Published by Aspyr
Available on PC, PS4, and Xbox One
Rated M for Mature
I’m getting old. There was a time when the most eratic of flashing lights and thunderous of random screams would only excite me. Bring on the visual holocaust of lights and colors, I can take it! The more your monster makes my screen shake like I took bad acid during an earthquake, the better. I don’t know when exactly I became an old man, but >Observer_ definitely showed me that I am. Along with the typical video game photosensitivity warning, the game should come with two Advil and a Dramamine.
I supposed I should tell you what the game is about before I get into how it all gave me a migraine. >Observer_ is a bit old to be reviewing at this point, initially released back in August. But with the Game of the Year list on the horizon, I’m trying to knock out all of the games that should be contenders that I happened to miss. I loved Bloober Team’s previous game Layers of Fear, so I was actually excited for >Observer_. No real good reason why I didn’t play it sooner, but here we are.
The world of >Observer_ is cyberpunk for the S.T.A.L.K.E.R. generation. All that is bright and glossy exists to cover up a thick layer of decay and filth, and only just barely. The megacorporation Chiron controls all of future Poland, enforcing their will with a team of elite police called Observers. It’s within the ranks of these titular Observers that we meet our hero, Dan Lazarski (Rutger Hauer). After receiving a call from his estranged son Adam, Dan rushes off to a decrepit tenement building populated by lowly Class C citizens.
I’ll keep this all spoiler free, but the basic premise is that you have to investigate a string of murders using your special Observer powers. Equipped with two different Detective Vision modes, you’ll scan crime scenes for both biological and electronic evidence to piece together what happened. More importantly, Observers have the power to jack into a person’s brain and explore their memories. This manifests itself as a series of surreal snippets of interconnected thoughts. Each piece is individually confusing, but woven together creates a loose picture of tragedy, misfortune, death, and sometimes even love. Think Psychonauts meets Silent Hill.
<i>>Observer_</i> has plenty of direction, but overall the four story building is open to explore from early on. Most of your interaction with the tenants will be over intercoms on their doors, as early on the plot locks the building down, trapping everyone inside. There are plenty of colorful characters to stumble across, as long as that color is somewhere between red and pitch black. Each of them is fucked up in their own way, contributing to the overall hopelessness of the world. There are a few side quests to stumble across, each confronting a different difficult question you’ll have to answer to resolve things. It’s all disturbing, but that cerebral kind that tests your morals beyond typical video game convention.
There’s a great deal of backstory and snippets of the outside that gives the overall world a much grander scale. You’ll learn about gene splicing, a mysterious plague called the Nanophage, the omnipresent Chiron corporation, vast VR networks, cults of unaugmented humans, and a number of other things that gives >Observer_ the sense of something much grander beyond the walls of the building you’re trapped in. Despite the breadth of the universe it seeks to create, the story of >Observer_ is actually very focused.
While most games would seek to tackle these grand sweeping problems—cure the Nanophage, take down Chiron, free the world from corporate oppression, wake everyone up from their VR slumber, etc.—>Observer_ is content to just solve the one little problem of Dan and his son. The murder mystery is all in service of that, and even the big plot twist at the end doesn’t go beyond the little moral struggle of Dan. Focusing on Dan and his investigation lets the game be much more personal than most cyberpunk settings would allow for. Even in this strange world (and even as a half machine mind reading thought policeman), Dan is human.
So far I’ve been pretty much all praise for >Observer_, and it deserves it. Unfortunately, the exceptional craft and artistic vision of >Observer_ makes the shortcomings all that much more abrasive. My big one I already mentioned. I seriously felt like this game was punching me in the face with its visuals. Don’t get me wrong, the game is absolutely beautiful. But the amount of times I had to pause and give my eyes a break was staggering. Some segments with silhouette figurines bouncing around like a topical YouTuber made me physically ill. It sucks, because I really wanted to take in every inch of this world. But some of it felt like staring at needles quickly and repeatedly pricking right into my pupils.
