Tuesday, May 30, 2017

Mingus Ah Um


I had never heard of Charles Mingus until I played in a college jazz band, and we were assigned to play "Boogie Stop Shuffle". Keep in mind that this was a killer band (of which I was probably the worst player), and Boogie Stop Shuffle was HARD. We routinely played bigger and more reputable schools off the stage, but this track kicked my butt.

My introduction to Mingus' work as a player was, thus, very similar to my experience of enjoying him as a listener. Mingus was fantastic at creating endlessly challenging music to the player and the listener, and a brilliant tonal storyteller.

Mingus Ah Um is Mingus' most widely appreciated record (although not my favorite, Changes Two). Considered to be in the canon of jazz greats, it deserves every laudatory review it gets. Perhaps the most magnificent thing about Mingus, and about all truly great artists, is the degree to which they can tip their cap to their influences without mimicking them. Thus, you can hear the influence of all of Mingus' favorite genres and artists in his music, but he always gives it his own Mingusan (sp?) twist to make it immediately recognizable as his own.

The first track "Better Git it in Your Soul", for instance, is a fantastic homage to gospel music translated through the vocabulary of jazz. Mingus' frequent shouts over the music of "oh Lord!", "Hallelujah!", "oh yes I know!" bring to mind the setting of gospel music without feeling cheap or like a mockery.

The rest of the record follows this path magnificently, trending from bop to traditional jazz to blues and back again, all while maintaining an immediately identifiable voice that is positively inimitable. My personal track highlights are the civil rights protest song "Fables of Faubus", "Boogie Stop Shuffle", and the gorgeous "Self-Portrait in Three Colors". The record is without a dull or uninteresting spot, and is remarkably accessible to jazz fans and non-fans alike. It gets my full TRO seal of approval at a 10/10.

-TRO

Friday, May 26, 2017

What I'm Playing (Volume 6): Pokemon Trading Card Game 2


I promised obscure, didn't I?

I feel in love with nerdy trading card games with the Pokemon Trading Card Game (actual cards). My friends all collected them, and I weaseled a deal in which I would get their unwanted doubles. My parents wouldn't get me any...

Anyway, I spun those doubles into some pretty decent decks through some savvy trading, including a fantastic Dewgong for Snorlax trade that remains my pride and joy.

But unfortunately, the fad faded, as fads normally do. My love for the game never faded, however, which is why one of my all time favorite Game Boy games is the Pokemon Trading Card Game. It gave me a chance to build a collection of cards without paying real money and enjoy the mechanics of a game I still enjoy to this day.

So imagine my delight when I discovered the other day that a Japanese exclusive sequel to one of my favorites had been released! And that there is an English translation online!

Well, I've been a bit disappointed, but not as disappointed as someone who doesn't like the card game as much as I do would be. Translation issues aside, as I can't hold the people who made the game responsible for that, the sequel is one of the lazier ones I've seen. All of the gyms look identical, they added very few cards, and the world map is basically identical.

The soundtrack is again excellent, but about 80% of it is recycled from the previous game. As I love that soundtrack, it's not too bad, but it is pretty lazy.

Basically, I'd recommend this to people who both love the card game itself, as well as the original Game Boy game. If you enjoyed that one, you'll probably enjoy this one too. But the best comparison I'd make is that this is equivalent to Madden 17's relationship to Madden 16. A few new features, a few new players, identical look and mechanics, and little to complain about for those who love the game.

I'd give it a 6.0/10 for most people, but I'm enjoying it at an 8.0 level because of my love the original.

*Edit* This is the reason I no longer submit reviews before I finish the game! This should be the last of these.

While I still agree that the game is somewhat lazy, I did not know before writing the review that an entire new continent exists that you can travel to once you clear out the continent from the first game. As a result, there are quite a few new places to explore and fun things to do. Also, the number of new cards is more than I gave it credit for, and the new ones allow for some new and interesting deck combos. They also throw new wrinkles in by making you play certain players with decks that meet certain qualifications, as well as playing under special rules that favor the AI (which is still dirt tier dumb, as in the first game). This prevents you from just making a deck that beats the type of Pokemon found in the gym, and steamrolling the whole gym with it.

I still found this game to be lacking generally, but is much more enjoyable for the person who completed the first game and enjoyed it than I thought it would be. As a result, I'll change my review to a 6.5 for the average player, but I enjoyed it at an 8.5 level.

-TRO

Thursday, May 25, 2017

What I'm Playing Update

This is just a notice to say that I'm no longer going to be doing a handheld and console game at the same time for the What I'm Playing series. Rather, any time I pick up a new game, and plan on playing it to completion, I'll write up a review of it for the section. So tomorrow will be an extremely obscure little title for review. It's going to be, the very best, like no review ever was.

-TRO

What I'm Playing (Volume 5): Shovel Knight: Specter of Torment


On the handheld front, I'm still playing Tales of Phantasia, and still enjoy it quite a bit. But I discovered that the fine folks at Yacht Club Games had released a new, free content update for Shovel Knight, featuring an entirely new playable character with his own campaign, Specter Knight!

If you're a regular follower of the blog, you'll know that I'm a big fan of Shovel Knight. I found the second campaign, Plague of Shadows, to fall quite short of the fantastic performance of the original campaign. Plague Knight's controls were a bit wonky and unpredictable, and the levels you progressed through were pretty similar to Shovel Knight's, albeit tooled a bit to account for Plague Knight's new bomb based kit.

So I began Specter of Torment with some degree of trepidation, although I had been badly yearning for another trip through the Shovel Knight universe, so I was pretty excited. And Specter of Torment delivers, for the most part.

A prequel to the original game, the expansion follows Plague Knight as he gathers up followers for the Enchantress. These followers will be well recognized as the bosses from the original game. In addition to this prequel portion explaining from where the bosses came, however, you also get a more in-depth look into the back story of Specter Knight, finding out who he is, where he came from, and why he became Specter Knight. This makes for a compelling narrative in the Shovel Knight universe, and in typical 8-bit fashion, the story is primarily told in visual and musical media, rather than with text.

The gameplay additions for the expansion are mostly excellent. Specter Knight feels completely different than Shovel Knight, as his more ninja-style kit enables you to walk up walls, jump off walls, and dash through enemies in the air with a slash. This simple kit, similar to Shovel Knight's, is used to get around a wide range of obstacles, and most importantly, always feels fun, rewarding, and responsive. Slashing your way across huge pits is super fun, and you rarely feel like the mechanics have cheated you by being unfair, but rather that the game rewards skilled playing and good timing. This is particularly essential, especially since the game is fairly difficult.

This time around, the levels have been completely redesigned to fit Specter Knight's kit, and some are completely unrecognizable. Several bosses are completely different in play style (like Propeller Knight's fantastic boss fight), and there are new bosses as well.

