In Cold Blood - Truman Capote

I read this book like a creature possessed.

In between the time when I read fantasy as a child and then started my pursuit of a wider range of books these past few years, I read quite a lot of true crime, stories about serial killers mostly but it ranged to mass killings also. I enjoyed what I was reading, but guilitly so, akin to how one feels when watching porn in that I do very much love it, but I am not too fond about going onto buses or talking about it for fear of ill or the more feared, accurate judgement of my character.

Cor, am I glad Capote relates.

It is known the writing of this True Crime novel was feverish, as Capote became more and more obsessed with the events of a family massacre in a small town in Kansas during the 50′s. But who sodding cares that he almost went mad, when he came up with this seminal masterpiece?

In a prose style which largely resembles fiction, but the attentive and detailed descriptions of the grisly murders come as only True Crime does, hard-hitting and addictive, so that the writer and reader scarcely resemble the grace of flowing language which lies in such stark and sordid contrast. Tantalising words that tease, knowing they have you by the throat as they parade in such unendurably enjoyable slow pace.

This book is like crack, the best crack.

It’s the gift that keeps giving, even after you have finished your sordid affair with it, you can then swank it around and justify your own intolerable addiction like it’s something everyone else should be doing, that being dementedly consumed by such filth is an intrepid virtue.

Cheers Capote! Oh, and the money’s on the dresser.

In Cold Blood - Truman Capote

Should you play Persona 4 Golden?

TL;DR – Yes

One of the most loved games (and latest released) on the PS2, Persona 4 was lauded for its intelligent story and fantastic gameplay, but hell, if you like Shin Megami Tensei games you know you’re going to love this, but what about people who haven’t the foggiest what I am on about?

I haven’t played many of this series myself, but after falling for Persona 3 I went and played Digital Devil Saga 1 and went on to play Persona 4 Golden. I won’t lie, these games aren’t for everyone, but hark! Don’t assume that because it’s a marmite kind of deal, if you don’t like the sound of it, you won’t like it, because this game can really catch you out.

So, Shin Megami Tensei, known as SMT or ‘Megaten’ is a series of dark RPGs set in the modern world where the core battle system revolves around enticing demons to be your friends. And saving the world. The Persona series is an off-shoot of this that is usually set in a high school and is about maintaining social friendships in a sim-style and dungeon-crawling at night earning new demons/personas through finding cards.

So, I can already feel that it’s losing appeal and usually I might follow up here with some brilliant defence or insight, but I won’t. There isn’t any. This game is that good even with that poor overview.

Managing social links in the daytime levels up the connections of your demons at night, through fusing demons together you get more powerful demons and exploring more dungeons gets access to better stuff, etc, etc.

There are lots of friendships to be made and if you like you can choose to completely ignore most of them, even with the clear-cut buddies that you’re obviously meant to be hanging around with. Consequently that could mean you will have some pretty crappy demons to use in the dungeon, but the choice is there.

Girlfriends, oh yes, there are those. The game is a 15 or something, so there’s no nudity or anything really exciting, however the game does waive this kind of prudish-ness with some of the Personas, such as – Succubus, Lamia, Incubus for the ladies (Oh yeah, I couldn’t sleep dry for weeks) and my favourite, Mara, the Penis Chariot.

Hanging around with a lady enough levels up the relationship and when it gets to level 8 then things get serious and they say all sorts of saucy stuff like… “I want to protect you”, “My head’s all messed up” and my favourite, “Why are you always with me?”. Oh, the jollies…

The story of Persona 4 is a murder-mystery, people are getting sucked into TVs and dying like some kind of reverse-Ringu minus the lanky lady and it’s up to you! Nameless Protagonist! To save them!

Naturally, there is a killer out there so I won’t be going into too many details because of these new-fangled spoiler thingamajiggies, although Atlus doesnae seem to give a toss, as it continually shares loads of spoilerific stuff thanks to the super, duper crumpet version of the Persona 4 fighting game they’re releasing, so don’t check that out.

