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Brutal Legend (Video Game)

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Brutal LegendReviewed by Mr. Dark

Available for the Xbox 360 (reviewed), PlayStation 3

Published by EA Games / Double Fine

Want to get Brutal Legend for only $8.95? Click here to find out how!


I’ve been a fan of Tim Schafer since the original Monkey Island, all the way through the brilliant Grim Fandango and the vastly underplayed Psychonauts. When I first heard his next project was a heavy metal action adventure, I was stoked. After many months of promotion, publicity, and straight-up hype, was there any way it could live up to all the noise?

Absolutely!

Shafer has done it again. He and his team at Double Fine have crafted an engaging, original action title full of his trademark humor and tons of surprises.

Brutal Legend, if you’ve missed all the advertising, is the tale of Eddie Riggs, master roadie. One night, while supporting an uber-crappy band that represents everything wrong with modern ‘heavy‘ music, an accident on stage splashes blood into his belt buckle. One shiny metal beast and some decapitations later, he awakes in a world made up of every epic fantasy heavy metal album cover.

It’s a metal Wizard of Oz, and Eddie definitely ain’t in Kansas anymore. Before long, he’s involved with the humans of this new (old?) age fighting their demonic masters for the glory of all things metal.

Let’s get one thing out of the way. Hate Jack Black? You aren’t going to love him here. He’s Jack Black. While he does actually portray a character as Eddie more than in most of his work, it’s still Jack. No complaints if you hate the dude then hate the game because, well, he IS the game.

Brutal Legend

The difficulty in reviewing Brutal Legend is in describing it. It’s an action-adventure hack and slash real time strategy driving/racing music RPG. Seriously. And I’m probably missing some. Okay, fine, gameplay can be broken down into three primary mechanics: hack and slash action, innovative real-time strategy, and vehicle-based exploration.

First, the action. Eddie has a big-ass axe, and he uses it. A lot. He also has his guitar, Clementine, which represents the ‘magic‘ in the game. It’s a simple mechanic for most combat purposes, with unlockable combo attacks that blend melee with ranged lightning and fire from the guitar. Where it gets a bit revolutionary is in the incorporation of a rudimentary music/rhythm game for more complex ‘magic‘ abilities. Throughout the game, Eddie learns solos that perform tasks from raising ancient relics that contain power-ups or new songs, to launching incredibly powerful attacks that destroy multiple enemies. (I’m a particular fan of the ‘Facemelter‘…I don’t need to explain what it does.)

Next, the real-time strategy. The multi-player is restricted to the RTS mechanic, and all of the major battles in the game use it as well. This is the biggest area of innovation on the disc. It’s also the biggest failure in the game, unfortunately. Don’t get me wrong, I enjoyed the RTS segments. I even enjoyed the multi-player battles (which can be played against others online or against AI bots) which is not generally my cup of tea.

All the RTS basics are here: resource collection, base defense and upgrades, etc. Two things make the otherwise cliché RTS combat shine. Both you and your opponent can take a direct hand in the battle using the hack and slash combat present elsewhere in the game, as well as special solos that only apply to the RTS combat, or you can just order your troops to the dirty work. While other RTS’s have had ‘hero‘ characters that you can control, I’ve never seen one (especially on a console) that had a mix of action and RTS quite like this. Also, the way you summon troops and handle upgrades is especially fluid and simple to master, something I’ve yet to see accomplished in a console RTS.

Brutal Legend

I just wish there was more depth to the actual combat. You wind up doing the usual RTS shuffle: whoever gets more of their most powerful units out first, wins. There just isn’t enough strategy involved. Get Eddie’s most powerful bulldozer of a unit out, and it’s game over no matter whatever your opponent is doing. Or, go for the Brutal Legend version of a Zerg rush and throw a ton of low-level troops directly at the opponent’s stage, backed up by your powerful solos, and you might pull an early (and undeserved) victory. It isn’t that it’s easy, it’s just simple.

