Month: August 2013 (Page 6 of 12)

App of the Week: Knife That Guy

Developer: Flyover Games LLC

Compatible with: iPhone3GS and up, iPod Touch 3rd Gen and up, iPad, Android Devices

Requires: iOS 6.0, Android 2.0.1

Price: $0.99

Available: here (for iOS) and here (for Android)

Sometimes when trying to explain a new game to someone, its easiest to use other similar games as a reference to it. For instance, I would describe “The Last of Us” as a mix of “Uncharted 2,” and “Resident Evil,” with a little “Splinter Cell” tossed in.

In trying to do that with “Knife That Guy,” I found my reference concoction overflowing with comparisons to titles like “Bomberman,” “Pac-Man,” “Hotline Miami,” “Q-Bert,” “Temple Run,” “Stealth Assassin,” and a few others, when I realized that technique wasn’t going to work.

It’s also pretty unnecessary as at its core, “Knife That Guy” is a simple game that sees you play the role of a guy with a knife patrolling a pressure operated floor of colored tiles with the sole objective of finding the titular that guy and…well knifing him. You’ll be able to recognize that guy as he’ll have a red arrow above his head, which is handy considering the floor is populated with a variety of people who are not that guy, who you do not want to knife, as doing so depletes your lifebar.

The challenge, and fun, of the game comes through the fact that solely knifing your target is a tall task considering the fact you cannot stop or slow down, and that the other non-knifable people surrounding your target, constantly get in your way and force you to think on your feet at all times. Even reaching your target only contributes to the burden, as the game speeds up upon each successful kill and more innocents with various walking paths populate your space. Play it too cautious though, and take up too much time, and the tables turn so that you are now the hunted guy with someone looking to knife you.

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Assisting you is a dash maneuver which propels you several feet in your chosen direction, and a bomb which launches knives in every direction. Both of these moves are helpful in the right hands, but if not used carefully can actually harm you more than help. Thankfully they were designed that way, and their risk of danger is not instead the cause of control issues, which are actually excellent.

The brutality of “Knife That Guy” extends beyond its challenge, as the game is pretty violent, even if it is in a pixelated cartoony way. Surely that will bother some people, but the consequences of stabbing an innocent are immediate and severe, making you feel incredibly miserable every time it happens. It’s not exactly a poetic analysis on the duality of man, and a moral guideline for all games to follow, but it does emphasize consequences for your actions more than many games do.

In a way “Knife That Guy” is an incredibly violent puzzle game that will have you going one more turn for hours on end, and getting a little better each time out. It goes beyond the average mobile puzzler though with its action/arcade elements that provides an adrenaline rush with every successful maneuver. The developers did a fantastic job of taking an incredible, but simple, concept, and honing every single style and gameplay element so that they all serve to enhance it. You may be able to learn the game in a few minutes, but it’s that creative craftsmanship that ensures every round will be a new experience.

“Knife That Guy” is, by its own design, a very odd game. Somewhere underneath its playful dementia, though, lies an experience as old as gaming itself, and crafted to a level you’d expect from so many years of experience to build upon and reference. In that way it may be most like “Hotline Miami,” but truthfully “Knife That Guy” doesn’t have many peers, and has no competition for app of the week.

Game Review: “Charlie Murder”

Available for
Xbox 360
Publisher
Ska Studios

Even though I’ve known for a while that it’s only rock and roll, I’ve still always liked it. I’ve shared a similar feeling with the simple 2D brawler genre, as some fond gaming memories date back to raiding the arcade with friends to play “Teenage Mutant Ninja Turtles” and “X-Men,” or just kicking around at home with “Double Dragon” on the NES.

Appropriately, the new Xbox Live Arcade game “Charlie Murder” combines both of those aspects into one title that sees you choose between members of a punk rock band that’s forced to defeat a rival group who are aided by zombies, witches, demons and other forces of darkness through a variety of levels all designed to fit the style of the apocalyptic rocker protagonists.