They also had a real chance here to make an interesting split between the real world and the world of memories. It does this at the start, with each being horrifying in its own way. The world of memories is erratic, surreal, and free from the constraints of physical law. It can be as horrifying as you want, as unreal as you want, and as metaphoric as you want. The real world is terrifying because of just how far humanity has fallen. People live in abject squalor, gladly accepting the eyes of less fortunate creatures to heal their own. All in service of plugging back into a virtual world while the real one dies around them.
And then Bloober Team just had to go and cock that up by making the real world turn into the same non-euclidean, surreal mess as the dream world. There were some really awesome segments—like the holo-room I had to detective vision my way through—but when the walls started bleeding and doors led to looping paths on different floors the game lost me. The game tries to explain it away by saying you were “going mad,” but I really don’t like it when going mad just means the walls turn to jam and you teleport around like a Portal challenge map.
“Hey Ted, that’s basically what Layer of Fear did, and you liked that!” Well yes voice in my head, but Layers of Fear was never meant to be taken at face value. Whether it was all metaphor, a trip through purgatory, the fever dream of a madman, or whatever, it was always supposed to exist in the realm of the unreal. >Observer_, on the other hand, needs to have one foot in the real world for the story and its consequences to be taken seriously.
That all being said, >Observer_ is a fantastic experience. The hacked together, barely functioning building reflects its residents. Even if the distant Class A cities are all shiny and chrome, here in the boonies life is horror. It’s genuinely disturbing, and frightening beyond the frequent jump scares. Never one to pass up a pun, >Observer_ is well worth… checking out.
The hacked together, barely functioning building reflects its residents. Even if the distant Class A cities are all shiny and chrome, here in the boonies life is horror. It’s genuinely disturbing, and frightening beyond the frequent jump scares. Never one to pass up a pun, >Observer_ is well worth… checking out.
7 GUARDIANS OF THE TOMB Review – Rest Easy, Indiana Jones, There’s Not Much To See Here
Starring Kellan Lutz, Bingbing Li, Kelsey Grammar
Directed by Kimble Rendall
If it only weren’t for those friggin’ spiders. Kimble Rendall’s adventurous flick, 7 Guardians Of The Tomb is one of those “wanted to be, yet couldn’t quite hit the mark” action-films that will probably entertain those looking for some cave-dwelling escapades caught on celluloid, but for the more picky aficionado of said slam-bang pics, this one might be viewed as a bit stagnant. Let’s strap on our mining helmets and pick around this one, shall we?
Acting as a bit of a search-and-rescue formation, the movie tails alongside Dr. Jia Lee (Li) as she hunts down the whereabouts of her missing brother after losing contact with him while he was on expedition in Western China. Apparently he was looking for a secretive Emperor’s tomb that supposedly holds a potion that can reanimate, or re-invigorate…or rehabilitate – anyway you slice it, the juice has got some pretty potent powers. So a search team is assembled, led by Mason (Grammar – glad someone got Frasier off of the barstool), and he’s latched onto all-American fella Jack (Lutz) to assist this operation. As it turns out, the initial journey is cut off fairly quick when a violent electrical storm forces the group to head underground, and that’s when things get creepy and crawly…like 8-legged style. The film is ripe with some feverish action and a few decent performances, but it’s the overall framework that acts as the big bully, tauntingly kicking sand in the little guy’s face at the beach.
We’ve got love interests, a flurry of backstories, and oh my lord, those spiders! Yep, even the heartiest of CGI can effectively ruin a good case of the willies when it comes to arachnids and their powers of sucking humans and animals dry of their lifeforce. It’s an intently goofy movie, and even the dialogue seems a bit showy at times, leaving plausibility and intelligence at the entrance to the caves. Lutz is fun to watch as the burly rescuer, and he looks as the type who is just waiting for his cinematic moment to step into the spotlight. What pains me is that this movie really could have been something much bigger, and apparently it looks as if the majority of the film’s budget was wasted on those hokey-looking computerized spiders.
