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“Onimusha” The Return Of My Favorite Capcom Series.

Posted by Karl Weller on December 19, 2024
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Finally. After pleading to what appeared to be a vacuous nothingness for decades, with not so much as a whisper from those that could provide satisfaction to my prayers, a follow up in the “Onimusha” franchise has finally come to fruition. Now I’m sure there will be many Capcom enthusiasts that were disappointed that “Resident Evil 9” or perhaps “Dino Crisis” were not shown at this year’s Game of the year awards. But I don’t think there are enough adjectives in any language, let alone my limited grasp of English, to amply express my surprise as well as my delight for the revival of this long dormant franchise. I was beginning to believe that Capcom had forgotten all about it. Choosing instead to focus on the clearly profitable franchise leaders in Resident Evil and Monster Hunter. In fact, this feels like an announcement made purely for my benefit. As if it were a game made to shift precisely 1 copy. For me, and me alone.

As a teenager, riding the crest of the prestigious wave that was the PS2’s greatness, having been blessed with some of the generations defining games, Onimusha always stood out to me. Despite being considered a Resident Evil clone, just with a feudal Japan setting and replacing “Resi” Zombies with demons, there was such a distinct style and combative fervour that I just couldn’t get enough of. There are few mechanics that elicit the same visceral satisfaction of slashing an enemy “genma” to the ground, piercing their torso with your ornate blade, presumably where their hearts would reside if they had one, and absorbing their souls into my oni gauntlet. The sequel “Samurais Destiny” was my personal favorite, one that featured many recurring characters. Particularly the eccentric and eclectic rogues gallery featuring the main threat in “Nobunaga”, the flirtatious but hideous “Jujudormah”. As well as my favorite, overly dramatic swashbuckler “Gogandantess”, the greatest swordsman of all…..demons.

The mere notion of jumping back into a franchise that I was convinced was not only forgotten by Capcom, but ostensibly ignored, provokes such astonishing joy in me. My only concern, as far as this being a kind of reboot, is that it will be influenced by the Souls like games that populates the industry at the moment. I respect the genre and the challenges these games demand of its players, but for Onimusha to become just another proportionate contemporary, rather than it’s own distinctive style would do a disservice to its sudden resurgence. Onimusha was a difficult franchise, but not one predicated on being strenuous. Really though, this is an outlying consideration. At this moment in time, I’m just happy to see this franchise return. And if Capcom’s recent comments are anything to go by, this might not be the last returning series.

“The Winds Of Winter”: Is It Too Late?

Posted by Karl Weller on February 2, 2024
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Recently I’ve been thinking about “Game Of Thrones”. Predominantly the series, but also the way that it exploded into the public consciousness like gratuitous bukake, before pulling out prematurely just before the moment of climax. Thrusting uselessly. Flaccid. Spent. It was salacious, violent even shocking. Gaining noteriety for endangering character’s that in other successful television series would be protected by their eminence and popularity. Game Of Thrones fostered the anxiety that anything could happen. No character was safe. Each of their respective journeys in this violent world were treacherous and interesting. “Winter is coming” and so were 90% of the residents of Westoros. Look, there was a lot of sex, but the narrative was so much more complex than it’s surface level reputation would indicate. With witty dialogue that was both captivating and natural. Some of my favourite moments from the show were of Tyrian Lannister pontificating, while consuming vast quantities of wine. Of course much of the shows success can be derived from the novels GOT is adapted from.

So it’s difficult even after such a long period of mourning, not to ruminate a conclusion that could have been directly adapted from George R R Martins original source material. Rather than lament the resulting ending, that may only resemble the show in a vaguely superficial way. Of course all of this conjecture is specious, considering that this may have been George’s broad surmise for his conclusion to the books. Characters may not occupy the same exact locations as there on screen depictions. Some may have been unceremoniously brutalized in an earlier season. But Bran “The Flake” still resides as King of the seven kingdoms. Yes I’m aware that he is no longer Bran, but the three eyed raven. And yes I realise that it is now 6 kingdoms, with the North having seceded. Because even Sansa Stark realised that becoming its own independent territory, makes more sense than being led by Bran. (It’s also worth noting, that phone auto-corrected “Sansa” to “Santa”. With the idea of a “Santa Stark”. Which made me chuckle). But that’s besides the point. What we want is a comparative distinction between the novels and the show. A observation we can’t yet make, because as of writing, he still hasn’t finished them!

After 12 years, which by the way is enough time to develop, film and screen the entirety of the adapted series! “The Winds Of Winter”, the penultimate novel in Martin’s bloated “ASOIAF” series, still hasn’t announced a release date let alone published this beleaguered manuscript! Over a decade! For the penultimate novel in a series! Not the last, but the second to last. From an author who has published several novella’s, reference books and compilations in that time. Written and produced movies and television shows. As well as contributing to the world building in a little game called “Elden Ring”. And that’s just the projects he has been working on since the release of “A Dance With Dragons”, which is still his latest release for his “Ice And Fire” series! George has really been dragging his heels, which perhaps is indicative of the challenge of completing such a mammoth and intricately woven narrative. But his nonchalance in releasing it creates a growing problem for George, concerning who is going to care? But when you consider his age, as well as the time it’s taking him to publish “TWOW”, it’s probably not going to matter anyway.

Not Everything Is Perfect, And That’s Just Fine.

