Posts Tagged ‘ noir ’

“The Pain of watching Max Payne”

The opening of “Max Payne” shows the inside of an ice laden lake enshrouded in shadows, with only a small ray of light piercing the dark blue waters. Mark Wahlberg is drowning, his body floating away into the darkness as he mutters a gloomy monologue in his trademark coarse voice. Surrounding him, chained to the bottom of the lake, dozens of dead bodies lie afloat, completing a beautiful visual metaphor concerning Payne’s pain. Even if his monologue is deprived of the lyrical punch associated with “Max Payne’s” text (a product of its “hard boiled” novel roots), the initial thought that comes to your mind was that perhaps they finally got one right… but then the movie starts proper and you realize it was just a hope-filled illusion. As characters swerve by the screen, uttering unspeakable dialogue in wooden, robotic fashion, you start waking up to the fact that, once again, no respect was given to the source material. As if the plot was built on the game’s synopsis by thick writers (Beau Thorne) who didn’t even bother to sit through the game, characters, events and sequences are constantly removed from context, remixed and dumbed down so that their substance can match the density of the paper in which they were written, all as to produce a horribly ludicrous plot-holed script. The stylization of the game’s script is completely absent, its metaphors and allegories lightened into literal pieces of producer-friendly Hollywood trash. Characters only manage to keep their name, having new (and absurd) trappings and back-stories, like Jack Lupino, here transformed into a guinea pig for a super-soldier experiment gone wrong, complete with the visual apparatus of a comic book character (all muscles, no hair, always naked from the waist up, filled with menacing tattoos), and what do you know, he also moves like a badass comic book villain, lurking from rooftops, spying on the innocent, jumping all the time, and screaming like a gorilla whenever he needs his fix of Valkyr. It almost looks like a lame camp joke on “Batman” or “Spiderman”, but no, the movie is actually trying to keep it ‘serious’ for the masses. The lesson here, as in other adaptations (and yes, I’m looking at “Silent Hill”), is if you’re gonna translate a story from a game, might as well try to be faithful to it, because apparently, Hollywood writers commissioned to translate these adaptations can do a worse job then the allegedly mediocre videogame writers, and “Max Payne” is a text book example of this.

The actors, stuck with the horrible lines the idiotic writer penned, are usually as bad as he is (Mila Kunis and rapper boy Ludacris), and even when they aren’t (Mark Wahlberg and Beau Bridges), they can’t seem to deliver them with a straight face, as if they were conscious of the mediocrity of the whole affair. Needless to say, the director (John Moore) seems to have snoozed throughout the entire shooting, because he left some pretty awkward moments in actor performance go by the editing room untouched. Or maybe he was just too busy getting the stylized visual of the game right, because that at least, seems to be coherent with “Max Payne’s” aesthetic, even if the “chiaroscuro” effects have a CG-like quality that make it look a tad plastic. Worse even, is the attempt at using visuals and CG to further lighten the subtlety of some of the game’s themes, most notably, the Norse Mythology influences. As to make it perfectly clear that Valkyr junkies are mad, the movie actually shows scary and dark winged angels flying about, a foolish attempt to create tension in the audience. You’d think that such a crude undertaking of making the original work acceptable to no-brain masses would at least be able to amaze you with some dazzling John Woo shootouts, filled with explosions and broken sets… this is “Max Payne”, the shooter, right? Wrong. There are only a handful of action sequences, all so straightforward and forgettable, you’ll think why they even bothered putting them there. And of these, only one bullet time sequence… Yes, one. Not two, not three, just one. And you know what? It’s horrible, like everything else in this godforsaken movie. By the time you get to the ending, you’ll watch the intro again, now placed in context, and you’ll notice that it never was a metaphor or anything remotely deep. Max Payne was simply thrust by the bad guy into the lake to die (though only after carefully “explaining” the conspiracy to Max Payne, even if any spectator with half a neuron could figure it an hour before). And so, here is Max, surrounded by the victims of the big bad conspiracy, in the bottom of an icy lake, drowning… just like the movie. I, for once, hope it stays there. Unfortunately, the movie is open to a sequel (watch the after-credits sequence), and its box-office results are superb (it’s doing better than “W.”). And gamers still wonder why bad adaptations are made? It’s simple, people watch them and love them (gamers included), even when they’re pure waste of time and money, like “Max Payne” is. Thank God I don’t have to pay to go to the cinema.