If there's one critique I have of the game, it's that the bosses have become a bit too easy this time around. Shovel Knight's mobility was very limited, making for a more strategic and skill based combat. Specter Knight, on the other hand, can quickly fly around the stage using his slash dash, and has a large period of invulnerability during the slash itself. For many bosses, you can simply mash the slash button as Specter Knight dives and slashes them, bounces back, and then dives and slashes again. The retaliation of the bosses is also muted using this tactic, due to the the invulnerability granted during the slash. There is also an item you can get (after the very first level) that will restore large chunks of Specter Knight's health, making a more reckless, all out approach at dive bombing as fast as possible the best path, due to a reduced need to conserve health.

The music is again excellent, as composer Jake Kauffman returns with a tremendous selection of old songs, remixes of old songs, and plenty of new tracks. I just wish that I could have gotten this new, updated soundtrack to go along with my well-worn copy of the original (I may be able to do this, but I haven't seen how, yet.)

If you like Shovel Knight, retro gaming, chiptune music, or just good family fun, I'd highly recommend Specter of Torment. It's free for Shovel Knight owners, can be gotten on just about every gaming platform in existence, and is an excellent return to form for a very talented group of developers. I'd give it a 9.3/10.

-TRO

Friday, May 19, 2017

Cowboy Bebop


Whenever I get asked about my favorite TV show, I reply with Cowboy Bebop. I'm not as big of an anime fan as I once was, but this should positively captivated me when I watched it at first, and it's only gotten better with age. I've watched it in the Japanese with subtitles once, and then watched the English sub at least 3 times.

The offspring of creative genius Shinichiro Watanabe, Cowboy Bebop is the story of Spike Spiegel and his gang of misfit bounty hunters. Jet is a former police officer, Faye is an unlucky professional gambler, Ed is a child tech prodigy of uncertain gender, and Ein is a data dog (what?). The show features a fantastic mix in which some episodes are purely episodic, following the crew as the pursue bounties across space, and others forward the main story of Spike. The episodic episodes will frequently give a chance for character development for the other 3 characters (Ein doesn't have much character development, as one might expect from a dog). 

The primary story follows Spike's attempt to distance himself from a painful past as part of a crime syndicate, and the relationships that he built while there.

With some anime that follow this basic structure (some episodic, some following a story arc), one part of the structure can be much better and strong than another. Rurouni Kenshin, for example, tends to become stale and boring during the episodic portions, whereas the story arcs of Kenshin dealing with his past as a manslayer are when the show really sparkles. Bebop, however, always shines regardless of approach.

The show is hilarious, with Ed and Ein in particular providing fantastic comic relief, while the straight characters of Spike and Jet serve only to accentuate the fantastic comic vision of Watanabe. The episode Mushroom Samba is outrageously funny, perhaps being surpassed in comic brilliance only by Baseball Blues, an episode from Wantanabe's other anime, Samurai Champloo (a full review of that to come).

The music of the show is phenomenal, and provides a sort of skeletal structure to the show. The title Cowboy Bebop includes a form of Jazz (bebop) popularized by Charlie Parker and and perfected by Dizzy Gillespie. Most episodes include a reference to a genre or style of music or dance or a song, and feature music in the episode that go along with the title.  The soundtrack by Yoko Kanno, and performed by her band Seatbelts (created for the show), shows her fierce creativity in composition and demonstrates the band's remarkable aesthetic versatility to transition from genre to genre with ease. The opening theme is particularly notable, and is to this day the only theme song of any TV show that I will listen to in its entirety in each and every episode.

The animation is still, nearly 20 years later, the best I have ever seen in any TV show. The animation in the movie is the best I've seen, period. If you don't believe me, go check it out.

The fights are beautifully choreographed, and each character has a unique and immediately identifiable fighting style that translates brilliantly to screen. Spike, for example, fights using the no motion wasted minimalism of Bruce Lee as an obvious inspiration, while Jet has a more rough and tumble brawling style.

The pacing and story of the show are brilliant. I don't want to give away anything, but I will simply say that the ending is perfect, and the show is a bit too short for a perfect length, which is in itself perfect. Like no other show or movie I have ever seen, when I first finished Cowboy Bebop it was like an old friend had left me. I craved more, which is what artistic perfection looks like. When I think about other things that leave me that way, it's frequently music, including Kind of Blue (Miles Davis), Milestones (Miles), Bitches' Brew (Miles), In a Silent Way (Miles), Ah Um (Charles Mingus), Changes Two (Charles Mingus), Leviathan (Mastodon), and Blackwater Park (Opeth). There may be a few others, but note that these are all short form art. There are a few games that have declared endings about which I feel that way (Shovel Knight, Super Mario World, Mega Man X, Link to the Past, a Link Between Worlds, Chrono Trigger, Final Fantasy V, VI, and VII, and a few others, probably), but most are simply too long to be left wanting more. The longer the experience, the more chinks in the armor begin to show, and the more my limited attention span tends to wane.

At nearly 10 hours of content, that Bebop leaves me desperately wanting more shows just how few chinks there are. It's a show for which I crave a sequel, but am secretly glad I never got one (especially since I got the brilliant Samurai Champloo from Watanabe instead). In fact, I can't think of one bad thing to say about this show. If you haven't watched it before, it's beautiful art for anyone, not just anime fans. And you may watch it and find yourself becoming a bit of a Japanophile like me. I'd give it a 10/10.

-TRO

Wednesday, May 17, 2017

Goodbye Yellow Brick Road


Elton John is one of my favorite rock and roll artists, and Goodbye Yellow Brick Road is probably my favorite of his records. This record is particularly notable for Elton's and the band's ability to seamlessly transition between genres, and nail most of them. For example, Funeral for a Friend/Love Lies Bleeding is among the best progressive rock songs ever written, and really showcases the band's superb musicianship, nailing really tricky and technical passages with ease. After the opening track, however, the record transitions into the beautiful but mournful pop tribute to Marilyn Monroe, Candle in the Wind (which you have probably heard if you have a pulse and a radio). The third track, Bennie and the Jets (which you have also heard), feels a lot like a more experimental Beatles song, and Elton and the band again nail it. The fourth track solidifies what may be one of the best first four songs ever assembled in a rock album, with the title track, another beautiful pop ballad. The back end of the record is also strong, with fantastic songs like All the Girls Love Alice, and Your Sister Can't Twist But She Can Rock 'n Roll)

Despite the strength of these first four tracks and the back end, however, perhaps my favorite moment in the record is the fantastic Saturday Night is Alright for Fighting, one of the best hard rock songs ever written. If I ever, against all odds, wound up in a cage fight, this would be my entrance theme. Go check it out if you've never heard it.

