the locked gate. So she wanders around the hallways, easily getting lost despite claims from people I know that the London Underground is easier to navigate than John Doe’s family tree, because that would be the ominous thing to happen. Except for the bag lady perhaps giving a clue about the mirror people, nothing else of plot- or character-advancing status occurs in this entire three-to-four-minute scene. I’d never watch it again, but there’s something very compelling about waiting and waiting and waiting to determine whether there’s a movie buried under all the ominous, strings-laden foreboding.

Dying Breed

Lucifer: The Divine Comedy

While waiting for the third movie to start, ridiculously late last night, I made kind of a cardinal mistake. If I believed for an instant there would be a fourth Horrorfest, despite the missed timing, horrible scheduling of the movies over the course of this weekend and the next week, and the single digit attendance numbers yesterday, I would make a point of being at the beginning or in the middle of a long book during that weekend. Because now I have to take that much extra time to write a thoughtful book review, too? We’re taking eight movies in three days, you know! (Though it remains to be seen if that’s true, with special thanks due once again to the Fest’s carefully planned-for-maximal-uselessness screening schedule.)

But since the book in question is the fourth volume of the Lucifer series, I do have to be thoughtful after all. Dammit. The Divine Comedy takes a lot of elements of the story so far and resolves them. I mean, with a vengeance. There are maybe three things that are different from before the start of the story. They’re major things, but there are only three things! Given such an aggressive trimming schedule, I look forward to what will happen next. I am pretty sure that God still has a problem with Lucifer, and the archangel Michael is about to embark on a pretty impressive story arc. But beyond that, I have almost no guesses.

A thing that interests me about Gaiman’s Sandman world that this is drawn from: no Jesus. I mean, he is referenced in the vernacular on a regular basis, but, strangely for a series as steeped in religion as Sandman is, and much moreso for the Heaven-and-Hell-centric Lucifer series, Jesus does not show up as a character in any way. I have to imagine it’s really related to DC comics being worried about horrible press, but I’d like to catch wind of an in-story explanation. His absence is downright conspicuous.

Butterfly Effect: Revelation

Shards of Delirium

Fragments of Delight