2008
10/21
POSTED BY
CATEGORY
Editorial
TAGS




4 comments

Max Payne 2: The Fall of Max Payne – “A Noir Epic”

max-payne-2-title.jpg

Sometimes you have to wonder: why a sequel? “Max Payne” was, in the limited realm of videogame art, probably one of the best works ever to be released; so, why a sequel? Was there anything left to be said? About Max, I mean? His love was dead, his past no longer a mystery and his desire for vengeance was fulfilled. So I have to admit, there seemed to be no reason to delve into Max Payne’s sad, morbid and twisted mind again… or was there?

“The past is a gaping hole. You try to run from it, but the more you run, the deeper it grows behind you, its edges yawning at your heels. Your only chance is to turn around and face it. But it’s like looking down into the grave of your love, or kissing the mouth of a gun, a bullet trembling in its dark nest, ready to blow your head off.”

“Max Payne 2” might seem like an attempt to cash in from the original’s success: it took less than two years to design, graphically it’s very similar, it starts with exactly the same tone and plot devices as its predecessor, the plot opens holes in the first one’s narrative, that quite frankly, just weren’t there and a certain character is mysteriously revived during the first screens of the game. So, at a glance, “Max Payne 2” could seem like an afterthought of the original. But appearances are misleading…

max-payne-2-vignette.jpg
“What the fuck is wrong with you, Max? Why don’t you just die? You hate life, you’re miserable all the time, afraid to enjoy yourself even a little! Face it, you might as well be dead already. Do yourself a favor, give up! “

The first thing that pops up is that Max Payne doesn’t look like Max Payne. His character model is different. At first, this seems strange, this eerie, awkward transition from a Hawaiian shirt youngster with quirky smile and feel free attitude, to this middle-aged man with disillusioned, depressed, deep caved eyes that look as they’ve seen all the horrors the world has to offer. But if you ponder, you will understand that this is the way Max Payne was meant to look like: a torn, spiritually crippled “noir” detective. This IS Max Payne. The change goes as far as revamping all the character models from the first game (in vignettes and in game-models), making them all feel more in key with the tone and style of the game. Series’ lead designer, Petri Järvilehto, explained why this change occurred: during the first game, their budget didn’t allow the designers to hire real actors for use in character models (only voice acting), and so they had to base characters on members of the creative team. Voices on the other hand, still sound the same, which is good, because they were already well acted in the first game.

max-payne-2-vignette-2.jpg
“Death is inevitable. Our fear of it makes us play safe, blocks out emotion. It’s a losing game. Without passion you are already dead.”

The subtle change of actors feels “key” in the grand scheme of things behind “Max Payne 2”, as the plot tries to go even deeper in terms of exploring its characters’ beliefs, motivations and above all, their feelings. This is a departure from the first game, since its story delved more on the actions and consequences of Max Payne’s obsessive vendetta, than on his actual inner demons. Now, that’s upside down, and the objective is focusing on Max Payne’s love, regret, and hope of atonement for his dark past. The story (once again written by Sami Järvi, series’ script and screenplay writer) runs deeper in its meanings and concoctions, its drama is truly heartfelt (to the point of a good drama film), even if in actual plot terms, nothing very important really happens during the game. Add a remixed version of the first game’s poignant soundtrack, some beautifully crafted comic-book style vignettes, the best dialog you’ve ever seen in a videogame, and you have a narrative that will chill your spine, challenge your brain and make your soul cry. That’s how good “Max Payne 2” story is.

max-payne-2-vignette-3.jpg
“Ladies and gentlemen, allow me to present Max Payne, New York’s finest, with the biggest mobster body count ever. Dearest guests, prepare to die! Max! I’d love to come and welcome you, but I’m busy dodging bullets and hiding under a desk at the moment!”

Though the actual gameplay is more or less the same as in the first game, it was subtly improved, with a small number of details that empower the already brilliant shooting mechanics. Firstly, the game is smaller, which means it’s juicier and more cohesive, leaving anything that could be defined as “filler” out. Levels are better designed this time around, and resonate with character’s feelings and states of mind, making them not only important in terms of gameplay, but also in terms of setting up the ambiance of the story. This was also true for the first game, but it’s better explored this time around; some levels are downright masterpieces of level and art design. Even the apparently unimportant TV shows (the parody to Shakespeare’s comedy “Much ado about nothing” named “Lords and Ladies”, the David Lynch homage “Address Unknown” and the spoof of blaxpoitation masterpiece “Shaft” – “Dick Justice”) that can be viewed in the scenarios’ television sets are incredibly well written and add layers of interpretation to characters and situations. In strict terms of gameplay, besides upholding the standard of the first game’s pacing, the designers use pre-scripted events and scenarios that change the flow of the game: like a level in which you play with someone else other than Max Payne that has to protect him, or a boss fight in where you actually have to think on how to kill your adversary. These small additions might seem irrelevant, but they actually make “Max Payne 2“ be, at least, as interesting in terms of gameplay as its predecessor.