With all that said, it's not a perfect record. There are several tracks that aren't great, including Grey Seal, This Song Has No Title, and Jamaica Jerk-Off. I think rather than a double album, this one may have been better if pared down to a single. But classic rock is ultimately remembered for its great songs nowadays, and Goodbye Yellow Brick Road manages to pack an immense number of  instant classics into our repertoire. For that, you should go check it out. I'd give it a 9/10.

-TRO

Tuesday, May 16, 2017

Full Metal Alchemist: Brotherhood


I've enjoyed anime since I caught my first episode of Ronin Warriors early on a Sunday morning on one of the broadcast tv networks. I was captivated by the humor of it, the original and different art style, and the superb and otherworldly action. While much of what I used to like has aged poorly, there are still a few series to which I can go back and watch seemingly endlessly. And one of my top three favorites has to be Fullmetal Alchemist: Brotherhood.

The series focuses on two brothers (Edward and Alphonse Elric) who are alchemists, which means that they can alter the substance of matter in impressive ways. The use of alchemy is governed by the law of equivalent exchange, which states that in order to use alchemy, something of equivalent value must be exchanged. So, for example, you could take a big stone and use alchemy to reshape it into a weapon. Ed and Al's mother dies, and they attempt to use alchemy to bring her back to life, which is forbidden in alchemy. Their attempt fails, and Ed loses an arm and a leg, and Al loses his whole body as the price of equivalent exchange. Ed attaches Al's disembodied soul to a suit of armor, and then they wander the globe, looking for a way to return their bodies to normal.

I watched the original Fullmetal Alchemist in college, and was impressed, but left a bit wanting. The first part of the show was excellent, but it seemed to kind of fall apart as the show went on, and ended on a seriously bizarre note. They had a decent movie after the series that kind of resolved some of the problems with the ending, so I was satisfied, at least. And I greatly enjoyed the action, music, and animation, so I had little to complain about.

Then I went through a phase in which I was checking out tons of manga from the library, and finding that I enjoyed a bunch of it much better than the anime. Dragonball, for example, is SO much better in the manga. It's paced superbly, compared to the agonizingly drawn out pace of the anime. I mean, 30 episodes for a fight between Frieza and Goku? With blatantly reused animations in each episode? Come on.

But my biggest surprise was in reading the Fullmetal Alchemist manga, which adhered very closely to what I remembered in the anime, but had a completely different ending. And the manga version was much more enjoyable than what I remembered from the anime.

So I went and did a bit of research to find out what exactly happened.

It turns out the original anime was begun during the run of the manga, and caught up to the most recent edition of the manga. At that point, the author (Hiromu Arakawa) requested that the runners of the anime come up with their own story and ending based on the character, so that she could continue to focus on her work on the manga.

Fortunately, in 2009, at the conclusion of the manga, they made a new series that adhered more closely to the manga, and it's one of my all time favorites. It's probably the most hilarious anime I've ever seen. The action, art, and music are all beautiful. The characters are all easy to relate to and likeable. The English dub has some of my favorite voice-over work of all time. One of my favorite things about the series is that it's written by a woman, despite being a shonen (anime for boys). As such, the female characters in the show are much more realistic and play more of a major role in the plot than in many anime, where they can tend to be objectified a bit more, or just be sort of pure badasses. The women in this are strong, but also are believable as women, not just male characters given a female body, or an excuse for teenage hormone drama and fan service.

There are stretches of the show that drag on a bit long, and the manga is a bit better for that. But if you don't fancy sitting and reading 27 tankobon volumes worth of manga, the anime is really excellent. And the music, voice-over, and animation in the anime make it worth watching even if you have read the manga.

I'd give Fullmetal Alchemist: Brotherhood a 9.4/10. It's a fine example of anime done well, and you should go check it out. Even for non-anime fans, it'll be accessible and enjoyable.

-TRO

Monday, May 15, 2017

Update

I updated the reviews of both games in the "What I'm Playing: Volume 4" post, so check them out!

Friday, May 12, 2017

I've Got Another Confession to Make (Castlevania Edition)


No, this isn't about Dave Grohl or Foo Fighters (another review for another time). But I do have a confession to make.

I forgot two more handheld games I beat in my time off.

Sorry!

 
Castlevania is a series with which I am not super familiar. I have played the first and second, but never beaten them. The one with which I had the most exposure as a kid was Aria of Sorrow, which my friend on the bus had. We played it for a while til we got stuck, and then abandoned ship. I really liked it, though, and had it on my list of games to beat. So I did.
 
It's amazing. I love the RPG elements that it has, and the system by which you can steal an enemy's soul and use its powers is amazing. I've always loved games which show you tantalizing areas which are unreachable, and then you can go back through and unlock them later with new abilities. This is commonly associated with Metroid and Castlevania, although I trace my love for the concept to Link to the Past, with its many bombamble (spelling?) walls, heavy rocks to lift, and pegs to pound covering the only path to dungeons, caves, and precious pieces of hearts.
 
Castlevania: Aria of Sorrow doesn't just scratch that itch. It does it as masterfully as any game I've ever seen.
 
Other great things about Aria of Sorrow include the fantastic soundtrack, excellent controls, fun bosses, huge map to explore, large range of weapons, armor, and accessories to equip, and excellent difficulty curve. I died just the right amount of times, and never felt like the game was too easy or too hard.
 
It was occasionally a bit easy to get lost in, as there's no clear direction for where to go next, other than exploring more blacked out spots on the map. For a game as exploration focused as this, it can be forgiven, but there were several times which I had to cop out and go look up where to go next, a sign of poor game design.
 
 
Harmony of Dissonance is also good, but not quite as good as Aria of Sorrow. The music is downright dreadful, the hitbox on the whip is a bit weird, I miss the presence of other weapons besides the whip, and the controls aren't quite as fluid and responsive as Aria of Sorrow, particularly when jumping and attacking. I did like the fact that you could dash forward or backward, and used this to get around the map quickly and enjoyably. Probably the biggest knock against Harmony of Dissonance, however, is its difficulty. It's childishly easy, which is frustrating. All in all, however, it's an experience worth having, because the core Metroidvania experience of exploring and unlocking successive areas of a huge map with new abilities is definitely here. If you're picking one to play, though, definitely go with Aria of Sorrow.

I'd give Aria of Sorrow a 9.5/10, and Harmony of Dissonance an 8.0

-TRO

Thursday, May 11, 2017

What I'm Playing (Volume 4): Tales of Phantasia & Buster Busts Loose!


Tales of Phantasia is originally an Super Famicom JRPG (one of my favorite era/genre combinations in video games) which was ported to the Playstation and then Game Boy Advance.  The story focuses on Cress and his friends, the (mostly) descendants of heroes on a quest to finish the job their ancestors were unable to finish.

