As a cynical, disgruntled, possibly demented gamer, clinging to my 30’s like cat to the curtains, there are few things in this life that provide me with genuine childlike joy. A beautiful, sun drenched weekend. Discovering the last chocolate digestive in a tin full of malted milks. Watching an infant run full pelt into a lamppost. So satisfying. But getting excited about new games is an even more sparse occurrence. Yet the announcement of a sequel to the most based, dad game ever made in “Powerwash Simulator” is genuinely exciting. I’ve already discussed the euphoric satisfaction I get from cleaning the various households, skateparks, aquariums, lunar modules and indeed ancient temples, etched with arcane hieroglyphics and murals that depict some kind of prophetic Power Washing Deity! But the prolific diversity that the developers have presented through the levels is one of the series most defining attributes.
Aside from the projects featured in the main game, some which take minutes, whereas others may require hours of intense yet soothing work, the way they have expanded this curiously grubby world with both free and paid DLC is simply magnificent! From “Tomb Raider” to the newly released “Wallace & Gromit” DLC, everything they add is both compelling and genius. For example the “Back To The Future” DLC allows you to cleanse the DeLorean, the cinema featuring Jaws 19 and the clock tower. All heavily nostalgic as well as rewarding to clean. But that creative fervor doesn’t stop with the paid DLC either. Their free Christmas updates, whereby you douse Santa’s suspiciously grimey workshop or clean the detritus in an ice rink. There are so many different surfaces that elicit this odd sort of dopamine kick from cleaning. Even the frustration you elicit from that one veiled spot of dirt that you simply cannot find, isn’t enough to dampen the pleasure you get from gaining 100% completion.
It’s difficult to express to someone that has never played “PowerWash Simulator”, just how much contentment you get from cleaning these absurdly dirty locations. I’m sure there is some deep psychological reasoning why this game provokes such a vehemence from what in reality would be considered a mundane task. One to be avoided. Personally I think it’s a more realistic interpretation of being a superhero. You arrive at a location or property, task with cleaning an insurmountable amount of dirt. Armed with just a Powerwash, hose extensions and accessories. An unlimited supply of water and moral duty, to rid this excursed filth from these facilities, with expert precision and poise. But also getting well paid to do so. “Thank you Powerwash Man/Women/disembodied hand/Alien?. You’re the greatest!”
Ah, Role Playing Games. The last bastion for the aspiring adventurer and young at heart explorer. “You can learn all that there is to learn about their ways in a month, and yet after 100 years, they can still surprise you”. Dragons Dogma 2 is the latest fantasy thirst quencher that I’ve embarked on. For me there is no greater balm for the mundanity of working life, than to embark on an epic adventure, across a perilous open world, teething with sorcery, dragons and invariably a cataclysmic event that will annihilate all life, unless a prophesied “Chosen”, with no verbal means of communication, is appointed to intervene (you!). All while pursuing your most primordial need for walking, murder, foraging for supplies and of course, capitalism. Though the stories vary a bit and characters are as valiant or indeed villainous as those portrayed in other fantasy adjacent tales, ultimately they all satisfy that inherent craving for exploration. But like so many of these games, there is one unifying aspect I find perfunctory for my endeavour, despite its importance to player inclusivity: character creation.
This is the fundamental basis for any budding adventurer; the capacity to create a character that resembles themselves. Corroborating the illusion that it is in fact yourself preventing these heinous acts of some world conquering lunatic. But I have little patience for the complexities and nuance of developing a character to a very specific set of parameters. For me I pick a default character, with vague facial similarities to my own. Adjust the height, add a little scruff around the chin and jaw. Top it off with a sprinkling of ashen follicles, that resembles my own greying hair and I’m done. That is about as superficial as I care to get. And that is if I want to create a character that looks like me! Maybe this play through I’m going to be some feline archer. Do you think I’m going to be allocating my precious time adjusting the pattern on my characters fur? Nope! I’m choosing a randomised default character and heading off on my journey to save the world, once I’ve sufficiently procrastinated building my wealth and experience.
I recognise the inventive complexities afforded by such an in depth character creation. The results demonstrated by some creative and dedicated players is exceptional, with many possessing a natural flair for the intricacies of it. Individuals that can seemingly exhaust hours of their time perfecting their chosen avatar, with a passion for invention that is almost inspirational. But despite the expression of individuality, I still find the entire process rather dull. And would sooner cast an amthropromorphic wardrobe as the embodiment of devine heroism, rather than waste my time creating something unique. Particularly if it means I can set off to explore sooner. Perhaps this ideology says more about me than it does about the game.
How do you feel about character creation systems? Is this something you put a lot of effort into? Let me know in the comments below. Cheers.