All in all, 7 Guardians Of The Tomb is spotty entertainment, even if you despise those little skittering aphids racing towards you, programmed or not. Give it a peek if Raiders Of The Lost Ark isn’t readily available at your disposal…even that crappy Crystal Skull one.
A film that could have been so much more adventure-wise instead comes off looking like a lesson in how not to waste too much time on computer imagery.
Who Goes There Podcast: Ep 160 – A QUIET PLACE
Lately, it seems as though comedy actors are cutting their teeth as horror directors and absolutely killing it! This year’s indie horror darling comes in the form of John Krasinki’s A Quiet Place. Chris has been sick as a dog, so the haomie Christine from Horrible Imaginings Film Fest is filling in to discuss whether A Quiet Place is 2018’s horror heavyweight, or just a lot of noise.
What Bruno took was what changed me; it only amplifies your essence. It simply makes you more of what you already are. It’s the Who Goes There Podcast episode 160!
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THE DEVIL AND FATHER AMORTH Review: Friedkin Goes Mondo Catholic
Directed by William Friedkin
Hitting theaters this weekend in NYC and LA is William Friedkin’s new documentary, The Devil and Father Amorth. And right away I am asked: “Is it ‘good’?” You don’t watch a documentary like this with that in mind. Faces of Death, Traces of Death, Mondo Cane. They are not here to be “good”—they are beyond words like that. Beyond good and bad.
It is more like the sideshow—Behold! See what has not been seen before! The Horror! The Forbidden! And you hand the man your ticket — you see The Arabian Giantess at the flea market in New Jersey, and maybe it is a sleight of hand and made of papier-mâché, but it was worth that dollar, and now you have a story. You have bought your way into the unknown.
The Devil and Father Amorth is light on science (and length – it runs just 68 minutes) and heavy on faith. If you have been exposed to Friedkin’s — or more specifically, William Peter Blatty’s — work, there is the struggle with belief in the Roman Catholic faith, and also in the search for evidence of the miracle. You could also prove the Force of Divine Good if you could face the opposite side of the coin—the Force of Evil, in the vernacular of Catholicism—the Devil himself. Paradoxical, yes—faith exists without proof; and so what is the drive to tell the world God exists, the Devil exists?
In the documentary we learn Rome is filled with the possessed. Hundreds of people are contacting the Church about their own possession or the possession of their loved ones. The Most Holy Father Amorth is the person the Vatican has tapped to perform exorcisms—thousands of them. And sometimes he has repeat business. Christina is one such woman, exorcised nine times and still susceptible to the Force of Evil. Those of us who are non-believers look at this woman as someone who is troubled—but “through the eyes of faith,” obviously it is a demon.
Surrounded by her family, the rite begins, and you see… an actual exorcism. There is no enhancement, no Dick Smith make-up; it is not as dramatic as we want it to be. Should we get her help that is not in the form of a witch doctor? What about doctors? And so we meet them.
Friedkin brings the footage to top hospitals in NYC. Psychologists give their point of view. Then neurosurgeons. They don’t know what’s going on—the exorcism seems to help, but they do see that it might be a cultural remnant. There is a medical diagnosis for it, as it can affect anyone of any faith. But the doc never digs too deep. I am disappointed: I needed to know more. I don’t believe it.
Are they hurting Christina? Is she just another female the Church is suppressing, as they did with witches—the control, the stigma, of the female body and identity? None of this is explored because it’s just a 1-dollar ticket under the striped tent, just left of the dancing girls and the strong man—Actual! Exorcist! Footage! Hurry up and see!
As Friedkin mentioned himself, when someone asks you to film an exorcism, you say yes. So see it for the freak show. Expect nothing else. And either you believe or you don’t, based on how you were raised — mythology, religion, or superstition.
See it for the freak show. Expect nothing else.
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