Posted by Karl Weller on September 1, 2022
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We occupy a world imbued with such a wealth of potential. A quality of such enduring reverence and one of such natural resplendence, that its almost admirable how society is so instinctively predicated to such a wanton aptitude for misery. We take such pleasure inflicting virilant apathy on other’s, that moment’s of levity foster a visible nausea of incredulity and revulsion. There seems to be a reciprocal correlation between disliking something and actively desiring this specific umbrage to fail. Preferring to deride rather than sympathise. With cynics well versed in the anticipation of failure, attaining some sort of sick satisfaction from its inevitable decline.

Take the much maligned reboot of “Saints Row”. A game that, if the reviews are to be believed, is a perfunctory reboot that relies on the derivative framework of its predecessors, while neglecting to refine its additional generic elements. A reverberating critique reciprocated by a significant portion of its fan base. Then there’s the cancellation of Netflix “Resident Evil” series. An adaptation that’s titular “evil” found itself neighbouring Dawsons Creek rather than Raccoon City. With a script as schizophrenic as Netflix series approval policy. Dialogue that permeates with all the vigor of a fallen tree branch, that’s incongruous tone implies it was written by an algorithm rather than humans, with any passing familiarity with the source material. Delivered by an insufferable cast dedicated in their pursuit to mimic the scripts baffling dissonance.

Both of these properties are somewhat deserving of there public derision and ridicule. But it’s a persecution that becomes problematic when skeptics aren’t just anticipating failure, but hoping for it. Almost relishing in the misery of others. I’m as personally ambivalent towards Saints Row, as the Tory government is towards the poor. But I certainly don’t take any pleasure in it’s perceived ineptitude. With Netflix botched Resident Evil adaptation I wasn’t encouraged by the trailers. But I was always hopeful that it was going to surprise me. Alas my low expectations were somehow under shot, once again leaving many fans bereft of a solid cinematic experience. But there is a subtle yet critical distinction between being disappointed and angry. You can be one without the other. Certainly without venting that frustration as premeditated affirmation for your own repugnant nihilism.

You have to question the mental faculties of individuals who possess such an inherent proclivity to want things, as benign as a game or television series, to fail. But it only takes a cursory search through Twitter to see the incorrigible social discourse, that generates a litany of reciprocal euphoria among the cynics well versed in the anticipation of failure. To celebrate the failure of something because of some biased satisfaction they get from seeing something fail, is worse than failure. Put the knives down and just walk away.

Oh and good luck “Rings Of Power”. Regardless of your quality, you’re going to need all the help you can get.

My Fall Out, With Fallout.

Posted by Karl Weller on June 9, 2022
Posted in: Feature. Tagged: , , , , , , , . 2 Comments

This is a confession that has been a long gestating burden on my conscience for a while now, but I feel empowered enough to finally admit that I don’t really like Fallout. Now when I say Fallout, I’m referring to Fallout 3, 4 and New Vegas. Controversial, I’m sure. It’s worth noting however that this is not an opinion intended to be sensationalised or contrarian, but a simple surmise gathered through active participation with the post apocalyptic triplicate. I have dedicated significant time to each of these iterations, permitting the games a latitude to express their own individuality. Yet despite repeated attempts, this series always fails to intrigue. There are things I admire, concepts that entice. The retro 1950’s inspired aesthetic is neat. V.A.T.S is a visually gratuitous way of dispatching enemies, which I always appreciate. But it really isn’t enough.

Some of this enmity can often be attributed to inflated expectations, or being in the wrong frame of mind when playing them. Sometimes its completely irrational. And oftentimes a perspective is rational and totally justified. Like hating broccoli or James Corden. But where I could compose a 10,000 word dissertation endorsing the eradication of mushrooms. An endeavour that I believe would have been a far more legitimate vindication for the invasion and subsequent occupation of Iraq that a search for fictitious weapons of mass distraction. But when it comes to Fallout, my antipathy is much simpler and succinct, in that it’s just very boring.

Being set in a post apocalyptic wasteland, bereft of sustainable living conditions, for human and or verdant growth. Ravaged by centuries of polluted air and irradiated water, you’re not expecting any of these games to emphasis vibrant, joyous aesthetics. Other than gathering resources and fulfilling the trivial errands submitted by the desperate natives that litter the detritus of this world, there’s little reason to negotiate such a dull and barren environment. Ultimately the story is the only incentive, artificially designed to encourage exploration. With the congruent theme across all 3 games involving the search for some absent individual. Searching for an assassin. Your father. Your son. You then resolve these “unique” narrative arcs, with a series of asinine contrivances that somehow leads to the individuals. And all while you’re forced into combat situations with some of the most perfunctory shooting.

The real issue here is me really. It’s just a series that simply doesn’t exhilarate me as anything other than a passing curiosity. Something I’d see in a sale and think “maybe I’ll like it this time”. There’s a lore built into its foundation that is more fascinating than the games themselves. Like the ostensibly constructed vaults, designed to shelter thousands of potential families against an impending nuclear holocaust, that were actually testing facilities. With the unfortunate denizens subjected to bizarre social experiments, where environmental conditions and other clandestine parameters were altered for the purpose of studying human behaviour. Now that’s something I’d like to “read” more about.

Though having broached this subject with a colleague of mine – someone that possess a “Rain Man” knowledge of the series – I was surprised to find that he, at least partially, agrees with this sentiment, lamenting the day’s before Bethesda acquired the rights to the series. So perhaps my prejudicial aversion to Bethesda’s lauded editions isn’t as controversial as I thought.

Are you a fan of Fallout? Let me know in the comments below. Cheers.