The battles are turn-based RPG fare, the series is notably known as being more difficult than other RPGs but it’s manageable with use of elemental weaknesses and creating stronger persona as well as levelling. The dungeons are long and the map is randomised having come from dungeon-crawling a la Wizardry roots, enemies appear on-screen and can be attacked for an advantage in battle.

There are some pretty big downfalls in the series, music for one. I personally like it, but I can also agree it’s because it’s only because it’s so utterly repugnant as to become hilariously synonymous with the game, often jarringly so. It’s very poppy and has lots of trumpets in, which is rather weird.

Something to take into consideration when playing any Shin Megami Tensei title, they’re horrendously long for an RPG and I finished this one clocking about 80 hours. When I played Persona 3 it took 140 but I think at least 50 of those hours were due to me sucking and getting confused.

If you can overcome all of this, you will find a deep and dramatic story and characters which explore lots of dark, taboo themes without the pretension that other games have. The game pokes fun at other games at times including RPGs and has a rather odd sense of humour which is pervasive throughout. It’s certainly not everyone’s cup of tea but it’s certainly worth pouring at least 10 or so hours in just to make sure, because if you do like Persona 4, you will agree it is one of the most rewarding games you could ever play.

Should you play Persona 4 Golden?

Perdido Street Station - China Miéville

One of the last times I wrote about steampunk I couldn’t help but mention its YA leanings and that I consider it an unsung genre, mostly because everyone involved in it is tone-deaf. That’s not to mean however that there isn’t a somewhat prevalent and talented author that seems to have inexplicably escaped my notice until recently, who also manages to subvert the issues surrounding the genre, without losing any of aesthetic and wonder that steampunk has to offer.

To be perfectly honest, I am not even sure if China Miéville is meant to be considered part of the genre or not, being that steampunk fans are notoriously nuts and fairly shielded from the rest of society, but I’m saying he is; lots of low-tech gadgets – check, pointlessly convoluted explanations – check, mechanic turned arse-kicker – you bloody well know it. I really don’t think I need much more evidence than the fact the book is named after a railway station in the story.

The novel’s plot decides its not entirely happy being  a fantasy and shifts about half way through the story, starting off following almost exclusively two of the main characters, a freelance scientist called Isaac Dan der Grimnebulin, who is hired by the bird-like Garuda, Yagharek, to devise a way for him to return to flying capability, and Lin, a khepri who is hired by a gangster boss to create a sculpture of him using her specialised spit which the insect-headed Khepri lay unique claim. So, the plot is basically the premise for most of the novel when about half way in, it turns into something out of a monster-movie.

To give too much away would spoil the effective build-up that is present in the first half, but I can aknowledge that all of the pieces of the novel come together in a satisfying way, with lots of action and drama ensuing. It’s due to a lot of these themes and different atmospheres that the novel is almost like a game or film, most notably Bioshock, the hop from Lovecraftian horror to swirling mechanical fantasy can be enjoyable, although perhaps I wonder if this is merely a personal pleasure to see lots of my favourite things in one place, like a library of nerdy paraphernalia that I’m allowed to organise and alphabetise to my heart’s content.

Miéville has truly grasped the art of descriptive writing, his style is truly captivating, almost as if the whole place has been painted for you yet leaving just enough out for the reader to allow their own imagination to roam where it will. I suppose the real talent here is knowing when to leave parts out and when it’s okay to dump paragraphs of detail interspersed with the character doing their thing.

Probably my favourite aspect of the novel is its complex array of cultures and races which inform the city that is New Crobuzon, sometimes that simple act of having a map and knowing that there is so much more in the city that you didn’t get to see within the book’s narrative gives the world a lot more depth than if you were to keep it all insulated and neat. It’s a messy city with lots going on, as if action could happen around each corner which might warrant a tale to themselves.

It’s not as if it doesn’t come with its own issues either, such length the first two acts were that the final feels a little stunted in comparison, it’s always a let down to read yet another derivately bow-tied ending, but to go the more philosophical route requires a little more preparation than the author thought it deserves, arising with a rushed finale.