max-payne-2-action.jpg

As expected not everything is perfect (though it is nearly so). As mentioned before, the actual plot doesn’t really go anywhere, since the ending of “Max Payne” left no avenues for a sequel. The visual aspect of the game doesn’t show much improving, and would’ve benefited from the use of better lighting technology (that was already available at the time of “Max Payne 2”), that might’ve made the in-game graphics resemble the expected “chiaroscuro” aesthetic [for more on “Chiaroscuro”, check “The Darkness” review]. Minor flaws apart, the game is simply astonishing and improves on every small aspect of its prequel, even if it feels much more of an update on the original than an actual sequel. “Max Payne 2” is the coming of age of a concept, the culmination of its authors’ artistry in story-telling, game and audiovisual design. If “Max Payne” was Art, then “Max Payne 2” is fine Art.

Overall: 5/5

[Thanks to JorgeSousa, who requested this review… which I’m hoping he’ll enjoy.]

2008
02/22
POSTED BY
CATEGORY
Review
TAGS








7 comments

Max Payne – “A Noir Love Letter”

Max Payne - Title

Like in many other forms of art, videogame creators look up to other mediums as a means of finding inspiration. Classical themes and codes are often replicated in videogames, whether in terms of story, art or cut-scene direction, or even gameplay. Not always have these transitions been successful, but sometimes, they work, they really, really work; “Max Payne” is one of those cases. Now, “Max Payne” is not an adaptation “per se”, but it’s a clever homage to a number of art forms, and especially to a genre: the Noir. “Max Payne” can be described as an interactive cinematic action noir graphic novel. Sounds complicated, right? Let me Explain.

From the get-go any player will understand that “Max Payne” isn’t an ordinary game: the initial cut-scene renders a dark NY, stricken with the storm of the century, wind and snow ablaze; behind a cacophony of helicopters, ambulances and police-sirens, a low-toned, hoarse voice slowly mutters the words: “They were all dead. The final gunshot was an exclamation mark on everything that had led to this point. I released my finger from the trigger, and it was over.” Meet “Max Payne”, a worn-out, gloomy police-officer whose wife and daughter were murdered by a group of over-drugged junkies; his purpose in life? To kill everyone connected to that murder. Like any hard boiled novel cop, he is a man stricken with guilt and regret, his past a mystery, and his objectives are not pure. Max’s journey will unveil a corrupt society, where crime and power go hand in hand, where love and hate go side by side and where vengeance and justice are two faces of the same coin. As he himself puts it… “I had taken on the role of the mythic detective: Bogart as Marlowe, or as Sam Spade going after the Maltese Falcon. To unravel all the mysteries, following a path of clues to that final revelation, even if it would take me down to the cold, cavernous depths of a grave.”

Max Payne Im in a Graphic Novel

The plot develops through a series of live-action stills, with hand drawn coloring and drawings on top to resemble graphic novel vignettes. Speech bubbles show the dialogs, while at the same time voice actors read them, with that over the top, fatalist tone that so well complements noir stories. These dialogs are extremely well written, filled with metaphors, hyperboles, allegories and a cynical overtone that engulfs nearly all sentences… even that creepy post-modern humor makes an appearance [See Images]. The moody and sad undertone of the soundtrack is the icing of the cake: the cold sound of a bleeding cello gives a whole new level to Max’s emotional pain. Everything in “Max Payne” feels like a tribute to “Noir” films and novels, a tribute to Eisner, Miller, Wilder and Ellroy; its dark aesthetic and literary influences leave no doubt: “Max Payne” is the first interactive Film-Noir.

But, a good narrative isn’t enough to make a good game, gameplay is also a factor, and even there “Max Payne” is brilliant. The action bulk of the game is perceived in the 3rd person shooter angle, with a “bullet-time” mechanic (Matrix style) allowing the player to slow down time, dodging incoming bullets while aiming at the opponents’ heads to blast them to kingdom come. Even from a technical point of view this was revolutionary at the time, for the bullets’ trajectories were calculated in real time, with the shooter’s momentum interfering on the path they took. But the level-design is what truly made this shine; levels were correctly paced, with action sequences followed by adventure and plot elements in the right proportion, thus avoiding the shooting-overload-sickness most action games go for. Max Payne’s formula is so downright perfect, that no game to this day has nailed the “bullet-time” style gameplay on the same level (except its sequel); “Enter the Matrix” was shallow at best, and the recent “Stranglehold” is absent of any thought level design choices, making it the shooter equivalent of a “hack and slash”.