This (brief) review is focused on the GBA port, which is the first official English version of the game, so it may or may not apply to all versions. I'm honestly not sure. I'll treat it like I would any other handheld port of an SNES game, which seems fair to me. By that, I mean that I'll compare it by the same standard I would one of its peers on the Super Famicom/SNES, and other ports of its peers in similar genres.

So what are the pros and cons to this one?
  • Pros
    • Fantastically fun battle system that makes you think not just in terms of casting times, but also spacial distance between you and your enemies, the formation of your team, and the position of your enemies (some fly while others are on the ground).
    • Cheesy yet ultimately satisfying characters and stories. If you love JRPG tropes, you'll like this part of the game a lot.
    • Good level of difficulty and fun battle system makes grinding rewarding rather than tiresome.
    • Really cool voice work (seriously) for the time.
  • Cons
    • Weak soundtrack that fails to impress or be memorable at all.
    • Graphically unimpressive compared to it's peers. I really don't like the chibi style of character sprites that are used in the game, and I feel like these sprites are even closer to the super deformed extreme chibi style that I really loathe.
    • Lazy and boring user interface.
    • Random encounter rate is far too high, and running can frequently be very challenging when you are pincered (at least half of battles start with you being pincered). This can get very frustrating when you're trying to get back to a safe spot to heal/save.
I think they shot high with this one, and produced an above average JRPG. It has plenty of flaws, but I'd say it's worth playing for the battle system alone, and I've enjoyed it enough to give its many successors a chance. I wouldn't played it til after you've played the superb Final Fantasy Advance series of releases, just in the interest of prioritizing your time well. I'd give it a 7.7/10.

*EDIT: I am liking Tales of Phantasia more and more as I've played it a lot over the weekend. It struck me while playing it how much like a fighting game the battle system is, and how little like an RPG that it is. Once figuring that out, the combat has gotten even more fun, and I actually enjoy the high encounter rate due to how much I love the combat. Once I approached it like I would Street Fighter with Super Smash style inputs, considering startup, active, and recovery frames, combo mechanics, juggling, and zoning, I've grown quite fond of this one. I'm bumping it up to a 8.2 out of 10, thus making it good rather than above average. 


My tv-based game that I'm working through on the Pi is Tiny Toon Adventures: Buster Busts Loose. Based on one of my favorite tv shows as a kid, Buster Bunny Busts Loose (BBBL) is an SNES platformer developed by Konami.
  • Pros
    • Decent music
    • Nice variety of levels to play
    • Nostalgia (won't apply to everyone)
  • Cons
    • Poor controls and uncertain hitboxes
    • Poor graphics for the time
    • Far too much memorization required to beat levels. There's frequently zero reaction time to prepare for things, so you have to know them ahead of time. A bit of repetition in games is ok, but it seems like you're either cakewalking or being forced to memorize long stretches of level just to survive. Good games generally walk closer to intuitive level design and give the player a chance to adapt to changes rather than be killed immediately.
All in all, I can't recommend this one to anyone for any reason other than nostalgia. I'll finish it, because I tried to as a kid but never could, but there's no reason for others to do so. I'd give it a 5/10.

*EDIT: After playing it a bit more over the weekend, it's not as bad as I thought. The memorization problem appears to be only on the 2nd level (train), so I'll give it a bit more credit. 6/10

-TRO

Wednesday, May 10, 2017

La La Land


For my first movie review I pick...a musical? A little strange for a guy I suppose, but do I ever love this movie! This is probably my favorite released movie since the Lord of The Rings: The Return of the King, and deserves every accolade it got last year, and more.

La La Land is a deeply serious homage to a very silly, shallow, and important town, and the dreamers who live in it. It begins in the style of classic musicals, with a huge show stopping showtune (an enormous song and dance routine on a highway in Los Angeles). The trappings of the musical are all there. You have the couple who don't like each other at first, yet warm up over time. You have the dream which they are pursuing which seemingly can't be achieved. You have the lip synced, rather than live sung vocals. You have the adorable one on one song and dance routine with the leads (A Lovely Night). The guy and girl get together. They go on a fantastic date in which they fly together. Then tragedy strikes, they overcome it, and live happily ever after. Right?

*SPOILER ALERT*

If you have not yet seen this movie, please stop reading here, go watch it. Maybe twice. And then return.

*END SPOILER ALERT*

WRONG. The middle of the movie represents a stark change in stylistic approach, and heralds the bittersweet ending of the film. The pivotal scene in the movie is not, like you might expect, the scene in which Mia and Seb have their first fight. Nor is it Mia's heartrending performance in Audition (which we'll get to). The pivotal scene in the film is a simple one in which Mia and Seb sit quietly at a piano, singing City of Stars. This scene is important because it shows the stark stylistic change in the film. No longer are our stars lip syncing with perfect vocals behind them. They are singing live. And they are singing together. Previously only characters, they have now achieved a remarkable humanity that makes them identifiable. Gosling's voice is fine, but noticeably pitchy at time. This is because he is an everyman, and one whom we can identify with. He's down on his luck, but he's loved, and he has someone to support his silly dream.

Every other important scene builds on this one, to hammer home the lesson that only cartoon characters can survive intact in a town like LA. And thank God that we have real people who are able to put up with the endless rejection, the brokenness of their relationships (how many Hollywood types have only been married once?), and the self-deprecation necessary to make it in the business? These are the questions that La La Land asks, and it presents a more realistic picture than your typical movie.

Greatness generally requires sacrifice. And many try and fail without ever achieving it. Singing a song about her aunt, her inspiration to become an actor, Mia coherently summarizes the core of the film's message in Audition:

So bring on the rebels
The ripples from pebbles
The painters, and poets, and plays

And here's to the fools who dream
Crazy as they may seem
Here's to the hearts that break
Here's to the mess we make

The ending of La La Land is bittersweet because bittersweet is all that an LA person can hope for. But that passion and drive to bring beauty to the masses benefits us all, and so an homage to them is fitting. Indeed, a movie as great as La La Land could only be made by such a town, and such fools. So here's to the fools who dream, and the city in which they live!

-TRO

Tuesday, May 9, 2017

Statistics and Media Bias

A normal disTRObution

Lies, damn lies, and statistics. You've all heard the old saying, popularized by Twain yet originated by who knows. This post will rely fairly extensively on the basic theory underlying this statement, to show how very true it is, yet how little it really reveals.

A post about media bias and statistics? How out of place on the reTROview blog! Indeed. Yet I read this piece in the New York Times and just couldn't help myself! I don't really have any other place to put this, and I think everyone would benefit from reading this, so here goes! Before you move on to my piece, however, you should read the linked one thoroughly.