Immersive and engaging, Perdido Street Station is an example of accessible steampunk fantasy with just enough grimness for horror fans. It seems the author likes to experiment so it might be a one off piece of luck, whatever his other work is, at least we can expect it to be interesting.
This would probably make for a half-decent TV show, eh HBO?

Perdido Street Station - China Miéville

Steins; Gate Visual Novel

I sometimes wonder why it is that western games don’t have any real input in the visual novel genre of games.

Sure, the west created and pioneered the point-and-click adventure game as well as being home to the interactive movie genre, spawning such games as Night Trap on the Mega CD, but there aren’t any purely narrative driven experiences such as the visual novel over here.

Perhaps having been created in Japan, and the resultant overwhelming animé stigma attached to it, in these parts, simply mentioning the term ‘visual novel’ and there will be raised eyebrows all round. Most gamers have no clue what you are on about.

Better known for its animé counterpart, Steins; Gate started life as one of these visual novels back in 20XX and was finally released in the west earlier this year. The plot revolves around Rintarō Okabe an unemployed young man and self proclaimed ‘Mad Scientist’ (a phrase made more amusing when interspersed in broken English throughout Japanese dialogue, with emphasis on the syllables) who effects semi-delusional rantings and refers to himself as Hououin Kyouma. Most of Okabe’s exploits are half-jest, talking about the Organisation which he believes is following him, pretend conversations with allies, whispering ridiculous passwords at people ‘El Psy Congroo’.

Along with Itaru, a ‘Super-Hacka’ and Mayuri who makes the costumes and makes shopping trips, the 3 are the self-styled lab members of a cramped flat upstairs from a CRT TV store in gadget and tech-centric Akihabara in Tokyo.

When starting the game you almost forget there is a story supposedly about to happen, and are quite content with the meandering conversations of the lab members and the whimsical back and forths when Okabe resentingly gets called Okarin by the affectionate Mayuri. I was initially exposed to the game through the series so I knew what to expect ultimately, but for a new person experiencing Steins; Gate for the first time, the game was much better, the characters are instantly engaging and memorable and the long wait until something happens isn’t dull and paceless like the animé series.

Well it really begins as Okabe and Mayuri attend a small conference by a well known young scientist, it sets into motion a series of events which introduce the basic concept of the story, Time Travel. So as to give a rough idea of where the game is headed while being spoiler-free, I’ll be vague and say that there are conspiracies, friendships formed and lost and split timelines.

What I love about Steins; Gate is that unlike other narrative heavy games of this genre, the main character is very much his own character, not in anyway presented as if you are to play the role, choices play a part in the pathway but not much on his character.

The gameplay element is rather small but is all managed on a phone in game, people will call and text and you can decide whether or not to answer, but mostly the game just rolls out and most calls serve only for light-hearted humour.

There are two major pathways altering vastly the end of the game, however all others are just branches and can be achieved in a single playthrough, albeit with small use of multiple save datas.

Being an extremely linear game, it isn’t for everyone and the overwhelming nature of the characters can get on people’s nerves after such a long time, the game clocks in at nearly 30 hours, but it is significantly better than its animé and so fans of that will probably really enjoy it.

Less gameplay than other Visual Novels of this type, overt animé tropes and characters and the colour filter can be blindingly migraine inducing, but its clever plot and pervading humour manage to win over this cynical git so it could stand to do a whole lot worse. El Psy Congroo.

Steins; Gate Visual Novel

I like experiments

“Sure, I don’t mind needles…”

It’s how every story of a downward spiral starts,and it is also how the story of Vince began one day 2 years ago.

“Don’t talk or we’ll feed you to the Karkians…” Yuen Kong said, leader of the Red Arrow triad, controlling family of Hong Kong and shrewd owner of the Lucky Money club in the downtown Market.