I don’t really understand why I felt compelled to compile the late Richard Donors seminal “Lethal Weapon” franchise into an abridged ranking system? There’s no notable anniversary to celebrate. No imminent release of the long rumoured sequel. There’s not even some drunken, antisemitic tirade or some other controversial opinion expressed by Mad Mel Gibson to inspire this curious distraction. I only know that by collating the quality of this series was a great cathartic release. As a fan of the series it’s always great to revisit one of the best buddy cop movies ever made, and remind myself just how dynamic Glover and Gibson are on screen. I will endeavour to keep this as brief and as succinct as possible to ensure that we can maintain a similar rapid pace espoused by the movies I’m critiquing. Plus I’m lazy and feel no obligation to go into too great a detail. As always with these kinds of subjective lists, all of these opinions are not universally acknowledged or legally binding assessments. These opinions are my own, because whose else would they be. With that said, let’s put on some provocative sax. Leap hand cuffed together from a tall building. Parade our diplomatic credentials and on the count of 3 list, in ascending order my ranking of the Lethal Weapon series:
4. Lethal Weapon 4.
Long before Vin Diesel was mumbling incoherently about the solidarity of his team, Lethal Weapon 4 was being equally insufferable with the overuse of the term “family”. I’m hesitant to refer to the final scene in the hospital as “cringe”. But it’s certainly overly saccharine for a series that has always demonstrated incredible restraint and realism to its portrayal of family. Really though, more than any other movie in the series, Lethal Weapon 4 just flat out annoys me. From the irritating dentist integration, the outlandish set pieces that have none of the charm of the first 3. The unnecessary integration of Joe Pesci’s “Leo Getz” as a private investigator, using outdated slang like “Talk to the hand!” or “Whatever!”. As well as his contrived story about a frog, that somehow becomes an allegory for the post mullet Riggs, moving on from the past and accepting fatherhood. Not to mention that the movie parks for an impromptu stand up session from Chris Rock to test out some new material.
On a positive note I think Jet Li is well cast. And is probably one of the more intimidating villains in the series. Posing a real physical threat we haven’t seen since Mr Joshua in the original. And it’s always great to see more of Riggs and Murtaugh, even if their shenanigans are a little forced at times. Ultimately 4 has always been a low point for me and sadly, for the most part, it just irritates me more than it entertains.
3. Lethal Weapon 3.
Now this is where this list gets a little complicated for me. On any given day, this would be my preferred choice over my actual #2. Lethal Weapon 3 features probably the funniest moments in the franchise, with Delores providing some of the series most quotable lines. Most of which are inspired by her infatuation with the panicked Murtaugh, with “shudder” and referring to him as the “Jam in my jelly roll” being notable highlights. Joe Pesci returns in an unnecessary capacity, but not one that’s completely futile, as he does deliver one of my favourite lines in the series. A moment that continues this strange motif of Murtaugh being interrupted whilst bathing. With Leo gently patting the waters surface and remarking that “I didn’t realise Riggs could hold his breath for that long?!”. I think Rene Russo is a terrific addition and a much needed love interest for Riggs, that isn’t immediately murdered as soon as Martin has holstered his lethal weapon! Though she doesn’t have a considerable amount to do here, it’s certainly not the thankless role she inherits in 4.
Lethal Weapon 3 is very playful, but sometimes it leans so heavily into the levity that real moments of drama feel jarring. There’s a fine line between comedy and drama that just doesn’t quite work here. With sullen moments that on their own are effective, but in tone of the movie, simply aren’t earned. Though Danny Glover delivers these moments with the gusto you’d expect from an actor of his quality, we aren’t given time to really linger on these dramatic incidents, as we briskly move onto the next chortle. I think Stuart Wilson does an adequate job as ex-cop Jack Travis, his laugh alone is infectious. But his dynamic performance never really translates into anything intimidating.
All in all, I enjoy Lethal Weapon 3 more than I probably should, even if it’s tone and humour is such a conflicting dynamic. Though it does feature the most frequent use of the phrase “Son of a bitch”. Which at this point has already become a habitual response for Murtaugh. So that’s something.
2. Lethal Weapon.
Now we come to what has been my favourite movie in the franchise for years. Though subsequent viewings have somewhat diminished my affection for this movie, it’s still a solidly made one. Providing the introduction of one cinema’s most revered, platonic friendships that has inspired many imitators, though never bettered. The button-downed family man of Roger Murtaugh, partnered with the erratic and suicidal Martin Riggs, set the foundations of everything that was to come. Again, I don’t think I can emphasize just how good Glover and Gibson’s chemistry is on screen. And it’s here that we see it at its most turbulent. The raw emotional strain that infers their burgeoning friendship, is handled with real intense conviction. Riggs volatility is often disguised by his flippant regard for his or indeed other’s safety. With the incident involving another suicidal man leaping from a building, culminating in an explosive confrontation between Riggs and Murtaugh. The way the trigger lurches forwards, as the chamber prepares to discharge the bullet! Brilliant! And it’s Roger’s generosity in introducing Riggs to his family and conservative values that help Riggs to conquer his demons.
