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King Kong - Me Hungry
Concept albums are cool, and King Kong’s 1995 album Me Hungry is really, really cool.
Well, cool might be the wrong word. Frontman Ethan Buckler opts instead for that brand of Louisville weirdness familiar to an ex-Slint member. A lanky white man running around in an orange jumpsuit (according to King Kong’s latest music video) occasionally sporting a near-unibrow, Buckler is the antithesis of cool. With his sparse, monotone delivery, “caveman-ish” sums up his style pretty well.
And guess what, this album is about a caveman! Buckler was made for this part, and he sings about gathering berries, pooping, loving his yak, fleeing the sabretooth tiger, meeting a cavewoman and starting a family. Buckler’s vocals are made for this concept, but a record full of caveman speak would be tiring. Thankfully, Amy Greenwood sings as much, if not more, than Buckler. She narrates his adventures and really makes the album a breeze to listen to, as her voice is sublime.
Greenwood is just a piece of what makes this album so good. Everyone sticks to their parts and plays them well. King Kong has always been Buckler and any friends who might be around to pick up an instrument, and in this case, Dave Pajo (another ex-Slint member) never gets old on the drums, Willy MacLean lays down the bass, and Tod Hildreth’s organ warbles constantly, but not excessively. This is a really groovy record, and if you like one song, you’ll like it all. Me Hungry is incredibly consistent.
That’s what impresses me so much about Me Hungry. Any one of these songs is prime King Kong, but it’s not a mishmash. The concept is unifying, and it harnesses Buckler’s idiosyncrasies to work for the album, not against. The excellent performances mesh well and really elevate Me Hungry to something I can wholeheartedly recommend. Ethan Buckler is weird, King Kong is weird, and Me Hungry is still weird, but it’s not just a novelty. This is an exceptional album.Â
King Kong - Kingdom Of Kong
Expectation almost always colors my opinion, and in King Kong's case, I wasn't planning to mention its 1995 album Me Hungry when talking about 1997′s Kingdom of Kong. Listening to King Kong's discography out of order meant up until writing, I thought Me Hungry came after. When I found out the opposite was true, my ambivalence with this album became disappointment. Mostly.
My fondness for Me Hungry mainly stems from Amy Greenwood's excellent vocals, which directly oppose Ethan Buckler's deadpan delivery. I don't have a problem with Buckler's vocals as long as something more tuneful helps carry them, and in Kingdom of Kong, the title track and "Basketball" are the standouts because Greenwood is present.
The Buckler-Greenwood vocal pairing was one of the strongest points, but the music was also much funkier than the tracks in Kingdom of Kong. Most songs here will fall into a groove that's not especially interesting. Because of this, Buckler's crude humor, sparse lyrics and distinctive monotone (all of which works in Me Hungry, a concept album about a caveman) are magnified, making many of the songs all-around boring.
Along with the first track, just listen to side 2 of the album. The more upbeat, energetic songs are there. Energy, man. That's what this album needs more of. It ends better than it starts, but taken on its own, I would have stopped before I had gotten there. Compared to Me Hungry, Kingdom of Kong is absolutely a step down.
BALLOON KID
Balloon Fight is an early game for the original Nintendo Entertainment System, and though I didn’t have the original hardware as a kid, I did have a Gamecube and a copy of Animal Crossing. I spent days collecting virtual knick-knacks for my house, and among them were copies of NES titles you could play in-game. Some were much better than others, and Balloon Fight was one I liked. It’s simple enough; fly around and pop enemies’ balloons to clear a stage. Basically Nintendo’s version of Joust, a Game Boy port would be worth a few bucks at least, right?
Nah.
Unfortunately, co-developers Nintendo and Pax Softnica thought Balloon Kid should be a sluggish, slippery auto-scrolling platformer instead. Maybe that’s why it was never released in Japan. The pre-game cutscene shows a little boy floating away with his balloons, much to his sister Alice’s concern. The player floats across eight levels, which consist of a city skyline made of pencils, a Kirby-esque forest with smiling trees, the inside of a whale and a few others. Each other level has a boss, but unfortunately I only saw three of the four.
One of the core mechanics is the ability for the player to let go of Alice’s balloon bundle with a press of the B button. While grounded, she can move much faster, but the control could be likened to skating around on sticks of butter. The next important step - one I couldn’t figure out initially - is blowing up a new pair of balloons. Initially I was stumped; I would shed my balloons to grab a 1-up but quickly found myself trapped. Later I learned tapping down will blow up new balloons as long as there is a platform to stand on. Now able to recover from enemy hits, I felt I might be able to complete the game.
