Showing posts with label 1988. Show all posts
Showing posts with label 1988. Show all posts

Wednesday, July 20, 2022

POETIC VIDEO GAME REVIEW #28: METAL GEAR NES (1988)

 


self-destruct sequence: engaged

cue the music of desperate escape

the music of ferocious exhilaration in defiance of the Grim Reaper riding your ass

your guns your bombs your blades your stealth your key cards your bullshit

let it all drop

now is the time

for your legs to work'n'pump'n'carry all of your cheeks across the finish line,

there's no one left to rescue,

there's no more ranks to attain,

there's no one left to kill,

there's no place to hide,

there's no more nonsense to collect,

you must run from the annihilating spite,

the sore loser auto-destruct grudge, the final gift of a bitter final boss, 

fuck that guy forever,

fuck his guns, fuck his hardened survival bunkers, fuck his ammo dumps, fuck his mercenary errand boys, fuck his minefields, fuck his tanks, fuck his flag, fuck his memory,

run for your life, for your Now,

don't stop 'til the staff roll,

never feel asleep ever again,

and maybe just never stay still ever again,

there's no Heaven Beyond,

there's only the Now,

don't ever get locked into the Paranoiac's Militarized Happy House: the Siege Fortress,

the mausoleum,

the monumental man,

stay meats,

stay Now,

stay running . . .

-May 2022-July 2022

Sunday, July 3, 2022

ANIME REVIEW: AKIRA (1988)

 

Original Manga by/Character Designs by/Directed by Katsuhiro Otomo


Screenplay by Katsuhiro Otomo and Izo Hashimoto


Art Direction by Toshiharu Mizutani


Director of Photography Katsuji Misawa


Edited by Takeshi Seyama


Music by Geinoh Yamashirogumi


AKIRA HAS A CREW OF HUNDREDS OF HARDWORKING PEOPLE WHO I DON'T HAVE TIME TO LIST IN THIS REVIEW. I SINCERELY APOLOGIZE. A MOVIE LIKE AKIRA TAKES AN ARMY OF DEDICATED ARTISTS AND CRAFTSPEOPLE. IT'S SOMETHING TO KEEP IN MIND. 


Voice Cast

Nozomu Sasaki as Tetsuo

Mitsuo Iwata as Kaneda

Masaaki Okura as Yamagata

Takeshi Kusao as Kai

Yuriko Fuchizaki as Kaori 


Mami Koyama as Kei

Tessho Genda as Ryu

Hiroshi Otake as Nezu


Taro Ishida as Colonel Shikishima

Mizuho Suzuki as Dr. Onishi

Sachie Ito as Kiyoko (no. 25)

Tatsuhko Nakamura as Takashi (no. 26)

Kazuhiro Kando as Masaru (no. 27)


Yosuke Akimoto as Bartender


Koichi Kitamura as Lady Miyako (Doomsday Cult Leader)



. . .


"KANEDAAAAA!!!"

"TETSUOOOOO!!!"


. . .


Review by William D. Tucker.


Post World War III.


In another 2019.


In another Tokyo.


A corrupt government suppresses civil rights. Slimy politicians promise the New Olympic Stadium will 'Make Japan Great Again.' Slimy politicians pocket huge sums of money, dole out enough spare change to their donors and sponsors to stay in power until they croak on the job. 


The people take to the streets to make their voices known through acts of civil disobedience, even as they are brutalized by military police. Some take up guns and bombs and wage guerilla warfare against the state. Many try to pretend everything is a-okay by continuing to show up for jobs and school and go on dates at restaurants. Still others seek oblivion in drugs and sex and apocalyptic religions. Young people form motorcycle gangs, and raise all kinds of hell in the streets through indiscriminate acts of violence, vandalism, and defiance of polite societal norms.


A name from the past echoes through all things: Akira . . .


