BenQ America, an internationally renowned provider of visual display solutions and a gaming monitor pioneer, today announced the availability of its revolutionary XL2420G monitor. Featuring NVIDIA’s G-SYNC technology, the newest force in gaming allows players to entirely eliminate performance issues related to image tearing, stuttering, and latency — providing gamers with the ultimate in smooth, fast-action play. Unlike any other G-SYNC monitor, the XL2420G gives users the freedom to switch between BenQ’s proprietary Classic Mode and G-SYNC Mode to create a customizable solution that’s made to conquer opponents in any gaming situation.
“Giving players the ability to select between gameplay modes offers customization advantages that are currently unequaled in the marketplace,” said Bob Wudeck, Associate Vice President, Strategy and Business Development for BenQ America Corp. “When paired with BenQ’s RevolutionEyes technology, the XL2420G provides a hybrid experience which is both blazingly fast and incredibly comfortable. With the launch of this long-awaited innovation, BenQ is proud to be behind one of the most significant advancements in the history of competitive gaming technology.”
Equipped with an innovative hybrid engine, BenQ’s XL2420G is the new apex of virtual gaming. Featuring a wide 24-inch screen, amazingly fast 1ms GTG response time, and crisp LED display, the advanced monitor allows users to select between two new gaming modes: G-SYNC Mode, which ensures that images appear instantly the moment they are rendered, and BenQ’s proprietary Classic Mode for added versatility during gaming settings unsupported by G-SYNC. Users simply switch their input cables to match their gaming requirements — elevating gameplay to an entirely new level.
To increase visual comfort, the XL2420G features BenQ’s RevolutionEyes™ technology. Using ZeroFlicker™ capabilities, the monitor eliminates traditional LED flicker issues and supports eSports enthusiasts in longer gaming sessions by providing more comfort during competitive action. The RevolutionEyes monitor also features BenQ’s Black eQualizer, which enables total gaming visibility by allowing players to adjust brightness without over-exposing white levels, revealing critical combat details with improved visibility in darkened areas. In addition, the monitor brings an ultra-fast 144Hz refresh rate for faster pixel rates to give players complete control over any gaming experience.
For even more gaming comfort, BenQ’s latest innovation is equipped with Low Blue Light technology. Designed to manage the exposure of blue spectrum light, the monitor helps to protect players’ eyes during extended periods by providing several adjustable low blue light levels that automatically adjust emission without affecting picture quality. For setup flexibility, the monitors are fully height-adjustable and feature an intuitive on-screen user interface and controller, allowing gamers to save and quickly access their gaming preferences.
Now shipping, the XL2420G retails at US$649. More information on the full line of BenQ products is available at www.BenQ.us.
We see them on TV; dressed in impeccably-cut suits, with a picture-perfect smile and a never-ending supply of smooth rhetoric. Dr. Tyler Belknap is the epitome of a charismatic, fast-talking preacher who has convinced his cult-like following that, with the help of his Bible-based program, they will enrich their lives with maximum health and longevity.
Belknap is the lead protagonist in Monte Wolverton’s newly-released debut book, Chasing 120: A Story of Food, Faith, Fraud and the Pursuit of Longevity – a story of intrigue and truths and a remarkable tale of what can happen to people’s dreams when they put their faith in a high-profile religious leader rather than God.
From his vast Oregon-based Wellness 120 empire, Tyler Belknap charms and targets Christian consumers, influencing them to dig deep into their pockets – enticing them with Biblical-sounding promises of a healthier life following his recommended regimen. While some believe their health is improved, others suffer serious side effects after taking his specially formulated supplements and GMO’s that are developed in a secret underground research facility in the foothills of the Cascade Mountains. But this does not deter Dr. Belknap who keeps this information from the public by bribing city officials and politicians – and who will stop at nothing to keep whistleblowers at bay.
But as much as the fast-talking doctor would like his followers to stay in a state of confusion, he’s not able to keep the negative effects of GMO’s from hitting the news and the public eye. People hear that results from studies done on lab animals cite serious findings, such as, organ damage, immune system disorders, infertility – and yes, aging! Ironically, the polar opposite of Belknap’s claims of longevity!
Since the truth eventually finds its way to the surface, readers learn that a Belknap employee and his wife find themselves at the center of a huge crisis when it’s discovered their son developed brain damage from one of the substance-laced foods. As their fragile house of cards begins to topple, they are forced to admit that the leader they have long admired is, in fact, a crook!
About the Author
An example of Monte’s syndicated political cartoons.