I didn’t though, as the tedium remained. The levels slog along, because if the auto-scrolling went any faster, it would be difficult to stay alive. The strategy I found most effective is to only move up or down while flying. Moving left or right is a great way to slingshot out of control and into the game over screen. Occasionally, an invincibility power-up will float in from below the screen, and that offers a few moments of increased speed as well. Those are few and far between though, so for the rest of the game, I hope you like to stay relatively still and feather the A button constantly.
Animal Crossing and Balloon Fight was a long time ago, so I’m ready to admit the control may not be what I remember. However, as an arcade game, it worked well enough to be fondly recalled. As a platformer, not so much. Aside from some decent music, Balloon Kid doesn’t do anything remarkable except remind me of better Game Boy games I could be playing instead.
DSU by Alex G
Fall is the most musical time for me and my favorite time of year. The season fades from leafy green to umber and orange, and with it comes a new semester and a feeling of uncertainty as to what lies ahead. There's also a decent amount of melancholy-- I would much rather be grilling or laying in my hammock than going to class. The melancholy of fall is something I enjoy, and the albums which harp on those notes usually end up being played over and over. DSU is one I latched onto immediately.
Alex G's catalog is extremely DIY, but from what I've gleaned from some sampling of his previous material, DSU is his most fleshed-out work so far. Still, he plays almost all the parts on his songs, with credits to others only going so far as vocals and a tambourine on a few tracks. Many of the songs on DSU are pretty simple arrangements, but the lo-fi quality makes it quite personable, and some weirdness persists throughout each. Buzzing guitar, bent notes, echoes of piano keys and hauntingly high-pitched vocals bleed through the album. The weirdness is metered out in good proportion, and the whole album has a  ghostly, ethereal quality.
"Self-indulgent loneliness" is the best phrase I can think of for why I enjoy fall. Living off-campus and going to a community college really takes the wind out of the traditional “College Experience,” and many of the students are part-time and not forced to socialize to the extent they would if they were cooped up in a dorm. As a result, many don't, including me. But thankfully I don’t really have to.
If summer ran away so fast it left a cartoon cloud of dust, DSU would be that cloud. DSU is 4:45 pm on a crisp day during the first week back to school. It’s looking forward to good times in the future while fondly remembering those times in the past. But it doesn’t need those times back. It isn’t desperate.
https://sandy.bandcamp.com/album/dsu
UNCHARTED 2: AMONG THIEVES
Uncharted 2 starts in medias res and wastes no time throwing the player into peril. The game’s first cutscene shows a bloodied Nathan Drake regain consciousness in a train car hanging over a Nepalese mountainside. It’s harrowing, and it’s only the tutorial. The camera slowly pans around the completely vertical coach as Nathan struggles to swing and pull himself up. There are no quick-time events here or in the rest of the game, but bits of debris snap and plummet past Nathan, narrowly missing him and giving the player plenty of motivation to get out of there as quickly as possible. It’s effective, terrifying, and lets the player know immediately that Uncharted 2 is everything great about the first game with almost none of the problems.
The story of Uncharted 2 isn’t much different than the first one. Like other elements of the game, it simply adds to what was already in place instead of taking it into a different direction. Two new characters, Harry Flynn and Chloe Frazer, approach Nathan and convince him to aid them in the theft of an oil lamp from a Turkish museum. The only reason Nathan gets himself involved is its connection to Marco Polo and the theory that the lamp contains the first clue to finding Polo’s lost expedition. Flynn ends up double-crossing Nathan soon after and reveals himself to be working for Zoran Lazaravic, a Russian warlord searching for the ancient Cintamani Stone-- supposedly discovered and taken by Marco Polo-- as well as the lost city of Shambhala.
The character modeling, acting and interaction are some of the strongest parts of Uncharted 2. Character models in Uncharted 1 were somewhat doughy, but the sequel runs circles around its predecessor, with textures more akin to actual human skin than wet clay. The new characters also manage to hold their own against the first game’s memorable cast. Chloe, who spends half the game alongside Nathan, is just as cheeky, and the banter between the two is enjoyable, while Flynn does a great job of antagonizing Nathan and building up a desire in the audience to see him put in his place.Â
The settings are varied and beautiful, ranging from the streets of a Nepalese village, the snowy mountaintops, a dark and rusty freight yard, a train chase through the lush jungle, and a handful of others. The globetrotting aspect makes Among Thieves much larger in scope and bolsters the adventure movie aesthetic Uncharted strives for, one that would only need an animated line moving across a world map to complete the look.
