Thursday, July 16, 2009

Space Ace (1984)

Space Ace: defender of justice, truth, and the planet Earth.

Space Ace was Don Bluth's 1984 follow up to Dragon's Lair, and although the gameplay fundamentals remained the same (timed joystick and button presses), Space Ace improved on it's predecessor in almost every way.

You play Ace, a macho star-pilot who gets zapped by alien Borf's new invention, the "Infanto Ray", a laser gun that reverses the aging process and instantly transforms whatever it hits into a baby.

Apparently Ace only gets winged, however, because instead of turning into a gurgling baby, he merely reverts back to the gangly 98-pound weakling he must have been before he hit puberty and changed his name from Dexter (and certainly before he met his current babe girlfriend, Kimberly).

Borf kidnaps "Kimmy" in his spaceship, and the adventure begins.

So aside from the obvious change in genre, what set Space Ace apart from Dragon's Lair? First off, the pace was much quicker, with many more decision points. Compared to the fast and frenetic action of Space Ace, Dragon's Lair just seemed to crawl.

Space Ace also came much closer to realizing the concept of an interactive movie by offering levels in a linear progression. In Dragon's Lair, you started at the front of the castle and ended in the dragon's den, but in between were a series of self-contained levels that appeared in more-or-less random order.

Space Ace levels unfolded like scenes from a movie, always occurring in the same order as you pursued Borf across alien worlds and through space, ultimately intercepting him at his headquarters to rescue Kimberly. (This had the added benefit of making Space Ace a little bit easier to master, since you were not constantly getting different levels thrown at you each time you died).

And Space Ace offered a new innovation--true branching. First, you had the option of selecting one of three difficulty levels (Cadet, for beginners, or for the daring, Captain or Space Ace, which activated additional levels of play).

Then, there were points during actual gameplay where the player could choose from more than one possible path (sometimes triggering variant action). In this branching space-bound obstacle course, for example, both the upper and lower paths are valid, and return slightly differing play.

But perhaps the most unique example of the new branching capability was the "energizer" gimmick. About once per level, a sensor on Dexter's wrist flashes, indicating an opportunity to briefly transform back to the muscular Ace.

Except for the final level, a complicated hand-to-hand battle with Borf, energizing is always optional. But if you do choose to energize by hitting the button, Dexter temporarily powers-up into his former bulked-up self and participates in an alternate level of play that you would have otherwise missed.

These transformations between personas often take on a comical tone. In one of my favorite levels, Dexter finds himself at the controls of a runaway motorbike, hanging on for dear life.


But after energizing into Ace, he coolly sweet-talks Kimmy while nonchalantly blasting aliens over his shoulder (the user is required to actually press the laser button, however!)


In another memorable level, Ace battles his "dark side", represented by a giant gray-scale version of himself, whom you defeat by baiting into shooting itself to pieces while scaling his enormous body, Shadow-of-the-Colossus style, until all that's left is his grim grinning head!

After some trial-and-error and memorization, and if your timing is precise, you'll end up shooting Borf with his own weapon, transforming him into a baby. It's implied that Ace and Kim will raise him as their own. Isn't he adorable?



SEPARATED AT BORF

Is it me, or does Borf bear a striking resemblance to the genie from Disney's Aladdin (1992)?

I'd be tempted to accuse Disney of ripping off the design...except they both look like they descended from this older Disney genie depicted in Our Friend The Atom (1957).

Sunday, July 12, 2009

How to Care For Your Monster (1970, Norman Bridwell)

I previously posted on Norman Bridwell's The Witches' Catalog. Here's another fun book by Bridwell that purports to be non-fiction... a guide for owning and caring for your own pet monster.

Only four types of monsters are covered here: Frankensteins, mummies, vampires and werewolves.

The author recommends shopping at your neighborhood monster store (they open after midnight).

A Frankenstein-type monster will feel right at home in a dark cellar. Rattle some chains to help make him comfortable.

If your parents are always complaining about noise, a nice quiet mummy is the pet for you.

You might find one by scrounging in the dumpster behind a museum.

Keep your mummy dry, and don't unwrap him!

Vampires are next, and this book offers a creative way to catch one.

Toss your hat up in the air when a bat flies by and the bat may fly into it. Put him in a cage, and by morning, he could turn into a vampire.

Vampires require a coffin for sleep.

You'll have to attend to his grooming needs as vampires are afraid of mirrors.

Finally there is the werewolf. The book warns against owning a werewolf unless you're reconciled to the fact that he'll only look like a monster on nights when the moon is full.

If your werewolf falls ill, the time of the month will dictate whether he goes to a doctor or the vet.

Keep a running tally of your friends in case your werewolf has eaten one.



Buy How To Care For Your Monster here.

Thursday, July 9, 2009

Route 666 (The Machinist, 2004)


"You're going straight to hell on Route 666!"

So claims the voice blaring from a loudspeaker mounted somewhere atop this dark-ride's facade. Factory worker and insomniac Trevor (Christian Bale) is enjoying an afternoon at the carnival on a first-date with Marie, a waitress he met on the graveyard shift at his favorite diner, and he's taking her son Nicholas for a ride while she makes a phone call.

But this is not your typical carnival funhouse, as they'll soon find out in one of my favorite moments from one of my favorite recent thrillers, Brad Anderson's "The Machinist" (2004).


MINOR SPOILERS AHEAD

Things start out innocently enough. In the first scene they pass, we see the remains of a motorist who got stranded and crawled through the desert to his doom.

Next they pass a roadside diner where a zombie-like waitress holds forth an unappealing blue-plate special.

As they progress through the ride, the scenes get increasingly disturbing, and some even seem to invoke recent events in Trevor's troubled life. An Indian brandishes his trophy... a severed hand! (One of Trevor's co-workers lost his hand a few days earlier in a factory accident).

The devil emerges from a tunnel pushing an ore-cart filled with other missing limbs. This prompts Trevor to suggest that Nicholas close his eyes.

A woman places flowers on a coffin, possibly a child's.

Next they cruise through a town devastated by a nuclear bomb. Shriveled bodies dangle out of windows.

At the end of town is a motel decorated with this kitchy neon sign.

But Trevor isn't prepared for the inappropriate animated silhouettes visible through the windows. (This is another scene that seems particularly pointed at Trevor, who regularly visits a "shady lady" of his own, a prostitute played by Jennifer Jason Leigh.)

A safety officer appears ordering them to slow down...

But just as quickly, a child shoots out in front of their ride vehicle and is knocked down...

Next is a fiery car wreck and its bloodied victim.

At this point Trevor is so uncomfortable and disturbed by the ride, you half expect him to grab Nicholas and jump out of the vehicle just to put an end to it. But it looks like the ride may be coming to a close... a fork ahead offers either the "Highway to Hell" or the "Road to Salvation", which may very well be the exit.

But the ride isn't over as the vehicle is forced onto the Highway to Hell and into a dark tunnel...

...which turns into a cave...

...that on closer inspection is comprised not only of rocks, but of twisted and tortured bodies!

Trevor looks like he will be demanding his tickets refunded.

If you haven't seen The Machinist, do check it out. It's a dark, mysterious and atmospheric puzzler that unfolds slowly like a lingering nightmare. And the soundtrack by Roque Banos is amazing...a haunting score emphasizing strings and theremin that reminded me of Bernard Herrmann. (The soundtrack is out of print as of this writing but can be had on I-Tunes.)