Before I begin, I want to assure you that I am not picking on the New York Times, nor am I picking on traditional news at all. I think the linked piece is a very informative and accurate article, yet illustrates some critical lessons about media production and consumption in any era. I think if you give my post a thorough and unbiased read, you will be able to understand my core points, which I will lay out in the following bullet points. I will then give a brief defense of these bullet points sequentially, using the linked piece as an example.
  • All media is biased, and misunderstanding or incomplete presentation of statistics is a big part of this bias.
  • The primary forms of media bias are not malicious misinformation, but are:
    • Focus
    • Tone
    • Causal inference
  • The well informed person must, therefore, read widely and critically.
All Media is Biased

We have a fantastic (in the Tolkien sense of the word) idea in the West of the unbiased journalist. The theory goes that a journalist has the responsibility to report the facts of what is news, distance him/herself as much as possible from the story, obtain credible source reports on what happened, and only include sources whose information can be corroborated by information obtained apart from the source. There are probably more elements than this, but journalistic ethics isn't my forte. I can say safely that these are all elements of our public sense for what neutral journalism should be, however.

Indeed, all of these elements are helpful and useful checks on media bias, ensuring that the articles and stories published as a result of journalistic efforts have a basis in reality, rather than in the underlying ethical belief systems of the paper, website, or author. Most journalism, in fact, adheres to these overarching responsibilities of journalistic neutrality, yet that does not mean that media is not biased in several ways, none of which are truly controlled by these formal responsibilities.

The number of stories which end up being debunked as "totally false" for any major news network are relatively small. In the 24 hour a day news cycle, the number of true scandals that show up of people falsifying sources or intentionally publishing false information (like Jayson Blair) is so small that it gives me relative faith in the news media. Yet simply because there are so few outright falsehoods does not mean that media is always reliable across the political spectrum. My argument is that the bias of media comes in just about every story which you read, and rarely takes the form of true lies, but rather comes in more subtle ways, and the use of statistics plays a huge role in this.

Statistics themselves are fascinating. Having studied stats at a more than undergraduate level, I find the simple theory of stats to be magnificently powerful. Collecting data to support arguments is essential to grounding arguments in empirical reality, and statistics are one of the more powerful forms of data to support an argument.

Yet statistics on their own are meaningless. Here are a few illustrative examples to explain this point. My fastest time beating Pokemon Emerald is in the 9 hour range. Having played it through probably 5-10 times, I considered this to be an excellent time. Then I went and looked at the best times ever posted in Pokemon Emerald...and I discovered that the world record for completing the game is 2 hours, 33 minutes, and 23 seconds. Wow. Not only was my time not that great, but I literally wasted nearly 3 out of every 4 of the seconds which I used in the game, compared to the best outcomes. All of the sudden, my stat means little, because I lacked context in which to understand it. My universe consisted of only my attempts, but when related to the universe's attempts, mine fell dreadfully flat.

Here's another example of statistical context, which may be more familiar to most people. My wife knows next to nothing about baseball. I once told her that a batter for my beloved Chicago Cubs had a batting average of .300, which means that he gets a hit 3 out of 10 times. To me, and to any baseball fan, this is an important number. Hitters who spend their careers around the .300 mark are not only good hitters, but generally will make the Hall of Fame if they are able to do it long enough. To my wife, however, this was not impressive. She felt that if a batter fails more often than they succeed, they cannot be very good. Yet in the entire history of baseball, no batter has ever hit above .500 (or getting hits 50% of the time) for an entire season. Nor have they ever come close. This is due to the fact that pitchers, on average, are successful more often in getting batters out than batters are in getting the best of pitchers. 30%, thus, is a remarkable achievement, but to someone not steeped in the context of baseball lore, it represents more failures than successes. So context is vitally important to understanding statistics.

In addition to context, however, theory is vitally important to understanding causation, which is important to understanding statistics. I'm sure that the age old saying that correlation does not equal causation will have made its way into your brain at some point. But it's such an ill-understood phrase that it warrants discussion here.

Did you know that ice cream sales correlate magnificently with violent crime? It's true. As you can see in the graph below, these two numbers track with each other very closely. They both hit lows at about the same time of the year, and both hit highs at the same time of the year. So what's our policy choice? Ban ice cream sales! Violent crime is solved!

So this is why property values are so low around ice cream shops...

Or maybe not. The critical reader may think, I know that the two are related, but why are they related? What is it about ice cream's nature that causes it to relate to violent crime? Or maybe it is violent crime that is causing people to buy ice cream? Without a good theoretical understanding of the relationship between the two, any statistical relationship between the two is meaningless.

So, we are left with three choices. Figure out why ice cream is causing violent crime, figure out why violent crime is causing ice cream sales, or figure out which other, yet unnamed phenomena causes both! My bet's on the last one.

The common identifier between violent crime and ice cream sales is that they both peak during the hottest months of the year. Since we cannot establish any theoretical link between crime and ice cream, in the sense that we can't comprehend why one would cause the other, then we have to move towards asking ourselves what factor might be causing both ice cream sales and violent crime. The common denominator, it turns out, is heat. We still don't know definitely why violent crime peaks during the summer, but we at least have some possible theories.

All of this is to say that statistics are meaningless without context or theory. But believing that statistics alone are powerful, even when understood through the lens of context and theory, underestimates our ability to deceive through the selection of statistics. The primary reason for this is that focus, tone, and causal inference are all greatly suspect to the bias of the author, and that this doesn't have to necessarily be a nefarious thing.

Focus

The focus of a story is hugely important, and, I would argue, the primary source of media bias, even when stories are being reported in an accurate manner. I remember a time during the Obamacare debates when everyone was running stories about the pros and cons of the bill. The first story I saw was from MSNBC, which ran a piece on a family whose child got sick, and the private insurance company refused to pay for the medical bills of the family, despite their seemingly legitimate needs that appeared to be covered under the terms of their insurance policy.

The second story I saw was from Fox News, which ran a story on how broken Veteran's Administration health care is in the U.S., with discussions about long wait times, horrible outcomes for patients, chronic understaffing, and unclean facilities.

The lessons that the reporters wanted you to take away from the stories were clear. Either private insurance was untrustworthy and may leave your family in a problem when you most need it, or the government may not do a job that's any better, and perhaps even worse than the private insurance.

As I thought about this conundrum, it struck me that the most fascinating thing about it is that both reports were true, and fit the norms of journalistic ethics. The VA is not terribly well run based on what I've heard, and people frequently claim to have legitimate claims denied by private insurance companies for a wide range of reasons. But both stories reached out to representatives from alternative parties, both presented verifiable facts, both had reputable sources to back up their claims...you get the idea.

The problem is that each reporter needs to focus on something. He/she can probably only pump out an article a day, and perhaps a longer form piece every two weeks or so. There are literally thousands of newsworthy things going on each day. How does the reporter choose which things to cover? The answer is largely whatever interests him/her, and what his boss wants him/her to cover. Those are not bad motivations, but they are not exactly objective ones.