In the futuristic megacity of Neo-Tokyo, a dystopian gerontocracy (arbitrary

rule by old fucks) deposits public funds into the bank accounts of special interests, the military, the cops, and corporations while cutting education, welfare, and civil rights programs. One project that the gerontocrats are looking to ax is known by the codename Akira. This is a top secret superscience operation focused on cultivating psychic powers-though I wonder if it actually isn't obscured by state secret classification so much as it is occluded by the traumas/social breakdowns of World War III, mass global slaughter, nationalist mythcraft, and capitalist greed. Who wants to remember a past so filled with horrors? You turn on the daily news and you know the fix is in, right? You don't have to be a psychic or a historian to know that past is prologue, that shit was permafucked before most people alive today were even born. Even so, Neo-Tokyo is alive with neon-holographic advertising fantasias, premium speed to keep you up for days at a stretch, and all the fucking, fighting, and property destruction you can handle. Akira-the movie,the state of mind, that most fearsome of fantasy vacation hotspots-has something for everybody. 


You've got the motorcycle punks led by teenage hooligan Kaneda, who rides a bright red future bike with matching self-made uniform. You've seen it. Kaneda and his turbo-whip are the iconic marketing, the poster. Even if you've never seen the actual film you've come across the imagery of the crimson clad rebel-without-a-future somewhere in your life. Amusingly, Kaneda turns out to be more of a comedy character than the badass he imagines himself to be, but he doesn't lack for spunk.


Kaneda's best friend is Tetsuo, a troubled kid, full of rage at being bullied from kindergarten onwards. Tetsuo is starting to resent Kaneda's big brother routine, and covets that big red bike. Tetsuo is dating a shy girl named Kaori. Kaori could probably do better than Tetsuo, but she's naive and lacks confidence. Tetsuo is no catch as a romantic interest, but he does become the secret protagonist once he awakens to his psychic powers. Although whether he is his own agent or the expression of some wilder, untameable force remains a mystery to this day.


Also in the gang are tall guy Yamagata and short guy Kai. They kick ass. Don't underestimate the short dude. He'll fuck up all of your shit. 


Kaneda and his gang are in a neverending street war against the Clowns, biker scum who dress like clowns. They're led by a burly dude named Clown. They have a theme going, but it's kinda mysterious.


Kaneda's crew has a motorduel with the Clowns. From out of nowhere, a small strange child uses telekinesis to blow up Tetsuo's bike. Military police show up to arrest the punks, and haul Tetsuo off to the hospital. This accidental collision between the street and the state sets off an apocalyptic chain of events that will transform Neo-Tokyo into a psionic disaster zone. 


Not the first time, y'know . . .


The small, strange psionic kid is Takashi, and he has the number 26 tattooed on the palm of his hand. A guerilla fighter busted him out of a government facility, perhaps to exploit telekinesis as a revolutionary weapon. The guerilla and the psychic brat confront a military police unit, and a building gets destroyed by the brat's uncontrolled brainwaves. Takashi has great power, but he's not a hardened fighter. When he panics at the sight of someone being gunned down by the cops, he looses indiscriminate invisible force. This is a major idea in Akira: social dysfunction and injustice resulting in chaotic destruction. 


Takashi is part of a trio of kids who have been subjected to secret experiments to cultivate their psionic powers. This secret program is managed by white lab coat rocking Dr. Onishi and has the backing of the embittered Colonel Shikishima, who sees psychic kids as a safeguard against future calamity. The other two psychic kids are a girl named Kiyoko and a boy named Masaru. The psychic trio also seem to view Shikishima as a father figure, since he's trying to protect them from being shit-canned by a government that no longer sees the utility of the Akira program, and also wishes to avoid the fallout of being associated with human experimentation. Kiyoko, who has oracular powers, has had a vision of doom befalling Neo-Tokyo. The Doctor gathers data. The Colonel attempts to convince the corrupt politicians and their business backers to take the prophecies seriously.


One of the Colonel's political enemies is a representative named Nezu, who is secretly channeling funds and intel to a terrorist guerilla group led by a man named Ryu. Ryu's faction are responsible for busting Takashi loose. One of Ryu's most loyal followers is a teenage girl named Kei, who has a kind of naive crush on Ryu. Not that Kei isn't committed to the cause, but Akira also has a theme of young women having shit options when it comes to dating. Ryu isn't into underage girls, thankfully, but he is into dying for a cause-and also having other people die if necessary. Like Kei, for instance. 


Kei crosses paths with Kaneda in jail, and Kaneda hounds her for a date. Kei's so over high school guys, but Kaneda tries to win her over by bullshitting his way into Ryu's faction. Revolutionaries and street punks ought to have more common cause. 