I was expecting some significant gameplay changes, but instead, it’s almost exactly the same, just improved and expanded upon. Naughty Dog took the control problems I had with Drake’s Fortune-- stiff movement, poor aiming, using the sixaxis to throw grenades-- and fixed them all with some tweaking. Nathan moves smoothly in contrast to the stiff and jerky control in the previous game, and aiming is slightly less sensitive, allowing the player to aim more accurately. Grenades are now aimed and thrown traditionally instead of rocking the controller up or down to adjust the arc.
Naughty Dog has also added options to make combat more interesting. While Uncharted 1 had a scant selection, the sequel has an expanded choice of firearms. Nathan still ends up taking on numerous soldiers, but this time around, at least there are more ways to do so. Stealth plays a small part, and boy, it is satisfying-- much more than shooting. Nathan can simply grab enemies and knock them out, or wait behind a crate or hang from a ledge until they are close enough to take down. Unfortunately, while there is one level devoted to it, most of the levels have little potential for stealth. There some opportunities in each for a few takedowns, but not enough for my liking. Similarly underutilized is hand-to-hand combat. Unlike the first game where it felt random, Uncharted 2 has a simple, responsive one-two-KO melee combo with different takedown animations and the ability to dodge and counter an enemy’s punches. Contact is solid and the takedowns made me feel stronger than a firearm ever could. If I came across a lone soldier, I’d sprint toward him just to start a fistfight.
Unfortunately, my major problem with Uncharted 2, just like the first, is the frequency of combat. The parts of Uncharted games I appreciate most are exploring and scaling the environments, interactions between characters and watching those characters survive ancient booby traps and extraordinary action scenes. What I don’t appreciate are the copious amounts of firefights. In addition to becoming tiresome, the frequent combat works directly against Naughty Dog’s effort to give Uncharted such a cinematic presentation. One man versus an army is an entertaining, compelling concept-- one that can work incredibly well in a movie, but it doesn’t work as well as it should in Uncharted. For every moment of narrow escape and demonstration of Nathan’s fragility in the cutscenes, there is a gunfight that contradicts by pitting Nathan against dozens of soldiers, almost all of whom will be mowed down with ease. The frequency of combat works against the sense of danger instilled during the cutscenes, and such a juxtaposition left me less invested in Uncharted 2 than I would have liked. This problem stems from issues I can only see being addressed by fairly large gameplay overhauls and refocusing-- something I don’t imagine Naughty Dog will do considering the massive amounts of praise Uncharted 2 garnered.
Uncharted 2 has a well-sized selection of extras which can be bought with money earned from finding collectibles or getting x kills with x weapon throughout the game. Production art and making-of videos are available as well as goodies such as one-hit-kills, 2x speed, black-and-white or sepia tone filters and purchasable guns for any level. There’s a level select available which also list treasures found and total treasures for each level, just in case you don’t have enough money to buy what you want. While I can safely say I won’t be revisiting Uncharted 1 anytime soon, 2 has enough incentives for replay.
I enjoyed Uncharted 2: Among Thieves a great deal. The characters make me smile, the diverse settings make me want to explore, and it’s hard to imagine the graphics looking any better. Combat can be annoying and take me out of the experience, but overall, the rest of the game is worth it. For anyone who has played the first game, Uncharted 2 is more of the same with cleaner execution, and I’m interested to see what kind of improvements will be made in Uncharted 3.
Facebook Buys Oculus VR For $2 Billion
On Tuesday, March 25, Facebook announced it would be acquiring Oculus VR for $2 billion, much to the dismay of gamers and Kickstarter backers everywhere. But is there a real reason to be upset?
Honestly, I don’t think so.
The Oculus Rift devkit was successfully funded with Kickstarter on September 1, 2012. The required goal was $250,000, but the end result blew that number out of the water, and the kickstarter ended with a pledge amount just shy of $2.5 million. More than half of the contributors pledged enough (a minimum of $275) to receive a developer kit, and two years later, contributors have their devkits and VR is more than the fad many thought it would be. The Oculus Rift Developer Kit 2 is available with an upgraded design, display and head tracking, and Sony has jumped onto the VR train with the unveiling of their own headset at GDC 2014-- a proposition much more palatable with the success and promise already surrounding Oculus Rift. Now Facebook has thrown their hat in the ring by buying the company that started the excitement.