Max Payne I’m in a Videogame

Games don’t get any better than “Max Payne”, its smart narrative, audacious aesthetic and its perfect gameplay all come together in one solid game. Its so damn good, I would never have imagined there would ever be a sequel, let alone, one that actually improves on its predecessor… but that is a tale for another time. “Max Payne” is a beautifully told noir novel that could have been written in any other medium, and still be brilliant; a novel that demands the rightful statute of Art.

Overall: 5/5

2008
01/22
POSTED BY
CATEGORY
Review
TAGS







6 comments

The Darkness – “Chiaroscuro”

Darkness-Cover

The first thing one notices when playing “The Darkness” is the incredibly stylized visual aspect of the game. It seems fair to assume that a game called “The Darkness” would be dark… but the game isn’t just dark, it’s pure darkness. The game starts of in New York City and it’s a shock to see every street, corner and alley so gloomy and absent of light, with only a few lamps bursting small, but bright, rays of light. But even those are not warm pleasant lights; they’re cold, dry white lights that contrast perfectly with the blackness that surrounds them. The result is similar to the “chiaroscuro” (“lightdark”) style photography that will reminisce with anyone who has ever seen a “Film-Noir” or a German expressionist film like “Nosferatu”. Though it’s a common technique in cinema, this is the first game that actually was able to emulate it on a game (and so many have tried), and for that fact it must be commended. The way the lighting shapes objects and scenarios is superb, thanks to the quality of the volumetric lighting engine and the sheer detail of the sets. Whether it’s the New York subways, with its grayish and slab tones, or the hellish land of the Darkness, engulfed in its dead brown and fiery red, every environment of the game feels unique and organic, pulsating with life and death.

The dark visuals fit perfectly as the counterpart to a story of corruption that transpires in the soul of one man: Jackie Estacado. Jackie is a “wise guy” from a crime family ruled by his Uncle Paulie, and on his 21st birthday, he’s possessed by a demon-like being called “The Darkness”. Coincidentally, on the same day, his uncle decides to have Jackie killed. “The Darkness” will agree to save Jackie by giving him power, but in return, will demand a significant price to pay. The story is beautifully crafted, filled with fatalism and dread; in a nutshell: it’s “The Godfather” meets “Faust”. Not a bad combination, is it? And though it’s based on a comic book, don’t expect a cookie-cutter plot; it’s not revolutionary, but it’s engaging and deep. Narrative develops through dialogs and cut-scenes where the player has control of the character (“a la” Half-Life 2); and this is where “The Darkness” shines really brightly, with character animations bordering life-like, thanks to one of the best motion capturing ever seen in games. Add great voice-acting, and the result is a series of emotionally powerful sequences that actually resonate with the player, and thus give a whole new level of dramatic impact to the plot.

As a FPS, “The Darkness” fares well: it’s not groundbreaking, it’s not perfect, but it is enjoyable. The main character can use a lot of guns, which feel extremely powerful, thanks to the care given to model and sound design. But apart from the ability to use of some cool finishing moves, gun use feels a bit formulaic and shallow. Adding spice into the mix, are the “darkness” powers that allow the disposal of enemies in a number of “unpleasant” ways. Stick a huge tentacle through your enemies’ bowels? Check. Summon a kamikaze imp to blow everything to smithereens? Check. Darkness powers are fun, and do a nice job of adding a touch of dark-humor to the otherwise serious tale. The downfall is that most powers don’t seem well implemented, and more than once in a while, their effect will be unpredictable, either because the controls aren’t responsive enough, or because the AI just doesn’t cut it.

Darkness-Middle

Level Design is ok. Action sequences are balanced and straight-forward, allowing the game to flow smoothly. But, “The Darkness”, like the companies’ predecessor (“Chronicles of Riddick: Escape from Butcher Bay”) also has a few RPG/adventure elements that add variety: speaking to characters, finding collectible items, and performing small quests are just a few of the possibilities. The problem here is that, unlike “Riddick”, levels are enormous in size, and usually, have little going on in most of their areas. This means, the aforementioned elements become long and somewhat boring fetch games filled with backtracking . So unlike “Riddick”, instead of helping the game, these elements end up hurting it.

Like its “Chiaroscuro”, “The Darkness” is game of contrast; on one hand, there’s a powerful and moving story, beautifully told through the sights and sounds of the game, and on the other, an uninspired game, that doesn’t show the same amount of care and production value as the rest of the package. All in all, it’s a great game for those who don’t mind suffering some uninspired shooting to appreciate some great artistic design and a cinematic narrative. So if you don’t belong in this group, then forget about “The Darkness”, but if you do… embrace it.

Overall: 4/5

2008
01/12
POSTED BY
CATEGORY
Review
TAGS





Leave a comment