All of these actors are, ultimately, locked into narrow visions of vengeance, order, money, ideological purity, scientific obsession, or accumulation of power. Neo-Tokyo cannot go on as normal, because there is no normal. Capitalism and militarism have effectively thwarted social justice. Now comes the rage. 


And what a rage it is: motorcycle showdowns that would make the Hell's Angels shit their adult diapers; psychic battles that put X-Men to shame; fashionably dystopian cityscapes that make Blade Runner look like the coffee shop from Friends; and orgasmic vistas of mass destruction that make Godzilla look like Barney the Dinosaur. Akira offers up a festival of annihilation for those tired of the bullshit, and a nightmare of desolation for those clinging to a fantasy of a return to a normal that never existed.


Many images and sequences stand alone in their ferocious power and lurid colors:


A massive memory play assembled from the wreckage of a rubbled city and childhood trauma-I wonder what Katsuhiro Otomo would do if he ever adapted Arthur Miller's After the Fall or Death of A Salesman.


Tetsuo defiantly turning away from us to walk into hellfire-now you know where Sephiroth copped his whole routine!


A trio of psychic children battling an intruder within their private playpen, walls adorned with optimistic future cities straight outta Astro Boy and the Jetsons. These flimsy imaginings crumble like everything else.


A psychic punk squaring off against a fucking tank. Don't bet on the tank. 


Slow motion motorcycle wipeouts that make me wonder what Otomo would do with J.G. Ballard's Crash.


The shock and horror on a young guerilla's face the first time she kills a soldier. 


Out of control full body metamorphosis escalating to cosmogenesis. 


A disillusioned military man marching into certain death for reasons he no longer understands with nothing but his sidearm and samurai spirit to guide him. 


A motorcycle gang war crashing a yuppie couple's dinner date.


A vast amoebic cloud of tear gas enveloping a street protest.


The look on someone's face as they channel another's consciousness.


Acid trails of tail lights whipping all over on the air before us, a terrible power we can only grasp in the wake of the ruins it leaves behind itself . . .


All of this set to driving doomsday chanting and percusive instruments. The soundtrack goes with all this quite well, but also stands alone as its own experience. Give it a listen. 


The only downside? All the video game versions suck. Not a single one worth one half of one dog turd. Maybe someone has run their own homebrew tabletop Akira role-playing game somewhere out there in TV land? That could be something.

Sunday, April 24, 2022

POETIC VIDEO GAME REVIEW #26: BLASTER MASTER (1988)

this is the one with the jumping future tank

your pet frog runs away from you

into a mysterious underground kingdom of Enemy

you chase your beloved amphibian beneath the earth

only to find a jumping future tank all gassed-up and ready-to-go

fate has given you the tools to obliterate Enemy

or, y'know, we kick things off with an act of Grand Theft Jumping Future Tank

fate or crime

you now get to rampage through the underground kingdom of Enemy

maybe even get your pet frog back


once you're in the kingdom of Enemy

you have to maneuver your jumping future tank around obstacles

and blast Enemy military assets

you even get to drive your jumping future tank underwater

yes, friends

your jumping future tank is a proper Bond Car/Batmobile/S.H.I.E.L.D. hovercar

all-in-one

all-terrain, loaded up with exotic beam weapons and missiles and, eventually, flight capabilities,

of course

you must fight and kill your way into the advanced features

your jumping future tank grows as it is fed the blood and circuits of Enemies 

meats and robo


you have to get out of your tank to sally forth into bleak Enemy bases that resemble Amazon Warehouses: full of bland boxes, mostly automated but with a complement of pissed-off, overworked conscious ones who are compelled to defend their turf unto death,


every now and again

one of these Enemy bases has a room in the back of absolute darkness,

a room of void

and from this void

manifests

a mutant abomination

tentacular, cyborgian, massive,

I guess it's a warehouse/logistics officer

a fight to the death ensues

obvi


I was always frustrated that I couldn't just crash my tank into the Enemy bases. Game forces you to get out of your tank and hoof it into the hostile installations. If you were just able to do what you wanted, and have fun all the time then we would live in Utopia, I guess. It's fine. 


look,

I gotta level with you

I didn't give a shit about the frog

I loved that jumping future tank

I loved its power

I loved its jump

I loved its cannon

I loved its death lightning

I loved its missiles

I loved how it wrecked shit

I got inside that tank

I found home

I never wanted to leave

I would annihilate the underground kingdom of Enemy, gladly, and then find a new Enemy to zap

or

if necessary

find a Friend and just decide they work better as Enemy, and zap them,

it'll be fine

I was the serene obliterator

I was the heart/soul/brain of the jumping future tank

I became the jumping future tank

I never wanted to come back

Maybe I didn't.

