The Force Revisited

Star Wars: The Force Unleashed holds a weird place in my formative years. It debuted in 2008, right as I was starting university, and was hyped up like no one’s business for months by Nintendo Power. I also remember buying, playing, beating and shelving it right after completion. And now, 13 years later, I figured I’d do another play-through. Sufficed to say, everything I liked and disliked initially came flooding back.

You play as Starkiller, a Sith-in-training found by Darth Vader as a child on Kashyyyk, and his adventures hunting down and assassinating Jedi who survived Order 66. Initially, your goal is simple: head to various planets to find Jedi, defeat them and earn enough of Vader’s trust to take on Emperor Palpatine. But when you’re betrayed at the last second, your goal changes to recruiting people to take down Palpatine’s empire. Along the way, you make friends, enemies and are left with the ultimate decision: good, or bad? It’s a concept with lots of potential, I’ll say that.

The most-striking aspect in 2021 is how it’s aged visually. Despite being cutting-edge for 2008, especially for a Wii port built from the ground up by Krome Studios, time hasn’t exactly been kind. Character models look blocky, facial expressions barely move, and while the lip flaps on the mouths are fluid, the game suffers from The Uncanny Valley. It doesn’t help that level textures and maps are littered with clipping issues and bugs, making gameplay not as smooth as it should be. There were many instances where I found myself stuck while encountering boss fights, and I remember restarting the game at one point 13 years ago because of a glitch I discovered by accident. It’s a mixed bag, essentially.

Fortunately, the writing and voice acting are stellar. For the former, the game’s story, while not complex, is pretty engaging, telling a tale of love, loss, regret and (maybe) redemption. For the latter, the voices are all really well-cast. Special shout-out goes to Sam Witwer as Starkiller. Witwer would go on to voice many characters in the Star Wars universe, notably Darth Maul, but he gives it his all, and it shows. It’s too bad this game’s no longer canon, as it opens the door to a new take on Star Wars’s mythos.

Musically, the game’s pretty good. While most tracks are rips from the movies, the game does have some originals of note. Starkiller and Juno’s motif stands out specifically, though. It’s not used frequently, but it’s noticeable when it is. It even reaches a crescendo in the final level, timed perfectly with their first and only kiss.

The part of the game that’s a mixed bag, however, is the gameplay. The controls work well for a title from 2008, especially when most developers still didn’t comprehend the system’s functionality, but they could’ve benefitted from the Wii Motion+ add-on that was introduced late in the console’s lifespan. Waggle isn’t as smooth as it should be, and it occasionally led to my arms getting stiff and tired. Also, the game’s quick-time events, a staple of boss fights, are grating to pull off. I’m not against quick-time events anymore, especially when done well, but these feel like a lazy excuse for tedious actions while Starkiller uses uninspired finishing moves. They’re also frustrating when bungled.

The gameplay itself is fine, but leaves much to be desired. Aside from an uncooperative camera, which doesn’t shift perspectives in time to see where you are, the combat is frequently hit-or-miss. Starkiller’s ability to block enemy fire is inconsistent, and his lightsaber isn’t efficient when engaged with multiple enemies. I’ve died at spots that should’ve been no-brainers, and that’s also frustrating. There’s a reason why, 13 years ago, I mentioned in an unpublished review that “the enemies range from frustratingly simple, to simply frustrating”. Not only is that the best line I’ve typed to-date, it’s also quite accurate.

This is most true with the boss fights. They’re by far the most-irritating enemies, consisting of haphazardly slashing your lightsaber, projecting scattered items without much thought, using special abilities that are hard to figure out and irritating quick-time events that often fail. Forget the eye candy of seeing Shaak Ti and Maris Brood scantily clad, which was a big deal when I was 18, especially when their fights aren’t fun.

Then there are the collectibles. Star Wars: The Force Unleashed has many of these, some being hard to find, and while you get a dopamine rush for acquiring them, they aren’t necessary. In particular, one of them relies on replaying the game for a different ending, and let’s be honest…it’s not worth it. The game shows off its biggest surprises and secrets the first time, so that one decision you make-defeat Darth Vader, or fight Emperor Palpatine-isn’t enticing enough. That’s disappointing.

Finally, there are the Jedi Temple missions. The Wii version was notable for its then-exclusive Coruscant map you visit three times. It’s fun reacquainting yourself with the location for a while…but these missions add little to the game. They feel like padding, and the boss fights are some of the game’s worst. I don’t see why the game included these missions when it could’ve used the space for another level or two.

That’s the biggest problem with Star Wars: The Force Unleashed: it could’ve been so much more. Especially when you have so many cool techniques you unlock throughout the game, yet keep falling back on the same three or four because the rest are difficult to execute. It’s such a shame. This game is supposed to make you feel like an all-powerful Sith, but you instead feel like a mid-tier Jedi. I’m unsure what to make of that.