The comic style graphics are certainly the first thing that catches your eye about “Charlie Murder,” but once you start playing, it’s clear that the most noteworthy aspect is the game’s surprising amount of depth. While a part of that is due to the multiple stage types, which include flying and driving stages, as well as timed rhythm based segments (think “Rock Band”), the real selling point of “Charlie Murder” is its RPG aspects.

While “Charlie Murder” is a great “Double Dragon”-style 2D brawler, it’s an even better “Diablo”-style RPG, which sees you level up your character’s skills and attacks, upgrade their equipment with creative loot, and make use of various store types to acquire beneficial items like food and skill-assigning tattoos.

The combination reminded me of the NES classic “River City Ransom,” and while it’s uniquely entertaining and surprisingly deep on its own, unfortunately, the execution of combining these elements doesn’t always work when it comes to the actual gameplay. It becomes incredibly frustrating to be enjoying yourself one minute — smashing your way through hordes of enemies using a variety of weapons, including their own limbs — to have to then stop and bring up the game’s cumbersome cell phone menu to add skill points or cycle through your inventory. When playing with multiple people, it perfectly recreates the experience of hanging out with your friends and waiting for one of them to stop using their cell phone and get back to the fun.

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A chat with director Robert Luketic (“Paranoia”)

paranoia

Director Robert Luketic has worked with some of the most well-known actresses of our era, from Jennifer Lopez to Jane Fonda, and has directed them to box office gold. However, the Australian director known for rom-coms such as “The Ugly Truth” and “Legally Blonde” has his sights on taking over other genres. In the tech thriller “Paranoia,” Liam Hemsworth faces serious ethical questions while engaging in corporate espionage. The outspoken director sat down to discuss his journey in making the film, as well as his future career plans.

BE: One of the most mysterious characters in the film is Dr. Judith Bolton played by Embeth Davidtz. How’d you come across her?

ROBERT LUKETIC: She’s a friend of the producer, Alexander Milchan. I remember seeing Embeth in “Schindler’s List.” She’s just a nice, classic, kind of WASP-y woman. It’s very much what the character is based on. I wanted someone who could be icy and evil, but not tip the hand too much. I wouldn’t want a person that we really couldn’t read. I met her for tea in Beverly Hills. When I walked in… you know when you read something and that you imagine in your mind? I said, “You actually look like Judith.” I called her Judith from that day on.

BE: You’ve done films like “Legally Blonde,” but you’ve also done films like “21.” As a director, is it hard to switch genres?

ROBERT LUKETIC: I started out in film school making dark, thriller kind of stuff. Finally, I made a musical comedy and that sort of branded me, which is what this town does. The next 15 years, it became all light and fluff and screaming girls and wedding dresses and stuff, which really isn’t me. I’ve been fighting for many years to break that and get out of that. It’s a challenge. It’s like they don’t think of my name when a studio gets a new script and goes, “We’ve got to get Robert Luketic for this thriller. Yeah, the ‘Legally Blonde’ guy. We’ve got to get him.” (LAUGHS)

BE: What kind of movies would you like to make?

ROBERT LUKETIC: I want to see what it’s like to make those movies that those big budget guys get. The ones where there are no limits. Those people that get unlimited resources, like whatever they have here they can put up there. That would be such an incredible experience because my movies have been generally on the smaller side in terms of budgets. What you find is that it’s constantly compromising. Everything is a compromise. Every goddamn thing is a compromise and that hurts, ya know? That gets you after a few years. I’d love to know what it’s like to do an “Avengers” or “Dr. No” or something.

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Drink of the Week: The Clover Club (The Hess/Craddock Take, Modified)

The Clover Club. Sometimes the difference between one drink and another is miniscule. Take a Martini and put a cocktail onion in it instead of an olive or a lemon twist and it is miraculously transformed into a Gibson. On the other hand, recipes for the same basic cocktail can have vary so dramatically that you wonder how the results can even be compared, much less go under the same name.