Strategy rarely comes into play. It’s too bad, because there is a good toolset here that could have been the basis of a more solid RTS experience. The multi-player gives a glimpse of that promise, with each of the three available factions featuring dramatically different designs that -should- allow for very different strategies when thrown against each other. Instead, they each just offer a different method of delivering the most punch directly to the enemy stage as quickly as possible.

Finally, there’s the exploration. It’s here that Brutal Legend shines. The main storyline is completely linear, but the world here is vast, gorgeously designed and rendered, and your ‘Deuce‘ (the bad-ass hot rod Eddie builds upon arriving) is a blast to drive. The landscape is littered with collectibles to find, jumps to make in the Deuce, and secondary missions. These missions add quite a bit of variety, and feature some very cool cameos by familiar faces. You can easily spend hours wandering the land, jamming to the amazing soundtrack of metal songs, shooting the crap out of random enemies as it pleases you.

That’s a good thing, because we’ve come to the primary complaint with Brutal Legend: it’s really damn short. If you breeze through the main storyline without exploring much or doing any side missions, you’ll be watching credits in six or seven hours. (Mind you, I have no idea how you’ll best the final boss battle with no upgrades, only attained through exploration.) Everything feels right in the story until that final battle, which seems to happen way too soon, as if we’ve skipped a bit of the plot.

Brutal Legend

Honestly, though? If you aren’t wanting to explore this world, to marinate in it, why would you buy this title? Shafer’s strength is in story and atmosphere. He is THE funniest writer in video game history. He has an amazing passion for the subject matter here, and it shows. You will want to wring every last drop out of this wonderful world of metal he has created.

And that’s a key point: are you into metal? I don’t mean Limp Bizkit. I don’t mean screamo bullshit. I don’t mean Bon Jovi. I mean HEAVY FUCKING METAL. If I say that the achievements have names like ‘Flowerslave‘, does this mean anything to you?

If so, you will love this game. It’s just that simple. It was ripped straight from the minds and hearts of metal fans. Every single pixel is 100% pure, true metal, and for an old school metalhead like myself, it was an all-too-brief jaunt through heaven.

Brutal Legend has flaws, but the total sum of glory is great. You don’t have to love metal to enjoy it, but if you already do love metal, it’s just something you have to experience.

Game Features

  • Game content download
  • Achievement and trophy support
  • Multi-player

    “>“>“>“>

    4 out of 5

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    DIS Review – Not for the Faint of Heart!

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    Starring Bill Oberst, Jr., Lori Jo Hendrix, Peter Gonzales Falcon

    Directed by Adrian Corona


    I’ve made this claim many a time on this website before, and in the company of film friends as well: Bill Oberst Jr. is one of those actors that can literally be thrust into ANY role, and deliver a performance with so much harnessed electricity that you couldn’t believe that it was possible. I was the lucky recipient chosen to get a look at his latest project, titled DIS, and I think that I can honestly say – this is the stuff that nightmares are constructed of.

    Directed by Adrian Corona, this 60-minute dive into the black depths of hell, and in actuality DIS is located between circles # 6 and 9 in Dante’s Divine Comedy, and trust me when I tell you – there’s not a shred of comedic relief in this demented presentation. Oberst Jr plays an ex-soldier named Ariel, and his seemingly harmless jaunt through the woods will become anything but that, and judging from the film’s opening scenes, you are meant to feel as uncomfortable about this watch as any you might have checked out in recent memory.

    Perversion is the norm here, and lord help you if you’re caught where you shouldn’t be…my skin’s crawling just thinking about what I saw. Ariel’s travels are basically dialogue-free, but it only adds to the infinite levels of creepiness – you can tell he’s being stalked, and the distance between he and the horrors that await are closing in rather quickly.