It’s important to note just how important the casting of Murtaugh’s family is. Throughout the peaks and troughs of the franchise, this family has remained a consistent anchor to the absurdity of the action that encompasses them. Their interactions are always so organic. It’s like we’re passive observers in a stranger’s house, wanting to participate in their joyful exchanges. But in contrast to my previous entry, with 3’s dramatic moments being largely subservient to the humour, the opposite applies here. Lethal Weapon emphasizes a much darker tone, with moments of genuine solemnity that doesn’t really allow for raucous comedic interludes. There are serious themes depicted here that necessitate a kind of regimented earnestness. Which leaves little room for humorous little asides. As such Lethal Weapon feels much more like an outlier than the sequels that followed it.
And it has to be said that I have never cared for the final confrontation between Riggs and Mr Joshua. Though Gary Busey is far and away the strongest villain in this movie, both physically and character wise. His mud grappling, borderline homoerotic scrimmage with Riggs always felt unnecessarily contrived. And really just a little bit silly considering the severity of the tone beforehand. Overall Lethal Weapon is great, if disjointed. A film that just takes itself a little too seriously. A criticism you cannot attach to my number 1.
1. Lethal Weapon 2.
So here it is. My number 1 is the series number 2. I’m not sure what the significance is there, but I couldn’t think of any other way to start. What Lethal Weapon 2 does is combine everything I love about the other movies, into one almost flawless composite. It is perfectly balanced, as all things should be. It’s witty, pithy and solemn when it needs to be. It solidifies the exceptional dynamic of Riggs and Murtaugh relationship right from the opening scene, without labouring on the bleak overtones of the first. But also doesn’t neglect the trauma Riggs has suffered, by illustrating the curative effect of partnering with Roger and his irresistible family. Again I simply cannot emphasize just how wonderfully cast this entire family is. There is such a natural camaraderie between them all, that you’d almost be mistaken for thinking that Richard Donner had invited himself into a real suburban home and filmed the resulting chaos. They’re relatable, endearing and quick to tease one another. I mean the family gathering to watch Reannes TV commercial is so wholesome and depicted with such sincerity, that it’s almost not acting.
There’s a compelling story here too. One that weaves social political issues like apartheid, into a movie that in lesser hands would be just another 80’s action adventure. The introduction and addition of Joe Pesci into the established duo of Riggs and Murtaugh is like sprinkling sugar on a donut. Their differing personalities compliment each other so well. Irritating and joshing one another like petulant brothers would. It’s also thanks to Leo Getz that I can’t go to a fast food restaurant without quoting the immortal line “They fuck you at the drive through!”. Then of course there are the villains.
Joss Ackland is superb as Arjen Rudd, delivering an unsettling performance and a demonic stare that would make the devil uncomfortable. Of course you could argue that making him such a deplorable racist is shorthand for evil, hence easy to hate. But that would be unfair considering how committed he is to being such a monumental prick! Then there is his accomplice played by Derick O Connor, who himself provides some impudent support to “Adolf”, as well as my favourite line delivery in the entire series with “Just looking to see if I’m standing on any plastic”. Though this character does retroactively amend the accident that killed Riggs wife, by implicating that South African drug dealers actually murdered her. It’s a plot development that should feel contrived, but it kind of works for me. Patsy Kensit is adorable, if only utilised as propellant to fuel Riggs righteous vengeance. In fact all of the supporting crew that have been present in multiple sequels are all welcome participants. With some suffering some brutal deaths.
What more is there to say? Lethal Weapon 2 has done for the South African accent, what Arnold Schwarzenegger has done for the Austrian one. It is so inimitable. Whenever you quote this movie, it has to be done in a dubious South African accent. Lethal Weapon 2 features some of the more impressive set pieces. From the opening chase scene, the explosives under the toilet to the house on stilts are pulled from the foundations. This movie really has everything. And this is why Lethal Weapon 2 is my favourite of the series.
The way in which we view things, depends entirely on a person’s perspective. Easily skewed by external interference’s and our ever divisive internal struggles. But I can’t help thinking that Sony really needs to take a step back, reevaluate their insular perspective and adjust their field of vision, to truly admire the inherent potential of a “Days Gone” sequel. And if comments by the people that helped make it are anything to go by, I’m not the only one.
Jeff Ross, Bend Studio director that navigated the development of Days Gone, has intimated that Sony’s “intricate” algorithm for calculating a games success, is actually measured by IMDb ratings, not sales. This admission came as a retort from Jeff after Sony sent a congratulatory tweet to “Ghost Of Tsushima” on reaching 8 million units in sales. A milestone already achieved by Days Gone. Yet, according to Jeff was considered somewhat a failure. Though this claim has since is somewhat contentious, if true, Sony and the community in general certainly have a distorted interpretation of success. Despite it’s adequate critical reception, Days Gone sold well, which is a measurable barometer for success, in an increasingly capitalist driven industry.