In a post following the press release, Mark Zuckerberg states that “Immersive gaming will be the first, and Oculus already has big plans here that won't be changing and we hope to accelerate...Oculus will continue operating independently within Facebook to achieve this." Oculus Rift is currently open-source, allowing anyone to create custom content for it, and to take control away from studios and independent developers now would cripple the budding technology. Facebook has many other facets to manage, and stopping open-source development would be foolish. Zuckerburg goes on to say, “After games, we're going to make Oculus a platform for many other experiences. Imagine enjoying a court side seat at a game, studying in a classroom of students and teachers all over the world or consulting with a doctor face-to-face -- just by putting on goggles in your home." It’s clear Facebook wants a stake in the potential of virtual reality down the road-- potential outside of gaming-- and buying Oculus VR early on is a sure bet to be there when it happens.
More interesting than the acquisition is the vehement outcry amongst the gaming community. One look at the Kickstarter comments reveals a stream of vitriol towards Oculus VR for selling out, and comments ranging from “fuck Oculus” to “I told you so” can be found across social media and message boards everywhere.  IGN’s Colin Moriarty took to Twitter after the announcement, tweeting “Oculus Rift execs made $2 billion selling a company initially funded by Kickstarter cash. Let that sink in. Especially if you backed it."
Kickstarter has lost some of its luster, as more and more companies have been using it to lessen financial risk of projects that would have happened anyway, but the acquisition of Oculus VR brings the whole grassroots idealism of the site down a few notches. Here is a product that most likely would not have happened without Kickstarter (A and B funding of a significant amount was completed after the pledge period), a product “made by gamers, for gamers”, and now that it’s proven to have potential, other companies are interested, and rightfully so. Much of the outcry comes from the surprise that this could happen, when really, no one should be surprised at all. Backers received their rewards, the Oculus Rift has taken off, and no one is owed anything. Gamers may be furious, but nothing has been breached or broken.
The larger issue I see going forward is the negative light on Kickstarter projects, especially ones backing new technology or games. Anyone who saw what direction Kickstarter was going has more fuel for the fire, and anyone who still thought Kickstarter was their little secret has been sorely disappointed. As for the acquisition, I don’t see Facebook hindering Oculus Rift, not when the user base is so miniscule. Right now, Facebook should be concerned with the Oculus Rift’s success, and intervening noticeably could alienate the developers and backers who are building the content. In the future, when the technology is cheaper and more widespread, when it is being used for purposes other than PC gaming, Facebook will have a better incentive to become visibly involved, and then people can find real reasons to complain.
KIRBY'S PINBALL LAND
Kirby’s Pinball Land is the second Game Boy pinball game developed by HAL Laboratories and was released in 1993 after Kirby’s Dream Land. It was the first spinoff in the Kirby series, which would later include Block Ball and Star Stacker, and is arguably the best.
Each table is two screens long (with one in-between screen) and though it’s possible to flip Kirby up to the top with a well-timed shot, players will usually rely on characters on the pinball table to throw Kirby upwards. Because it’s only a Game Boy game, the tables are limited to a few bells and whistles, but the variety between each is enough to satisfy. In one stage, hitting bombs will give points but also violently careen Kirby around when they explode. In another, bouncing off a Kirby icon will deposit goodies, including a squid who tosses you up to the highest screen. Items can be hit for points and possibly a table perk, such as a tomato that bridges the space between both flippers and keeps Kirby from falling. If Kirby falls, he can be slingshotted back up by a platform when the A button is pressed at the correct moment.
There are three stages themed after their respective boss-- Wispy Woods, Kracko and Poppy Bros Senior-- who can only be reached by hitting certain objects on the top screen. Once the boss is reached, hitting them will dole out tons of points and eventually beat them. If Kirby falls past the flipper, a warp star takes him back to the table. The boss must be reached again and the fight must be started over. Because of this setup, it’s possible to exploit it for a high score, as a player can reach a boss, hit a few times, drop out and start over, all while continuing to rack up points on the main table in between. It’s a strategy that serves well; the scoreboard has my name filling the whole thing. After beating a boss, a warp star appears to take Kirby back to the level select to take on the next.
Being HAL’s second Game Boy pinball release, the physics work well. Kirby moves like a steel ball instead of his usual airy fluff and doesn’t bounce around unless he hits something. Flipper action feels strong and the aim is accurate most of the time. There is a tilt button that goes almost unused, but it’s a nice touch. Truth be told I’ve never played a bad pinball game so my frame of reference isn’t huge, but given the hours I have put into the game, Pinball Land handles well and doesn’t do anything noticeably wrong.