    Visually by itself, this hour-long chiller can sell tickets without any assistance – hollowed-out buildings and long sweeping shots of a silent forest give the movie that look of complete desolation. Sliced up into three acts, the film wastes no time in setting up the story of a killer needing fresh blood to appease his Mandrake garden – seriously guys, I can’t type as much flashy stuff as there needs to be in order to describe this innately disturbing production.

    If you’re one of those types who tends to shy away from the graphic side of things, then I’d HIGHLY advise you to keep your TV tuned to the Hallmark Channel for some holiday entertainment, because this one registers high on the “I can’t believe someone thought of this” meter. So the quick recap is this: Oberst Jr in a standout performance, visual excellence, and an unshakable sense of debasement on a cellular level – keep the kiddies out of the living room with this one. Corona should be lauded (or locked up – just kidding) for his work on this one – HIGHLY recommended, and one that I’ll throw down as a top 5 for me in 2017.

    • Film
    4.5

    Summary

    Director Corona should be lauded (or locked up – just kidding) for his work on this one – HIGHLY recommended!

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    User Rating 5 (2 votes)
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    Todd And The Book Of Pure Evil: The End Of The End Review – A Heavy Metal Massacre In Cartoon Form

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    Starring Alex House, Bill Turnbull, Maggie Castle, Melanie Leishman, Chris Leavins, Jason Mewes

    Directed by Richard Duhaney and Craig David Wallace


    “Todd And The Book Of Pure Evil” – Canadian television’s greatest blend of Evil Dead, Superbad and Deathgasm? Yes. That answer is yes. For two face-melting seasons, Todd “protected” Crowley High from episodic villains who were bested by metal riffs, stoner logic and hormonal companionship. Musical interruptions showcased stage theatrics like Sondheim meets pubescent Steel Panther and high school tropes manifested into vile, teen-hungry beasts. It was like a coming-of-age story got stuck between Fangoria pages – all the awkwardness with 100x more guts.

    That – for worse – was until Todd fell to a premature cancellation after Season 2’s clone-club cliffhanger. Indiegogo became the show’s only way to deliver a feature-length finale, except to reduce costs and ensure completion, the project would have to be in cartoon form. Todd And The Book Of Pure Evil: The End Of The End suggests an animated curtain call for this otherwise live-action production, and from a fan’s perspective, familiar maturation follies befall our favorite bloodsoaked friend group. But for new viewers? Start with the far-superior original show – you’ll be lost, underwhelmed and baffled otherwise.

    Alex House retains his characterization of Todd Smith (in voice only). At this point, Todd has thwarted the book’s apocalyptic plan, Hannah (Melanie Leishman) has died, longtime crush Jenny (Maggie Castle) isn’t as horny for Todd anymore, and best friend Curtis (Bill Turnbull) has sworn Todd’s name to Hell (since Hannah was his girlfriend). Guidance Counselor Atticus Murphy Jr. (Chris Leavins) is now Janitor Atticus Murphy Jr. because Janitor Jimmy (Jason Mewes) is now Counselor Jimmy, yet Crowley High finds itself plagued by the same satanic uprisings despite these new changes. Why is evil still thriving! How is Hannah back in class! Who is the new “Pure Evil One” now that Todd has denied the book! Welcome to the end, friends – or is it a new beginning?

    At just north of 80 minutes, structure runs a bit jagged. We’re used to Todd battling one baddie over a half-hour block – backstory given time to breathe – but in The End Of The End, two mini-boss cretins play second fifth-fiddle to the film’s big-bad monster (well, monsters – but you’ll see). A double-dose of high school killers followed by a larger, more important battle with the gang’s fate hanging in the balance. Not a problem, it’s just that more length is spent singing songs about Todd’s non-functioning schlong and salvaging relationships from the S2 finale. Exposition (what little there is) chews into necessary aggression time – fans left ravenous for more versatile carnage, underwhelmed by the umpteenth cartoon erection gag. Did I mention there’s a lot of boner material, yet?