In the case of the Times piece linked earlier, the reporters choose to focus on one aspect of the problems facing children in public schools in New York City: whether or not "every student has a real chance to attend a good school". And they find that, in fact, every student does not have a real chance, and support it with very fascinating and, I believe, accurate data. Black and Hispanic students in New York City have a greatly reduced chance of being selected to attend the premier public schools. This is problematic, and should be to anyone.

Yet could you imagine another reporter approaching the same data with a different focus, and writing a very different story? I can. Consider this extended selection from the piece:

"Under a system created during Mayor Michael R. Bloomberg's administration, eighth graders can apply anywhere in the city, in theory unshackling them from failing, segregated neighborhood schools. Students select up to 12 schools and get matched to one by a special algorithm. This process was part of a package of Bloomberg-era reforms intended to improve education in the city and diminish entrenched inequities.

There is no doubt that the changes yielded meaningful improvements. The high school graduation rate is up more than 20 points since 2005, as the administration of Mayor Bill de Blasio has built on Mr. Bloomberg's gains. The graduation gap between white and black or Hispanic students, while still significant and troubling, has narrowed."

The piece, in good journalistic fashion, mentions this data. It mentions it once more at the bottom of the piece as well. But the reality is that in an article spanning thousands of words, it dedicates little attention to this success, and a huge amount of attention to the failure of the continued existence of disparate outcomes for minority children. If the Wall Street Journal had been publishing this piece, I could imagine that the percentages would be flipped, with extensive coverage of universal gains (20 points of increased graduation rates) and the relative gains of blacks and hispanics (narrower gaps in graduation rates compared to the pre-reform era).

But it needs to be pointed out that neither the Times article, nor the hypothetical Wall Street Journal article would be wrong, nor would they be violating any sort of journalistic ethics by publishing these articles. Both are accurate and necessary voices, but they do contain bias, simply by their choice of focus.

Tone

The bias in the NYT article isn't simply in terms of choice of focus, there also exists very telling signs as to what the article's predisposition is in terms of its tone. The article begins right away by telegraphing exactly what their perspective is: school choice in the city is not delivering. Simply reading the title clearly demonstrates this to the careful reader. "The Broken Promises of Choice in New York City Schools". They aren't exactly playing softball here! Despite the existence of caveats regarding the success of the program, there is probably 85% of the article that is decidedly negative in tone. Of the two primary "case studies" of students in the article, neither winds up leaving their home of the Bronx for a good school. Sukanya ends up picking schools in the Bronx at the top of her list due to family pressures (she wanted to go to Manhattan, but her parents didn't like the idea), and Jayda ends up getting placed in a school that was 6th on her list, and doesn't leave the Bronx either. The selection of these two cases shows what kind of focus and tone the reporters wanted to have, but also match the data regarding the likelihood of leaving the Bronx for a school elsewhere. So it's not a clear cut case of omission as much as it is an interactive force of tone and focus, which are largely unavoidable.

Causal Inference

The most challenging form of bias to exorcise is in inferring causality, and it is rarely mentioned in any news story whatsoever. Consider the following comment from the story (posted by a Steve L from Chestnut Ridge, NY), which nicely summarizes this challenge:

"As a high school teacher, I can state definitively that it is simplistic to say schools have improved because graduation rates have gone up. Several changes were enacted during this time period to ensure that more kids graduated without necessarily having learned any more. Among them:
1. Targeted credit recovery--wherein students who failed a course merely have to make up just enough material to get a passing grade, rather than retake the whole course. Students can now do this for up to three failed courses. This did not exist prior to the Bloomberg reforms.
2. Conversion chart scoring on Regents exams. Passing Regents exams means getting a 65 on the exam, but 65 no longer means 65%. The use of conversion charts, in which a scorer looks up the final grade by seeing where the multiple choice total intersects the long-answer total, guarantees that a certain pre-determined number of students pass every exam. On the basic algebra exam, the actual percentage score that converts to a "65" is now somewhere between 33-40%.
3. More exceptions have been made for general and special education students about which Regents they need to graduate.
4. Many schools now have special days built into the schedule, especially around exam time, for students to complete work that they didn't do when they were supposed to. Before that, students were held to a higher degree of responsibility and suffered the consequences if they didn't.

And there are others, but I only have 1500 letters."

Steve poses a real challenge to the hypothetical Wall Street Journal approach, by suggesting that we are perhaps not measuring what we think we are. Steve suggests that graduation rates are not in and of themselves a good measure of educational quality, and that even narrowing those gaps does not necessarily mean that our children are being well educated. While this is his intended critique, however, his comment can be taken at an even deeper level than that.

Maybe graduation rates are going up, and gaps narrowing, but perhaps it's not due to the choice elements of the reforms at all! Perhaps it is these other policy changes which are causing the improvements in the graduation rate. And his clear suggestion is that these other changes are not increasing the quality of the education so that more people can graduate, it's that the changes are lowering the bar so that more people can graduate.

Additionally, consider another alternative causal factor briefly mentioned in the piece, home life. This selection acknowledges family factors as important, yet still insists that graduation rates are a good measure of school success:

"Graduation rates are not a perfect proxy for education quality. In many schools, students arrive far behind, and it is a major effort to help them graduate on time. Elsewhere, ninth graders show up on Day 1 doing work at grade level or above, so the steps required to get them diplomas are less onerous. And it is difficult to say how much of a school’s success is because of what happens within its walls — the curriculum, the teachers, the leadership — and how much is because of advantages children bring from home.

But graduation remains a meaningful measure of a school, and of the opportunities it provides. If parents felt they had another option, how many would be happy to send their children to a school where more than a quarter of students do not graduate?"

The critic may say that simply looking at variations in graduation rates between schools may be less of a measure of the quality of the school, and more of a measure of the quality of the community in which the school lies. If the parents in an area are less likely, on average, to support their kids' success, then the schools in the area are also less likely to graduate students at a high rate. While this critique is acknowledged in the article, the predisposed bias of the authors come through in the degree to which they discuss this causal theory, compared to how frequently they discuss the more institutional problems with school choice (challenging mobility between schools, extremely complex admissions process, poor preparation for elite schools at the pre-high school level, etc). Again, this is not misleading, nor is it unethical. It is simply a mostly unavoidable choice involved with having humans report the news.

In any case, isolating the causal factors that lead to the statistics we love can be super challenging. And when those statistics are always chosen by a focus driven by personal desires, and spoken through the tone of reporters with a dog in the fight, we must be very careful to thoughtfully consider the logical underpinnings of the statistics, why we might think two variables have a relationship, and what alternative variables may be explaining the phenomena.

How Should We Then Live?

Noted 20th Century Christian theologian and apologist Francis Schaeffer is best known in America for his book, How Should We Then Live?, which asks several important questions, such as if we accept Christianity as true, then what impact does that have on the Christian's view of church, state, culture, and community? How should we interpret the important ideas in Western civilization according to the teachings of the Bible? I would like to ask a similar question here.