-February-March-April 2022

Tuesday, April 12, 2022

POETIC VIDEO GAME REVIEW #25: IRON TANK (1988)


This is the one

where

with true tank controls

and 

under cover of history

you're the tank 

you the player 

are the tank 

or perhaps you're so identified with your vehicle that you kind of become the vehicle 

you were a man who becomes a tank 

an iron tank 

in order to fulfill your mission to destroy the enemy

as you go along in your tank 

or 

as you go along as a tank 

you collect letters that stand in for different kinds of ammunition for different kinds of weapons including a rare powerup for a super weapon that can wreak destruction across the screen 

obliterate all enemy 

as you go along in your tank 

or 

as you go along as a tank 

occasionally bombs will fall from the sky causing the screen to shake and flare up 

it's hard to see the on-screen display of your life bar when this happens 

it's as though the explosion is so intense that it's messing with your technology 

with your on board sense of yourself 

as a tank as a man 

as a man who is merged with his tank 

as some cybernetic intermediate being 

I'm not totally sure 

but that's the feeling that I get this time around

you've a choice of three paths to victory 

of varying levels of difficulty 

different kinds of obstacles 

different item drops 

once you know the game 

you have a sense of which path you prefer if you wish to get through the game with speed 

as you blitz through the enemy 

you will occasionally encounter boss fights that are basically giant tanks that manifest out of dark voids 

this is a familiar boss fight motif for many eight-bit NES video games 

the screen goes black and a giant enemy threatens you 

it's part of the theater of the 8-bit I suppose 

a convention to draw attention to a dramatic battle with a significant enemy 

as opposed to the hordes of pop-up mooks that you slaughter without a second thought 

well now you're confronted with a huge boss tank in a despairing void of total darkness 

it's weird when this happens in the context of a non-fantasy game 

or what is presumably a non-fantasy game 

where do the surroundings go? 

are we not in physical reality anymore? 

come to think of it 

Iron Tank is a strange game that takes a lot of liberties with the history that it presumes to gamify 

the subtitle is 'The Invasion of Normandy' but this game bears little resemblance to the historical Normandy Beach landings but that's okay 

I suppose this is a kind of semi heroic fever dream derived from what a small boy might think of when they have watched hours of History Channel documentaries about World War II or they've watched some old World War II movies on one of the Ted Turner channels of a Sunday morning or whatever 

a tank is a cool toy when it's small and plastic and in your hands 

and you've got a bunch of plastic enemies to steamroll 

you can even build little bases and obstacles out of Legos and Duplo blocks and all the rest of it 

I vaguely recall as a child constructing some improbable enemy base out of Lincoln Logs 

maybe it was a saga of enemy loggers that I had to massacre,

maybe I'd just seen Ferngully

I no longer recall at this distant date

but I'm sure that was a fun time 

so Iron Tank is not a source of credible history 

surprise, surprise, surprise

but it's a decent fantasy riff on tank warfare 

from the WWII era 

I suppose 

with a quasi science fictional logic to it 

you're piloting a super tank that can just steam roll scores of enemies 

and you're equipped with some kind of top secret screen clearing nuclear weapon 

and icons appear on screen as though you were playing some kind of tabletop war strategy game 

some kind of a kriegspiel with the tedium stripped out

juiced with high doses of mythic heroism 

real life warfare is not fun 

forgive me for stating the obvious 

while people can be awarded individually for valor in the face of death and danger 

the overall effort doesn't usually rest upon any one person or individual 

it's a collective mechanized rationalized standardized endeavor 

in which the individual is but a cog in the machine 

everyone knows this 

forgive me once again for stating the obvious 

but the fantasy of being a lone tank that fucks up all of the enemy for good 

that's fun 

it's easy to gamify 

you're basically managing scarce resources 

shortages of ammunition 

declining fuel reserves 

you've got to fight and scavenge at the same time in order to survive and prevail 