I feel like I’m being too harsh. For all the issues I have, I enjoyed both play-throughs over the past 13 years. I simply can’t say it hooked me like the LEGO Star Wars games and the adaptations of the third Star Wars Prequel, both are which were far more balanced. For a game hyped as the ultimate power trip fantasy, that’s a real letdown. And it’s disappointing.

Ultimately, Star Wars: The Force Unleashed truly is a 3/5 star game: you play it, you enjoy it for what it is, and you don’t look back. I’m glad I bought it, if only to admire its raw ambition, but I don’t see myself returning regularly. I think once every 13 years is enough!

In Liu of...

The internet is wild sometimes…

Simu Liu’s on top of the world right now. Aside from making a splash in Kim’s Convenience, the actor lit The MCU up with Shang-Chi and the Legend of the Ten Rings. It seems like he’s on fire! So it’d be unfortunate if something derailed his goodwill, right? Right?!

It was recently revealed that Liu had skeletons in his closet. Aside from allegedly using an ableist slur on Twitter, which I can no longer find, he also frequented a subreddit about MRAs and incels. The information on him was well-documented, and people felt betrayed; after all, this was public for years! Did Disney not vet him?

This brings up a discussion about past behaviour and time. Liu’s posts date back to 2012, roughly 9 years ago. That’s around the time James Gunn was making pedophile jokes. And as abhorrent as those were, Gunn’s apologized in the years since. It’s easy to shame someone for something they don’t agree with anymore, but it’s harder to forgive them for it. That needs to be accounted for here, especially with a 9-year gap.

That said, this mindset’s predicated on the individual wanting to change. And not much was known about Simu Liu’s response in the years that followed. Did he admit his mistakes? Did he atone for them? Or did he pretend they never happened in order to rehabilitate his image?

I’d leave it there, but then it was revealed that the Reddit posts were taken out of proportion. Suddenly, Simu Liu was the victim. It was also possible that Liu might’ve acknowledged and apologized, maybe? There was definitely more to this story. And this additional information was being ignored.

A valuable lesson can be learned from this. On one hand, the internet never forgives, and the internet never forgets. As I’ve learned frequently, the stuff I say online is public, regardless of whether or not I want it to. Does that mean I don’t still put my foot in my mouth regularly? Absolutely! But I’ve become more aware, and I’ve made attempts to remedy it. Simu Liu’s no different.

On the other hand, the internet needs to chill. I’m won’t use the “Cancel Culture” line, since I believe that most individuals who get “cancelled” deserve it, but purity politics is dangerous. We frequently strive for perfection with our heroes, and when they disappoint we write them off. That’s unhealthy. Humans are flawed, and making errors is inevitable. We need to recognize that no one’s perfect, that mistakes do happen, and that, sometimes, we need to forgive and move on. Especially when people actively make amends for their past behaviour.

Ultimately, this is another example of internet outrage for the sake of it. Is Simu Liu prone to getting his foot caught in the door? Yes, but isn’t everyone? And if that’s the case, then shouldn’t he have the opportunity to atone? I think so!

I’m not simply saying all this because I like The MCU. Nor am I saying it because I like Simu Liu. I have my issues with The MCU, which I’ve mentioned before. And while I’m sure Liu’s talented, I can’t comment on his acting because I’ve yet to see Shang-Chi and the Legend of the Ten Rings. (I’m waiting for it to release on Disney+.) My thoughts are purely based on this debacle, how it’s played out and the ramifications of turning a blind eye. Nothing more.

As it currently stands now, this was the internet overreacting to something milquetoast. Should we be critical of Simu Liu’s missteps? Absolutely, accountability’s important! But reacting, or overreacting, to something that wasn’t a scandal or controversy isn’t helpful or healthy. If anything, it does more harm than good in the long run. And that’s a problem.

Basically, the internet needs to learn to step back and breathe. And yes, that includes me. Because we far too frequently see one part of the story, overreact and miss the grander picture in its entirety. Simu Liu’s Reddit posts, or misrepresented Reddit posts, are another example of that. It’s purity politics at its worst.

Now then, about that supposed Twitter post…

***

I feel like I owe you another update. As you can tell, I’ve cut back on my output from last year. The reason, aside from having two jobs, is that it was exhausting to churn out stuff so frequently. I also feel like writing fewer pieces a month means I can better dedicate my energy to making each piece as good as it should be. I hope you’re okay with that.

On the plus side, I have a special post coming up in the next while. I won’t say what it is right now, but keep an eye out for it. Anyway, I’ll see you next time!

A Lengthy Debate

Are movies these days too long?