    These two mini “chapters” – “No Vest For The Wicked” (yarn demon)/”Zits Alors” (acid acne) – never come close to rivaling Hannah Williams’ doppelganger bombshell (“Songs About Boners”/”This Is The End Of The End Of the End”). Hannah [X]. Williams waking up in a room full of other Hannahs, emerging from some sleep-pod chamber; Todd’s gang facing off against this new “chosen one” in a way that erases “Sack Boy” and “Pizza Face” from memory. The End Of The End dashes dildoes-swinging into the show’s biggest mystery while dropping call-backs and bodies with equal speed – maybe too hastily for some.

    Now, about the whole pivot to animation – a smooth rendering of Crowley High and all its mayhem, but never representative of Todd And The Book Of Pure Evil‘s very Ash Vs. Evil Dead vibe. All the practical death effects (gigantic man-eating cakes, zombie rockstars) are lost to one-dimensional drawings, notable chemistry between cast members replaced by edited recordings lacking signature wits. This isn’t Metalocalypse, where dismemberment and bloodshed are gruesome on levels that outshine even live-action horror flicks. There’s no denying some of the magic is missing without Chris Leavins’ “creepy uncle” overacting (a Will Forte breed) or the book’s living incarnations of evil. Todd And The Book Of Pure Evil: The End Of The End plays hooded minion to Todd And The Book Of Pure Evil’s dark ruler – less powerful, a bit duncier, but still part of the coolest cult around. Just try not to think about how much radness is missing inside hand-traced Crowley High?

    It’s hard not to strike comparisons between “reality” and ‘toon, because as noted above, live actors are sorely missed in a plethora of situations. Be they musical numbers, heretic slayings, Todd and Curtis’ constant references to wanking, wangs or other pelvic nods (no, for real, like every other sentence) – human reactions no longer temper such aggressive, self-gratifying cocksmanship. It doesn’t help that songs never reach the memorable level of “Horny Like The Devil,” but the likes of House, Leishman, Turnbull and Castle were masters of selling schlock, shock and Satan’s asshole of situations. Instead, lines now land flat like – for example – Leavins’ lessened ability to turn pervy, stalkerish quips into hilarious underage stranger-dangers. Again, it’s not Metalocalypse – and without that kind of designer depth, a wall prevents inter-dimensional immersion into Todd’s extracurricular madness.

    If this review sounds over-negative, fret not – it’s merely wishes of what could have been. None of this is to say Todd And The Book Of Pure Evil: The End Of The End should be skipped. When you’re already known for masterstrokes of ballbusting immaturity, metal-horned malevolence and vicious teen-angst creature vanquishing, expectations are going to be sky high. Directors Richard Duhaney and Craig David Wallace successfully service fans with a smile, ensuring that rivers of red scribbled blood spurt from decapitated school children just like we’re used to. It’s just, I mean – ugh, sorry, I just have to say it one more time. BY DIMEBAG’S BEARD, this would have been an epic live-action flick. As is? Still one fine-with-a-capital-F-YEAH return to Crowley High for the faithful who’ve been waiting some 5-or-so years in a Todd-less purgatory.

    • Film
    3.0

    Summary

    Todd And The Book Of Pure Evil: The End Of The End brings closure to hungry fans in all the ways they’d hope – albeit turned down a notch through animation. Over-the-top kills and headbanging metal riffs still reign supreme, they’re just drawn by hand instead of oozing practical effects this time.

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    User Rating 3.11 (9 votes)
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    The Shape of Water Review: A Quirky Mix of Whimsy and Horror That Does Not Disappoint

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    Starring Sally Hawkins, Michael Shannon, Richard Jenkins, Michael Stulbarg, Doug Jones

    Directed by Guillermo del Toro


    “True Blood,” Beauty and the Beast, and Twilight aside, the notion of romantic love between humans and otherworldly creatures has been a popular theme throughout storytelling history. The ancient Greeks told tales of Leda and the swan, while stories of mermaids luring sailors to their lusty demise were met with wonder worldwide, stemming from Assyria c. 1000 BC. To this day, there’s Creature From the Black Lagoon fanfic that’s quite racy… for whatever reason, some people are fascinated by this fantasy taboo.