that's kind of how Iron Tank works 

you're also besieged by enemies on foot 

groups of squishy little soldiers 

that are somewhat comical on screen 

they swarm you from behind 

and if you go after them they scatter

but usually most of them get run down underneath your treads 

it's surprisingly grotesque and funny in a sick fuck sort of way that never fails to tickle my funny bone 

and yet I keep coming back to this fantasy of merging with the tank 

I think this is another childish thing 

playing with little cars little dump trucks little tanks little jet fighters little fantasy vehicles like flying saucers and the knockoff brand x-wing fighters I got in a bucket full of spacemen from K-Mart

and you know 

occasionally 

something really fancy like a Robotech Veritech fighter or a Mechwarrior miniature 

or something along those lines 

the machine is always cooler than the person 

I still kind of feel this way 

I've always been the kinda person

who believes Bruce Wayne is the Lie

and Batman the Truth

equipment more real than character

equipment as character

maybe I'm still just sort of a fucking miserable child at heart 

I don't know 

but I don't really feel too bad about it

the world is a stressful place full of dangers 

if I had the opportunity to slice my central nervous system out of my body 

put it in some kind of armored casing 

and then slap that sucker into a formidable cyborg body 

you better believe I'd go for that 

zero doubts, no fucks given, 

and that's kind of how I process Iron Tank 

yes the opening cutscenes briefly describe a person who is inside that tank 

but you don't actually see the person get out of the tank during the game 

nor is it an option to leave your vehicle of war like you could in Blaster Master 

where you could get out of the jumping futuristic super tank

that's not how that works in Iron Tank 

you are all tank all the time 

which suits me fine 

it's not like you're getting invited to social events over your radio

that would be a whole other game

where you would have to decide if any of these parties are worth going to

gotta manage your wardrobe

feel out the vibe 

dress accordingly

rack up those style and vibe congruence points

all the while you're blasting party-pooper Nazi fucks into pink mist

that would be neat

but

nope

that's not Iron Tank

what it is

is

you're just running a gauntlet 

of enemy 

enemy tanks 

enemy planes dropping 

enemy bombs 

swarms of foolhardy enemy soldiers who can nibble away at your power bar 

not to mention treacherous roads that lead to obstacles you have to maneuver around 

every once in a while you come up to a large enemy base facility of some kind 

usually with giant mounted guns on it 

and you have to zap that all to hell in order to get inside 

drop into a shadow void 

from which 

manifests a giant mecha mutant tank 

the latest monstrosity pooped out by the self-replicating Nazi death machine of machines 

-Hitler's asshole must be well-stretched and bloody, straining after his dreans like this-

the life destroying mechanism that encompasses all the other mechanisms of death 

that births the sub mechanisms of death 

that's the vibe I get 

you travel from the bottom of the screen to the top 

and destroy everything that gets in your way 

it's all part of that death machine that encompasses the smaller cuter death machines 

no reason to hold back 

no reason to hesitate 

you

the Iron Tank

are just the necessary consequence

manifesting

to obliterate the Hitlerian-Asshole-Death-Machine-Complex

so fire at will

be not troubled

an Iron Tank must Iron Tank

Sure 

there's plenty of reason to maneuver carefully 

you don't want to get destroyed 

and yes 

you do have to rescue prisoners along the way 

but as I recall you can't actually kill any innocent people 

it's just not something you can do 

I'm fine with that 

maybe it's all a part of the experimental technology of the super-duper Iron Tank 

is that it has great friend or foe recognition but that's just something I have interpreted into this 

I don't recall if that was explicitly mentioned in the instruction booklet or not 

in a way 

after experiencing the power of an Iron Tank 

I don't think I want to be anything else other than an Iron Tank 

maybe a man got into that tank 

piloted it to the end of the mission 

and then when people went up to the tank to provide repairs 

or whatever 

and check on the health of the pilot 

maybe 

they opened it up and they didn't find anybody 

oooooooh 

could it be that Iron Tank is a secret spooky game after all?

-May 2021-April 2022