The runtime for No Time to Die was recently announced. Clocking in at 2 hours and 43 minutes, it’s the longest James Bond movie to-date. It’s also reignited a discussion over whether or not movies are getting to be too long. After all, older movies were shorter…right? Well...it’s complicated.

Back in film’s infancy, it’s true that movies were more to the point. They were hard to make, so anyone who had the skill and funds had to convey their message quickly. But as technology made it easier, as well as opened up more possibilities, longer and more ambitious stories could now be told. Metropolis is considered one of the big innovators in science-fiction, and it’s a black-and-white silent feature that clocks in at 2.5 hours. Even back in the 1920’s, long movies weren’t unheard of.

This debate ignores that part of film history. True, many films for a long time were under 2 hours. Some, like comedies, wore out their welcome when they surpassed that. But for every film under 2 hours, you always had an event movie that was longer. Mary Poppins, arguably one of Disney’s best movies, was close to 2.5 hours. The Ten Commandments, arguably one of the greatest Biblical films, was over 3.5 hours. Lawrence of Arabia, largely considered one the greatest movies ever made, was also over 3.5 hours! Clearly, the precedent for a longer film was there.

I think the real turning point was in the early-2000’s with the Lord of the Rings and Harry Potter films. For the former, it made sense considering how dense the source books were. For the latter, there was so much intricate detail that the final entry had to be split into two films to do the adaptation justice. In both cases, the films were hits critically and financially, showing that, among their other strengths, you could be rewarded by taking your time and not rushing to meet arbitrary runtimes.

Naturally, filmmakers and studios took note, with each one trying to one-up the other: your film was 158 minutes? Well, mine will be 160 minutes! You’re making a movie bordering on 3 hours? Joke’s on you, I’m making one close to 4 hours! This pissing match is one we’re still seeing today, such that longer movies are the norm now.

Which circles back to the initial question. And while, yes, some movies are too long, the justification for their length can be distilled to two points:

The first is that theatre experiences aren’t what they used to be. A few years ago, pre-COVID, a study showed that the average person only goes to the theatre 3-6 times a year. There are many reasons for why-accessibility, prohibitive ticket prices, too many options, ease of comfort with streaming, to name a few-but one of them is because going to theatre isn’t as exciting anymore. In order to justify driving to see a feature with hundreds of other people, there needs to be something special. Movies need to be events, essentially. And one of the ways to accomplish that is by making them longer.

The second is that, when it comes to storytelling, length is a construct. No two movies are the same, and each requires a different length for its story. Personally, I’ve seen movies that were both too long and too short. Some needed to be longer, while others could’ve stood to be shorter. “The Goldilocks Zone” varies.

Not to mention, storytelling standards are also different with each country. Japanese filmmaking, for instance, thrives on longer-format storytelling, with their animated films sometimes surpassing 2 hours. And let’s not forget Seven Samurai, often discussed as one of Akira Kurosawa’s best. Many of these films are regarded as masterpieces, so why is length an issue again?

I guess what bugs me about the “make movies shorter again” thinking is that while some movies might be excessively long, not all of them are. And that’s fine. A movie’s quality is reliant on other factors than simply its length. It also needs good scripting, good acting, good directing, good pacing and many other areas. That gets lost in the discourse.

But that’s the beauty of theatrical storytelling. And yes, maybe longer films should have intermissions for bathroom breaks, like they used to. I won’t argue with that, not as I’ve gotten older. But I don’t think length alone is the issue. If it was, then so many movies wouldn’t be considered masterpieces.

So, are movies these days too long? Honestly, yes and no. But does it matter? Not really. If anything, and more pressingly, studios need to come up with more original stories. And they need to do it fast, as opposed to constantly rebooting, remaking and franchising established IPs. You want to complain about a problem with modern-day filmmaking? Start there.

(And FYI, I recognize the irony of being succinct on a piece about length. Sue me, okay?)

Clickbait for Hire

I’ve been Subscribed to Chris Stuckmann for years. I’ve watched many of his highs and lows, and while we haven’t always agreed, I respect him immensely. That’s why I feel a need to address part of his video essay dealing with the consumption of media. More-specifically, how clickbait has factored into that. This’ll involve delving into some personal experiences too. Here goes:

Nintendo Enthusiast is a website I once wrote for. To be exact, I wrote for them from April of 2019 to January of 2020. My catalogue was small, fewer than 30 articles, but my experience was eye-opening. Most importantly, it taught me about clickbait firsthand. It also made me sympathetic to clickbait culture.

My initial hiring came after I submitted some writing samples from Infinite Rainy Day and The Whitly-Verse. I received an email accepting me toward the end of April, right as I was on my way home from a visit to my brother’s family out West. Considering that I was in the airport, I had little time to process what’d transpired. Fortunately, my flight home fixed that.