Somehow a rather average, leather-clad punk had wound his way into the underworld, standing like a stiffened mannequin in the presence of the most powerful man in Hong Kong, but unlike any other sad, destitute junkie, the discovery of a malignant tumour forced his hand. But Vince was different, he had a deal with Kong. Become his guinea pig and be set for life and he was, for a little while.

“Tumor shmoomer” – Vince

Multiple Nano augmented transcriptions tore into his body, yet somehow he looked completely fine, creating an artificial respite to the impending death – but with a cost. With each treatment the drugs and genetic imprints rewrote his brain, leaving him a husk, a worn-out shadow of a man found drinking or scrounging at the Lucky Money bar. He was even there that fateful day in Hong Kong Market.

Vince in happier times at the Lucky Money bar.[/caption]

Isaac was tending the bar as usual when a guy he’d never seen before walked up to him, later Isaac recalled that throughout his time there he didn’t ask for a drink at the bar, “He started talking to a few of the regulars, but it was kinda late, they were all pretty pissed by then, he didn’t even ask for a drink at the bar”. After disturbing some of the patrons and rearranging some of the furniture he approached the bar, “I’m not sure what he wanted but he was talking about how UNATCO runs the joint over in New York City, started dissing Hong Kong, I asked him if he would like anything, he just went right around back and took off without even asking for a drink at the bar”.

“Experiments… I like experiments.” – Vince

Eyewitness accounts described what happened next as “somewhat shocking” and “the most scared I have been awake” or even “I didn’t even notice”, not long after the unusual man entered the staff area a number of mechanised cyborgs burst in and began to open fire without discrimination at the patrons. The chaos consumed the club and gave way to what has become known as the greatest disaster since the 2044 Olympic massacre, dozens injured and many more left traumatised from the sound of weak stomached people screaming at the sight of blood.

In the ensuing bedlam no-one had time to see Vince as he finished up the dregs of his beer, perhaps it was because he always kept to himself or maybe because they were running for their very lives, he was entirely unaware of the mania metres away and never thought that in mere seconds his life would be snuffed out.

He wasn’t found until the violence and dust had come to a stop, a bullet embedded in his torso, no longer able to fight the disease festering inside. Dead.

He was a gift to science, a gift to us all. And now he is gone. No longer will we be graced with his insightful observations of the cruel world that he inhabited, or sudden inimitable declarations of love for the simpler things in life.

God rest your soul buddy, I hope “that’ll do the trick” for you in heaven.

I like experiments

American Gods

Usually when a graphic novel or comic book writer takes to the pen with the aim of writing a novel, the result is usually an action-packed sweepf of comic style narrative, with the only difference being the addition of a few adjectives, but when Gaiman does it, he can’t help but beguile you into reading a ornately woven and multi-layered story that seems to unreal to believe came from such humble foundations.

America has always been a country that has struggled with its identity, whether its trying to find out what the Great American Novel is or what the American Dream ought to be, there’s never a moment when America isn’t trying to forge its own path on a world wrought with disillusioned historical sentiment.

To try to write a novel that tackles the American outlook on these themes is not so unusual, but to represent an entire world’s worth of culture that America has collected and represent it in an effectively ‘American’ way, well…

For a British novelist to even attempt the feat is nothing short of ballsy, if not, entirely arrogant, but as a plot must march forth so must a writer and their muse. American Gods is a work of more than just observation, it’s a repetoire of the lore and theology that has contributed to the nation, it is a fly-on-the-wall of their society and a fly-in-your-face of American culture.

Neil Gaiman is revealed as more than fit for the immense task as he writes without a trace of Anglicism. There isn’t a sardonic viewpoint, atypical of the English writer, the writing is self-reflective to the point of being downright deceptively American.

From the moment that the novel begins, “Shadow had done three years in prison.”, you can tell this isn’t like any other fantasy book you have ever read, high or urban. You are told little about why he was incarcerated and lots about how he managed to get through it, as he is released he discovers his wife has just died and is soon approached by a mysterious man who offers him a job.