If it is true that media bias always exists, and that the fantastical picture of journalistic neutrality will always be colored by bias, then how should we then live?

Most people (myself included) are extraordinarily tempted to live in a bubble. Bias makes us feel safe. People on the left likely felt gratified by the Times piece, and annoyed that NY schools haven't gone far enough to fix the problems facing Black and Hispanic students in the city. People on the right likely didn't read it or didn't give it a fair shot by not considering the valid things which the article accomplishes, and the objective truths which it presents (albeit colored by bias).

Yet this is a bad outcome, for a number of reasons. First, I believe it encourages people to see the other side as filled with lunatics or evil people bent on destroying the way of life of the America they know and love. If all you read is the Times and Slate, or the Wall Street Journal and National Review, you can easily fall into the trap where you see America either as a nation controlled by big bankers and others with big money trying to stick it to the American working class by amassing as big a fortune as they can, or to see America as the victim of a decades long attempt by left wing radicals and their allies in the mainstream media to supplant traditional and healthy American values and replacing them with the false gods of tolerance and political correctness. The truth likely lies in the middle, but as you increasingly embrace one view over the other, your ability to keep friendly relations with people who have different opinions becomes more and more challenging. 

Second, I think that this life in a bubble causes people to think that they somehow do not have bias at all. This is demonstrably false, and causes a bizarre worldview in which "everyone" shares their  opinions, which only encourages the notion that the other team is just extraordinarily perverse. This is reinforced when I see people on social media saying things like "How is Trump winning if not a single person in my Facebook feed is supporting Trump?" Perhaps no one on your feed is supporting Trump because you have silently sorted all of your relationships in life to be with people like you (for the record, I don't like Trump at all)?

Third, it reinforces ideas which are false, simply because you hear them from a reliable source. You can feel safe in turning off your BS detector when you are hearing your information from a trusted source, but the reality is that that detector should never be turned off. Just today, I saw an individual say in a comments section of an article say that it was a fact that illegal immigration costs the United States 900 billion dollars every year. This would account to roughly 80,000 in net losses per year for each and every undocumented immigrant currently in the country. This number seems fairly far fetched, seeing as our total economic output is about 18 trillion, which would put America's expense of undocumented immigrants at about 6% of our GDP. But a simple look at the published research on this subject would demonstrate that even the most devoted immigration restrictionists put the figure under 100 billion per year, a more believable figure.

So, how should we then live?

I have a few suggestions for you, and I will do my best to follow them as well.
  1. Keep your BS detector on. All journalism is biased, even your favorite.
  2. Read your least favorite, but still reputable newspaper regularly. If you like the Times, that's fine, but the Wall Street Journal also has excellent coverage. If you find a story that seems like a slam dunk, read some opposing coverage of it.
  3. Do a little background research on statistics. It will really help in being able to carefully read and understand even good reporting in a critical light.
Anyway, happy hunting for the truth! It's hard, but I believe that it's worth it.

-TRO

Monday, May 8, 2017

Another Update

Still working on my now VERY massive and unusual post. I think it'll be done tomorrow, so stay tuned!

-TRO

Friday, May 5, 2017

Prepare Yourself


I'm trying to put out a full post a day, but I think the one I'm currently working on is super interesting and I don't want to short change it. So I'll just tease it for today, by saying that it won't be like any reTROview post you've read yet. I hope it will be interesting and informative, and perhaps reach out to a different audience. Anyway, enjoy your weekend, and I'll be back on Monday (or maybe Tuesday) with an extremely long and different post!

-TRO

Thursday, May 4, 2017

Harry Potter






Despite the fact that I did not discover these books until I was an adult, my favorite children's book series of all time is the Harry Potter series. My wife introduced them to me as we were leading up to the release of the 7th movie. I read the first one, and was absolutely hooked. I then read the next books in quick succession so that I was able to watch the movie while having the knowledge derived from the books.

There is perhaps no fandom as rabidly passionate and knowledgeable in the internet age than the Harry Potter fanbase, and for very good reason. As such, there's only so much I can add to the brilliance of these books, so I'll try to focus on why I love them so much.

First, the Harry Potter books are the very pinnacle of the "rags to riches" archetype of the modern era, although the better term for the genre is "zero to hero". In the modern west, very few truly grow up in rags, making the tale of growing up with nothing to becoming wealthy and successful, a la Dickens, slightly less compelling. In an era where everyone is rich, wealth is less appealing. Heroism and importance, however, are as mesmerizing as ever, and Rowling does a superb job of creating a believable zero to hero narrative set in the modern era. Harry is the definition of a zero at the beginning of the book. He is a nobody, an orphan who isn't loved by anyone. He's bullied by his cousin and cruel aunt and uncle. His school life isn't much better. But then comes the letter from Hogwarts, and Harry's life changes forever. It turns out that Harry isn't, in fact, a zero. He's a highly gifted wizard who is known the world over.

This is why the tale works so well. Harry does absolutely nothing to become someone. Becoming a hero is simply thrust upon him. Even at Hogwarts, his grades are not particularly special. By his own admission, the only thing at which he is naturally good is Quidditch. And yet, despite all of his own self-doubt and loathing, he turns into the hero who conquered the Dark Lord. He evades danger time and time again through the love of people who he had not known before. The modern reader can read it and truly escape their own self-doubt, imagining a time in which they were truly special and remarkable. Rowling crafts this narrative so skillfully that she creates a character who reminds the reader of himself, while also allowing the reader to escape to an alternate reality in which greatness is, in fact possible. And this greatness actually requires little effort. Only bravery is required in the Harry Potter universe!

I also love these books because of the degree of detail and "long burn" which Rowling places into the book. By a "long burn", I refer to the immensely challenging work of placing seeds of future plot points, sometimes several books ahead of time. For example, Sirius Black is mentioned in the first book, only to become one of the central figures of the third book. Similarly, Ron's pet rat Scabbers is featured heavily in book 1, and the reader only discovers Scabbers' true identity in book 3. The entire Snape-hates-Harry subplot is teased and played with from book 1 to book 6, when it is seemingly resolved. But lo and behold, Rowling completely, and convincingly, reverses course in book 7, bringing back to life a storyline long thought completed. Little details throughout the books end up becoming huge plot points, like Winky appearing to drag an invisible figure at the beginning of book 4, which seems like a throw away, and is never mentioned until the end of book 4, where it ends up being a vitally important plot twist. Little touches like this give the books a huge amount of rereadability, and show the deftness with which Rowling was capable of writing, but also planning, a huge universe of seemingly unconnected occurrences, only to draw them all together at the end.