Part of my love for the Game Boy is the extremely low time commitment to many of the games. There are loads of in-depth console-quality games such as Link’s Awakening and Final Fantasy Legend, but even though I could sink hours into both types, most of the time I prefer the simpler games such as Kirby’s Pinball Land. There are no pretenses about time commitment-- I can play for two minutes or two hours and it will be fun either way. No story, no cutscenes, it’s immediate and accessible. Much like the original pack-in game Tetris, Kirby’s Pinball Land highlights the strengths of a portable system. Anyone can play it, anywhere, anytime.
FALLOUT 3: RIP 2008-2011
Fallout’s name was mud. Interplay’s original game had been praised upon release in the early nineties and was soon followed up by Fallout 2, developed by in-house studio Black Isle Studios. Both games were still revered as classics, but unfortunately, the tepid Fallout: Tactics, abysmal Brotherhood of Steel and the cancellation of Fallout 3 could only muster defeated sighs from the PC old-timers who remembered the good old days. Worst of all, an audience was growing-- a young audience who asked “What’s Fallout?”
The rights to Fallout were sold to Bethesda for pennies in 2007 when Interplay faced bankruptcy. Fallout 3 was released near the tail-end of 2008 and introduced the series to a brand new market of young console gamers, including myself. When Fallout 3 came out, I had turned 15 only a month or so before and was beginning my freshman year of high school. My best friend Ben got a copy for Christmas and regaled me with stories until I finally picked it up.
Bethesda makes very identifiable open-world games that they have yet to stray from. At the time, the Elder Scrolls IV: Oblivion was their latest, and though much of what I love about Fallout 3 was already being put to use, the medieval setting didn’t mesh with me, and I never played it. “Oblivion with guns” was the popular description for Fallout 3, and the idea of wandering around an open world collecting knick-knacks and weapons made out of garbage had a certain allure to it. The Elder Scrolls had already proven the formula for others, but Fallout 3 was my first taste of the Bethesda open-world RPG.
Luckily for me Fallout 3 had hundreds of hours of content, and I was the right age to get every last bit out of it. The game is full of easter eggs, random encounters, out-of-the-way locations, bugs-- content that can easily be missed by others. With that comes the possibility of seeing parts of the game your friends won’t, and though there is a canonical story, Fallout 3 is about the crazy stories and experiences unique to each person’s playthrough.
Some encounters were there for everyone, such as wandering into a neighborhood of cannibals, finding a vault full of homicidal clones named Gary, and stealing the Declaration of Independence from a robot convinced he is Georgia’s second governor. Others were more unique. Fallout 3 has some notorious bugs which usually end up working out in the game’s favor. While exploring I approached a wrecked bus when it suddenly flew into the air as lasers shot from nowhere. Ben told me about the time he blew up a Protectron so hard it rocketed into the sky. Hours later, a Protectron fell from the atmosphere and slammed into the ground in front of him.
The sheer density of Fallout 3 is hard to overstate. Not only can players’ experiences wildly differ, but there is an enormous amount of weapons, clothing, souvenirs and junk to collect. Half of the fun came from hoarding and displaying my treasures, and like a kid sitting in his fort waiting for enemies who never come, I guarded them. A shotgun under the bed with a box of shells next to it, or a few grenades in the mailbox outside of a house. Mines were laid around the no-man’s land I had claimed as my own. The game’s carry limit meant I was already a walking armory, but the little touches kept me immersed.
I got my money’s worth out of Fallout 3 many times over, clocking 350 hours across a few different characters. Downloadable content freshened up the game and gave me more locations to scavenge, and near the end of its life, when I had done almost everything possible and was eagerly anticipating New Vegas, self-imposed limits, such as only carrying one weapon or just using what I could take off corpses, extended my playtime even further. Eventually New Vegas came out and I voraciously played for a hundred hours or so, but I never liked it as much. Fallout 3 had the advantage of coming first, and it was revolutionary when I first played. The freedom, the customization, the amount of unique content-- I didn't know it was possible, but it was, and it blew me away.Â
I have wrung every last drop out of Fallout 3. If you have not played it, I can't recommend the game enough, but I can never go back. Fallout 3 is a peak in my gaming history, and I don’t think I’ll ever become so invested in another game again, but that’s okay. The memories will always remain.