As well as calling out on his former corporate paymasters, Jeff also elaborated on the ideas proposed for a Days Gone sequel. A sequel subsequently rejected by Sony. Including the continuation of Deacon and Sarah’s story. A more diverse, almost autonomous game world. Swimming? Okay, that last one is hardly revolutionary, but at least it demonstrates a desire to expand. And hopefully details regarding that twist at the end of the first game were considered too. There’s such a wealth of potential to convert a solid game, if flawed game like Days Gone, into a legitimate, enviable PlayStation exclusive. Something comparative to the necessary revisions and advancements that made Uncharted 2 such a revered sequel to the introductory Drake adventure.
Although Jeff Ross does sounds like a man with a serious Axe to grind. Struggling to reconcile the games failings by projecting his own exasperation with its development onto Sony, I believe that Days Gone deserves the opportunity to redeem itself. Having already made my thoughts clear regarding the games maligned quality – a conversation I don’t want to dwell on again! But with a sequel that can rectify the elements that didn’t quite work, as well as polish the stuff that did, Sony could have another desirable exclusive, in their already well established cache of privatised eminence.
But what do you think? Should Days Gone get a second chance? Let me know in the comments below. Cheers.
Days Gone has endured a rather unspectacular inception. Gaining dubious recognition for being the reprobate amongst the more accomplished retinue of PlayStation exclusives. A reputation informed by its generic open-world, incipient protagonist and crippling technical issues. This unfortunate notoriety – though warranted in some respects – belies a game that at times conceals its considerable potential beneath layers of mediocrity. Yet in spite of its flaws, Sony’s decision not to pursue a sequel is downright contemptible!
Personally I adored Days Gone. The environments, scattered with fleeting moments of respite from the “freakers” and isolated fortifications instilled a true measure of desperation presented by a world-wide pandemic. Thankfully a scenario that isn’t entirely prophetic! The scarcity of supplies assured that you were never truly safe. Ammunition – though readily available- was entirely dependent on the limitations of what your gun could carry and your bike could store. As you progress, with the aid of upgrades, this obstruction would become far easier to manage. But to begin with, it’s very difficult to mitigate.
Then there’s the motorcycle, Deacon’s primary means of transportation. A provision that enabled you to navigate an infected strewn environment with some safety, was also vulnerable if durability was reduced. Suffer too many collisions with tree’s, rocks or Freakers rendered the bike immobile, forcing you to repair the vehicle in potentially hazardous locations. Maintenance is crucial, especially when fuel consumption was also a major concern. It wasn’t simply enough to just roam around, scavenging materials from long abandoned facilities and return victorious with your pilfered loot. You had to ensure that fuel depleted by your spontaneous excursions retained enough reserves for the return journey, or that you could forage for additional gas, again leaving you exposed and susceptible to any meandering freaker that has no doubt been attracted by your strident activities.
And the hordes. Jebus the Hordes! Comprised of 100’s of amassed freakers, huddled into caves present a challenge that is as satisfying as it is terrifying. Dispatching them is close to impossible without a prudent strategy and enough ammunition to invade a small, moderately armed country. Without considered planning and reconisance, you’ll be overwhelmed instantly. Forced to flee like Monty Python from a carnivorous rabbit.
What upsets me most about Sony’s decision to abandon a Days Gone sequel though, is the revelation that concludes the first. SPOILERS. O’brien is a N.E.R.O scientist who throughout the course of the game is conducting research on the Freakers, as well as acting as a confident for Deacon and assisting him in finding his wife. Its revealed that O’brien, conspicuously disguised in a hazmat suit despite no indication of the virus being transmitted virally, is in fact infected. Self aware, cognisant and exhibiting none of the feral behaviour symptomatic of the infection. O’brien, despite his exterior similarities to the infected, seemingly retains his human intellect, whilst displaying advanced physical attributes that allows him to leap 10 feet into a hovering chopper. The virus has seemingly mutated, which of course has significant repercussions for the remaining survivors who could become infected by this new strain.
It’s a compelling premise with incredible sequel potential that – for the moment at least – isn’t going to happen. That to me is unforgivable. For Sony to be so flippantly short sighted in recognising the enviable possibilities this game has of becoming a legitimate “exclusive” franchise seems absurd. But I’m hopeful that given time Sony will realise the lunacy of their ignorance and bestow us with a sequel this game truly deserves.
Do you think “Days Gone” deserves a second chance? Let me know in the comments below. Cheers.
Game, Complain, Repeat 