While I could go on about these books all day, I'll leave it at one more point. Unfortunately, this is one of the things which I missed out on the books, but am capable of identifying it today. These books age so well with the reader, and the readers taste. The reader is capable of aging along with Harry, Ron, and Hermione, and finds it easy to relate with the characters because they grow alongside with them. A typical 11 year old thinks little of romance, ethical gray area, or the more complicated elements of the later books. They want to read a fantastic adventure novel! And the first two books are two of the best kids adventure books around. Discovering mysteries, facing down bullying adults, saving the day, and adjusting to a new school...these are all things to which kids either relate, or deeply desire in their inmost being. With book 3, however, things start to take on a more emotional tone, dealing with the loss of death, desire for justice, and the pain of betrayal. With book 5 comes more of the romantic issues dealt with by many teenagers, discussing broken hearts, crushes, romantic manipulation, and the terror of initiating any attempt at romance. Then book 7 resolves all of the plot threads brought together in books 1-6, a true masterstroke and deliverance of an unquestionably ambitious and complex undertaking. Despite these many shifts and twists in tone, genre, and subject matter, however, all 7 books feel like a true series, a testament to Rowling's huge creative talent.

Anyway, if you're like me and have never read these books, do it now. I promise you won't regret it. I'd give them a 10/10.

-TRO

Wednesday, May 3, 2017

The Gaming Historian


My entertainment highlight of the year has unquestionably been my discover of the Gaming Historian. Norm Caruso, who goes by the moniker Gaming Historian on twitter and youtube, has put together my favorite youtube channel ever.

I first discovered Caruso's channel during my quest to beat Super Mario Bros. 2. I couldn't figure out a way past a portion of a level in the last world, and so was watching a few Let's Plays to see how other people handled that particular section. In the side bar I saw that one of the recommended videos was for a video about the story of Super Mario Bros. 2. Being a fan of documentaries, and a fan of video games, I decided to check it out.

I was hooked.

I spent the next several weeks watching recommended video after recommended video, until I was getting no more recommended videos which I had not yet seen. Then I subscribed to his channel, went into the channel, and discovered that there were several dozen more that I not been able to watch yet! I can now say that I've seen them all, that the vast majority of them are very good, and a few are among the most thorough and well produced documentaries that I have seen, especially considering the budget on which they are operated.

So what is the Gaming Historian? It's basically a channel run by Caruso, in which he chooses lesser known and historically important developments in gaming history, games, systems, and other topics that are more peripherally related to video games, and creates little documentaries about them. In these, he explains things like, where did the game come from? Who made it? Was it successful? Why is this important to the history of video games? What other impacts might this subject have had outside of the world of video games?

Watching them in chronological order, I can say that the series started off very well (a brief documentary about the NES Top Loader), and has only progressed in quality since that point. While his documentaries were, at the beginning, anywhere from 5-10 minutes, he has since begun to produce videos that, at times, exceed a half an hour in length. And the production quality on the videos has vastly improved, showing a dedication not only to the historical craft and a love for video games, but also an increasing set of skills in video editing, script writing, and sound production. The videos are meticulously researched, decidedly reasonable in their conclusions, and aesthetically pleasing. Perhaps even more importantly, Caruso's genuine love for video games as art, and as important history, shines through in each riveting second.

To give you a sense for just how excellent these videos are, my wife has recently begun watching them with me, and she loves them a lot too. This is particularly remarkable because save for a few nostalgic ties to game played with her family when she was younger, she has next to no interest in video games. For her to appreciate the artistic craft and dedication on a subject for which she has little affinity shows the high quality at which Caruso operates.

My two favorite episodes are fairly recent. One covers an incredibly larger than life lawsuit between Tengen and Nintendo, which I'd highly recommend to anyone interested in video games, copyright law, or just plain old good story telling! The next is a hilarious April Fools day video he published under the facetious moniker "Normogatari", which discusses the satirical theory that Toad (from the Mario series) is actually dead. This video showcases the talent of Caruso, as he pulls off comedy and satire as well as his documentaries.

Anyway, check out the Gaming Historian, and I'm looking forward to the next Gaming Historian video launching! It's been teased that it's about Super Mario RPG, one of my personal favorite SNES games, so I'm pretty pumped.

I'd give Gaming Historian a 10/10, as the pinnacle of youtube perfection.

-TRO

Tuesday, May 2, 2017

Games Backlog DONE!


And now we wade into more uncertain waters...I'm all done with the games I've played since my blogging break. I may have forgotten a few, but the games reviewed in the last few weeks are the highlights at least, and are probably all of the ones that I've actually completed. So I'll be rolling out "What I'm Playing" posts regularly, but daily video game posts will be over. Anyway, I'm looking forward to discussing some different topics, while also touching on some classic (and maybe even modern!) games that I really love. Stay tuned!

-TRO

Monday, May 1, 2017

The Legend of Zelda: Oracle of Seasons



This review will be a bit shorter than usual, due to the fact that there are a lot of similarities between Oracle of Ages and Seasons. Graphics and controls are largely identical, while the music has a lot of overlap, although I think Seasons has the better soundtrack, due to a few standout tracks from Seasons exclusive dungeons. I think Seasons also has a small edge in graphics, due to the new mechanic in Seasons, the Rod of Seasons, which lets you change between each of the four seasons.

Each area of the map will manifest differently depending on which season it is. In some cases, this can mean that wilted flowers turn into blooming ones that can fly you up cliffs, or that water will freeze over, enabling you to walk on it, or that vines will grow up walls, enabling you to reach new areas that you otherwise wouldn't be able to reach. This opens up a lot of gameplay possibilities in shifting between seasons, but also gives a new visualization of each area depending on seasons. In ages, there was little visual difference between past and present, giving you little indication of which time you are in. This small flaw is fixed in Seasons, and also provides for more straightforward puzzle solving. See an indent on a wall, with an unreachable cave halfway up it? Turn it to summer! See some rock mushrooms that you need to get out of your way? Turn it to fall! The use of seasons is both visually appealing, and provides for a rewarding, yet simple interface to access new areas and find secrets.

Seasons is also designed to be much more about action and combat than is Ages. While there were several bosses against whom you couldn't even use your sword in Ages, bosses are a bit more about reflex and hack and slashing in Seasons, rather than strategy. Dungeons are also a bit more straight forward, having fewer brain-bending puzzles. Neither approach is really "superior", as both are done well, but I enjoyed Seasons a bit more due to my preference against highly complex puzzles. And there are still puzzles to solve and obstacles to overcome with your brain in Seasons, just as there are hack and slash opportunities in Ages. They are really a nice complement to each other, rather than feeling like completely opposite games.

Anyway, I felt that the somewhat simpler difficulty curve in Seasons was more enjoyable than the more intellectually and technically challenging approach of Ages, so I preferred it. They are both superb games, however, and are enjoyed best one after the other. Pick up a few copies, and enjoy!

I'd give Seasons a 9.5/10.

-TRO