Alongside the main narrative are shorter tales about various deities and folklore creatures which have made their way to America, offering insight into the background and setting of American Gods. Old gods are brought to the continent by immigrants and colonists, creating a different version of the god for America, where in the modern day, they are struggling to be recognised and subsequently, survive with such dwindling beliefs.

The tone is rather melancholic, the characters and the environment are bleak and manage to sport a black comedy which is more at home in a less fantastical book. Some of the elements of the plot are rather twisted, enjoyably so, and others are almost romantic in content, although neither would be enough to sell the novel to someone on.

The wealth of knowledge and lore that is in the book is really what makes it stand out, where others make some half-arsed attempt at mythological elements, none are as successful or convincingly expressed as can be found in American Gods, whose own adventures make for a fitting addition to the current respective canons.

Slow-paced, there are times when the story decelerates to a crawl, allowing a little bit too much time to pore over niggling details, despite the novel wrapping up well, this pacing can still be a little dull at times.

American Gods is a beautifully presented fantasy novel which surpasses the ordinary expectations of its genre to become a modern fantasy epic for a more mature and discerning readership. The depth and scope are immense and has a gritty finish that leaves the patient reader wanting to see a little more of the astounding world of gods new and old in the land of the free.

American Gods

Professor Layton vs. Phoenix Wright: Ace Attorney

This long awaited crossover game, pits Level 5′s deferential archaeologist, Professor Layton and his apprentice Luke, against Capcom’s graceless attorney-at-law, Phoenix Wright and his assistant in a story that sees them attempting to solve the mysterious case of Labyrinthia. This game  has been out in Japan for well over a year, where it received some good reviews but lacklustre sales. After dipping their toe in the water, Capcom made the brave and best choice to dive in and release this in the west with a full retail release, unlike the previous Ace Attorney game which suffered ‘download-only’ status.

Contrary to Japan, Professor Layton is the more popular series in the west, enjoying high sales amongst gamers both casual and core and from a variety of backgrounds, making this title ideal for getting the west in the lesser known Ace Attorney series.

When a strange young girl arrives at Professor Layton’s office, claiming she is being chased by someone, Layton and Luke are soon wandering around London looking for clues, going straight into the action the mechanics are briefly and simply explained giving even the most clueless players no room for confusion or error.

Striding the line between a traditional point and click, with Ace Attorney style courtroom battles goes hand in hand, much like the Ace Attorney series does conventionally, the chapters are divided between the characters and the time spent on each case or section of the game is paced well, all being directly involved with the main plot of the game. The visuals are beautiful, both series look faithful, with Ace Attorney being a more old-school looking in its 3D incarnation than in Ace Attorney 5. The soundtrack contains some mixed up versions of both games backlog, with the most standout pieces being part of the original score, which feels grand and memorable.

The experience is great until the approach of the third act, where it turns into a bit of a slog. Gameplay goes out of the window and turns into a visual novel, complete with huge, lengthy dialogues which attempt to tie up plotpoints in order for the convoluted twist to make a little more sense; which in trying to be both Ace Attorney and Prof Layton-esque ends up as a semblance of neither, resulting in dull confusion.

Most of the time, I enjoyed what I was playing, simply seeing better attention to the plot (which was also handled by Shu Takumi who created Ace Attorney) was important after having played a somewhat lacklustre one in the Phoenix Wright series not too long ago,  but the attempt at making the story too epic seems to have undermined the core enjoyment one usually gets out of these games. It’s almost as though trying too hard to make the game good was its own condemnation, the story reaches a standstill, going on too long and too oddly for the bell to really chime at the end.

Unlike other tie-in style games, this is one which feels almost more lavish than main series entries for both franchises, and fans of either series will enjoy seeing the respective protagonists showing down in this fantastical setting,  but as a game by itself, it’s a bit of a mess, we’re unlikely to see more, which is a shame.

This is a game series which with more installments, had a high chance of getting the formula down, but as it is, I guess we can just marvel at young Phoenix and Layton having their spotlights nicked by one another.

Professor Layton vs. Phoenix Wright: Ace Attorney