    The new period film from co-writer/director Guillermo del Toro, The Shape of Water, dives right into the erotic motif with the tale of how Elisa (Sally Hawkins) and Amphibian Man (Doug Jones) fell in love. (While I personally could have done without the bestiality angle, I do applaud del Toro for having the balls to show what’s usually implied.) Having said that, The Shape of Water is about more than just interspecies passion.

    The Shape of Water is a voluptuous, sumptuous, grand, and melodramatic Gothic fable at times (there’s even a lavish 1940s style dance routine!), but mostly it’s an exciting and gripping adventure, pitting the good guys against one very bad buy – played with mustache-twirling (minus the mustache), bug-eyed glee by Michael Shannon. Shannon is Strickland, a sinister and spiteful Cold War government operative who is put in charge of a mysterious monster captured in the Amazon and shipped to his Baltimore facility for study. When using cruel and abusive methods to crack the creature’s secrets doesn’t work, Strickland decides to cut him open to see what’s ticking inside.

    Elisa, a lowly cleaning lady at the facility, has meanwhile grown fond of “the Asset,” as he’s called. She’s been spending time with him on the sly, not even telling her two best friends about her budding tenderness for the mute and isolated alien. She relates to him because not only is she lonesome, she’s unable to speak (an abusive childhood is alluded to – which includes water torture). Using sign language, she first tells out-of-work commercial illustrator Giles (Richard Jenkins), then her co-worker Zelda (Octavia Spencer), about the need to rescue her waterlogged Romeo from Strickland’s scalpel. Needless to say, it won’t be easy sneaking a classified government experiment out of the high security building.

    The Shape of Water is vintage del Toro in terms of visuals and accoutrement. The set-pieces are stunning to say the least. Elisa and Giles live in cozy, cluttered, age-patinaed apartments above a timeworn Art Deco moving-pictures palace; Strickland’s teal Cadillac is a collection of curves and chrome; and the creature’s tank is a steampunk nightmare of iron, glass, and sturdy padlocks. DP Dan Laustsen (Crimson Peak) does justice to each and every detail. Costumes (Luis Sequeira) and Creature (Legacy Effects) are appropriately stunning. The velvety score by Alexandre Desplat (“Trollhunters”) is both subdued and stirring.

    While the film is a fantasy-fueled feast for the senses, it’s really the actors who keep you caring about the players in such an unrealistic, too-pat story. Jones, entombed in iridescent latex and with GC eyes, still manages to emote and evoke sympathy as the misfit monster. Jenkins is endearingly morose as a closeted gay man surrounded by his beloved cats and bolstered by the belief his hand-painted artwork is still relevant in an ever-more technical world. Spencer is the comic relief as a sassy lady who’s hobbled by her station in life but leaps into action when the chips are down.

    Del Toro cowrote the screenplay with Vanessa Taylor, whose credits in the television world are numerous – but she’s probably best-known for her work on “Game of Thrones” – which adds an interesting and feminine perspective. The story definitely feels more comic-book than anything, which is okay I guess, but I prefer del Toro’s deeper delves into history and character (The Devil’s Backbone is still my fave). But, for those who love del Toro’s quirky mix of whimsy and horror, you will not be disappointed.

    The Shape of Water is a dreamlike, pulpy adult fairytale that dances on the surface of reality while remaining true to the auteur’s vision.

    • Film
    4.5

    Summary

    The Shape of Water is a dreamlike, pulpy adult fairytale that dances on the surface of reality while remaining true to the auteur’s vision.

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    User Rating 4.57 (7 votes)
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