Since I don’t want to come off as entirely negative, I’ll mention that my experience wasn’t entirely bad. For one, I was paid in USD. Because I’m Canadian, the exchange rate meant that I was making more per dollar than I’d have normally received. It wasn’t the first time either, Infinite Rainy Day also paid me in USD, but it was the first time an accredited magazine did it. That had to account for something.

Two, Nintendo Enthusiast introduced me to Slack. I don’t like Slack, I think it’s a slower and glitchier version of Discord, but I could casually communicate my co-workers offsite. It also introduced me to “Threads”, which were linked to the feedback on my articles. I consider that a win.

Three, I learned how to professionally pitch my ideas. Nintendo Enthusiast used a special system called Trello for pitching articles, and it was linked to Slack. That not only helped me think about how to sell my ideas, but it informed me what had potential and what didn’t. It was humbling, and it kept me in check.

Four, I developed connections. Not only did Slack have its own community, but the site was good at promoting my work. I remember when the Editor-in-chief featured one of my articles in a video! That was amazing, unexpected and made my day! It also helped give me “street cred”.

And five, the Nintendo Enthusiast community was really chill to talk to. Whether it was the Jackbox Games event I participated in, or discussing The Talmud with a Middle Eastern History major, I always felt welcome. Even when the staff was hard on me, they never despised me. That’s something I’m forever grateful for.

This is where the praise stops, however. For as much as I enjoyed facets of my time at Nintendo Enthusiast, and thank them for “whipping me into shape”, I’m still burnt out by my experience. I feel bad for what I’m about to divulge, but I can’t lie. Nintendo Enthusiast was tough, and that largely had to do with sculpting my writing around hot topics. It was a lesson in the soul-crushing experience of clickbait writing.

My initial kick in the groin, metaphorically-speaking, was when I started there. Initially I’d been billed as an opinion, news and satire writer, but the satire part was dropped when I realized how hard it was to get pieces published. I actually had an entire “news story” written, complete with a punchline, about Mario and Luigi’s brother Lurio that never made it to the pitching process. And when my attempts at news features turned out to be more difficult than they were worth, that part was quickly dropped too.

So fine, I’m an opinion writer. I write opinion pieces constantly, and I can live with that, right? Well, that also proved a difficult experience. I came in with many ideas, and I naively assumed they’d all be accepted. After all, in my years on Infinite Rainy Day, all four, I was only told “no” 3 times. I wrote some outlandish pieces for them, so surely it’d be the same with Nintendo Enthusiast…right?

Not really. Not only were the editorial staff picky about what they wanted, they were also picky about what they approved. I’m no expert on their inner workings, but it also felt like they were overworked and understaffed. Articles frequently took days, sometimes weeks, before they were slotted for scheduling, and while the editing notes I received became less-frequent over time, initially the walls of texts about what didn’t work were daunting! On occasion I had fully-formed pieces rejected as well.

The real test came in what got published. Not only did it have to be short, 500-1000 words on average, but it was often rewritten and reworked to be more suitable for the readership. Sometimes that worked in its favour, truthfully. But even when said rewrites were good, I still felt like voice was diluted. One of my pieces even included the word “random”. I haven’t used that word regularly high school!

In addition, the readership was tough. If the site’s comment pages wasn’t discouraging enough, Nintendo Enthusiast had two Facebook pages and a Twitter handle. All three routinely netted gross and nasty feedback from people who either didn’t like my arguments, thought I was a bad writer, or both. It’s easy to laugh off in hindsight, since I’ve read and seen worse since, but as a fairly inexperienced writer it was tough. Especially since I was advised not to engage, which was hard.

But the kicker was the deadlines. In order to be paid, I had to write weekly and regularly. Given the stress of ideas often being rejected, as well as not working well under deadlines, I often found the pay threshold either unmet, or barely met. I would’ve complained, but it was a problem for many writers. We weren’t able to meet the demands put on us, and it led to me getting cut in January of 2020.

Like I said, I don’t want to sound unfairly disparaging. Despite the low pay, harsh deadlines, frequent rewrites and tough criticism, I enjoyed the challenge! But I would I do it again? No. It wasn’t an experience that suited me long-term.

Yet it made me more empathetic to clickbait writers. Let’s face it: clickbait culture’s most-exhausting on the writers themselves. They’re overworked, underpaid and frequently axed if they can’t meet demand. That’s not including the readers dog-piling on them for their opinions, which puts stress on them to meet expectations. It’s a tough job in the name of a system that undervalues them.

That’s why I try not to dog-pile clickbait writers now, even when they’re being obtuse. It’s easy to sell out. Writers do it constantly! But it’s harder for people to sympathize, and even harder to direct the backlash at the powers that encourage constant clickbait to maximize their profits. That needs addressing badly, especially now that information and news have transformed into bite-sized topics for angry swarms to digest and move on from.

Now then, if you’ll excuse me...