That’s what I’m realizing right now as I’ve been spending the week trying variations on a recipe I first found in Robert Hess’s 2008 The Essential Cocktail Guide and then found in Harry Craddock’s 1930 The Savoy Cocktail Book. Things got interesting when, too late for today’s post, I turned to my old pal Google and found that there is another version of today’s drink that might be a completely different taste experience entirely because of a difference in one key ingredient. I can’t dismiss it either because all signs point to it being every bit as much a classic, whatever that may mean, as today’s recipe. So, I guess we’ll have to revisit today’s drink again next week, except it won’t really be the same drink. Work, work, work.

In the meantime, here is my take on a drink which apparently goes back to a club for gentlemen — presumably no ladies allowed — in pre-Prohibition Philadelphia. As far as I’m concerned it’s a crime to deprive either gender of this liquid delight.

The Clover Club Cocktail (Craddock, Hess, Westal)

1 1/2 ounces gin
1/2 ounce fresh lemon juice or 3/4 ounce fresh lime juice
1/4 ounce grenadine
1 egg white

Combine all the ingredients in a cocktail shaker and shake without ice to properly emulsify the egg white. Then add ice and shake again to properly chill the concoction. Strain into a frosty-cold cocktail glass and toast the endless wonder and complexity of life and cocktails.

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The Craddock recipe calls for the juice of 1/2 lemon or an entire lime — and goodness knows why bartenders in the day thought that was an acceptable instruction given the obvious reality that lemons and limes don’t all yield the exact same amount of juice. The vastly more recent Hess recipe calls for simply 3/4 of an ounce of lemon juice, but that came out a lot more tart than I like. It was time to play around with the proportions.

While using a mere 1/4 ounce lemon juice yielded too simple a drink, I found that 1/2 an ounce was darn nice. On the other hand, a full 3/4 ounce of less aggressively tart lime juice was the nicest of all. I could have gone for a slightly sweeter drink, but I found that cutting the lime juice down to 1/2 an ounce only resulted in a less lively beverage.

At least that’s what I thought. I certainly would never discourage anyone from adjusting the lemon or lime juice upwards or downwards to their taste. I will say, however, that you have to use some lemon or lime juice because, if you don’t, you’ll have a Pink Lady on your hands. I’m saving that one for some time when out of citrus completely.

Movie Review: “Kick-Ass 2”

Starring
Aaron Taylor-Johnson, Chloe Grace Moretz, Christopher Mintz-Plasse, Jim Carrey, John Leguizamo, Morris Chestnut, Donald Faison
Director
Jeff Wadlow

The superhero movie was given the punk-rock treatment in Matthew Vaughn’s “Kick-Ass,” an irreverent satire of the genre that scored with critics and audiences alike. But while the film was a mild success commercially, the chances of a sequel seemed pretty unlikely, especially for anyone who read the darker and more sadistic second volume of Mark Millar’s popular comic book series, which is borderline distasteful in its attempts to raise the stakes. Thankfully, director Jeff Wadlow (replacing Vaughn) tones down many of those more questionable moments by mining them for laughs instead of shock value, and it works for the most part, creating a sequel that, although it lacks the provocative originality of its predecessor, maintains the same sense of fun and over-the-top absurdity that made the first “Kick-Ass” such a blast.

Two years have passed since Kick-Ass and Hit-Girl took down mob boss Frank D’Amico, and in that time, hundreds of new superheroes have begun to pop up across the country. Hit-Girl (Chloe Grace Moretz) continues to wage Big Daddy’s war against crime, but when her guardian Marcus (Morris Chestnut) makes her promise to stop playing vigilante and live a normal childhood as Mindy Macready, Dave (Aaron Taylor-Johnson) is left without a partner. As Mindy endures a “Mean Girls”-like nightmare at high school, Kick-Ass joins a superhero team called Justice Forever, led by a former mob enforcer turned born-again Christian named Colonel Stars and Stripes (Jim Carrey). Meanwhile, Chris D’Amico (Christopher Mintz-Plasse) plots his revenge against Kick-Ass for killing his dad, rebranding himself as the world’s first-ever supervillain, The Motherfucker, and assembling an army of criminals and crazy devotees to wreak havoc on the city, which ultimately forces Mindy out of early retirement.

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