Monte Wolverton celebrates life through his creative talents as a designer, artist, cartoonist and writer. Formerly the managing editor and design director for Plain Truth magazine, his editorial cartoons are internationally syndicated. Wolverton is an ordained minister and holds a MA from Goddard College in Vermont. He resides in Vancouver, Washington.
About Plain Truth Ministries
Plain Truth Ministries invites audiences to discover authentic Christianity without the legalistic religion through online and print media, including magazines, books and radio, at www.ptm.org.
Available at online outlets and author’s website: Chasing 120 – A Story of Food, Faith, Fraud and the Pursuit of Longevity By Monte Wolverton Publisher: Plain Truth Ministries ISBN-13: 978-1-889973-15-9
Wayne Jacobsen, author and President of Lifestream Media: “Monte Wolverton’s first novel is a heady brew of faith and finances as people’s spiritual hungers are exploited by an unscrupulous man bent on making money under the guise of making disciples. Chasing 120 will take you on a ride through the perils of greed, misplaced faith, and awakening to the truth no matter how painful. “
Dan Wooding, author, broadcaster, journalist, and founder of the ASSIST News Service: “…Having known Monte for almost 20 years, I know he has the necessary credentials and experience to write this fascinating story, filled with Christ-centered, real life lessons. [He] addresses some contemporary concerns and problems, as they might meet in a “perfect storm” with dysfunctional Christianity. This story moves and keeps the reader interested…You won’t regret reading it, and I am certain you will recommend it to friends. This story is guaranteed to both entertain you and to make you think.”
Christi Silbaugh – Freelance writer: “Chasing 120 brings to the forefront issues that surround us today, with so many people following rogue religions and corrupt politicians, instead of educating themselves, asking questions, and standing up when something isn’t right. This book is a delightful read that from the beginning to the end will have your mind wondering how much it actually parallels what is going on in today’s world with the hunger for youth and longevity at its peak. Are you chasing 120?”
I’ve never particularly been a Beatle’s fan. I like some of their songs. I like a number of them very much, but if I was asked the now proverbial question, “The Beatles or The Rolling Stones?” I would probably say, Oh, I don’t know, maybe The Who? The body of work of Mark Knopfler. Massive Attack were massive for me.
But I was not a child of the sixties, “an age of assassins,” John B. Lee writes in his poignant and powerfully executed preface, when “[o]ur childhood martyred almost all the heroes that we’d had.” John F. Kennedy. Robert F. Kennedy. Martin Luther King (Malcolm X, not mentioned but later, yes). “The list is overlong,” Lee says. “It will not end.” I understand more fully than ever these life-shattering moments, for Americans and Canadians alike; for so many Across the Universe . Into this near death of hope came The Beatles. The Beatles came to America, came on a Sunday night in January 1964 to The Ed Sullivan show and, and as Lee exclaims with no exclamation mark, “sang my life awake.”
It’s not a perfect looking book. Yet as I read, the grainy cover photo (by an unknown photographer) of four dapper mop-tops fishing out the window of their Seattle hotel—they literally weren’t allowed to leave—starts to resonate. It’s imperfection could be viewed as integral, evoking a time in music when moments of “perfect imperfection,” as Michael Shatte calls them in his essay, were more common in pop; “happy accidents” which would not be tolerated in this era of hyper-produced top-forty songs, when singers voices are routinely, digitally “auto-tuned” in the studio, and we get used to being disappointed when we hear them live. Then there’s lip-synching. I don’t need to go on. There is great music being made by great musicians right now. But that’s not what we’re here to talk about. This is about a particular moment in pop-music history, in cultural history, and many of the moments that followed.
The book is selected and edited by John B. Lee, a Canadian poet and writer who has published more than fifty books and received over 70 prestigious awards for his work. If you haven’t heard of him don’t feel too bad. He tells me openly there is little money in poetry, reminding me it’s not about that anyway. If it was it probably wouldn’t be poetry.
If you haven’t read him it might be time to start: his verse and prose catch the beauty of rural life, farm life, family life, hockey, human sexuality—life. Just Google him. He’s from home, you know. Right around here, right around me, the Poet Laureate of Brantford, Ontario and Norfolk County, home as well to Alexander Graham Bell and Wayne Gretzky, a poet of sport. Like McEnroe was one of the poets of my youth, making tennis beautiful, thrilling, creative; revolutionary. How I tried to emulate him…
Window Fishingis about a time of Revolution, evolutions in culture, and about growing up in the thick of it all. I wasn’t here yet, but as I read this book I learn. It is a literary volume. The cover photo and torn ticket stub on the back page are its only images. Or are they? Because black words on white paper are also images. And the book’s words, artistically rendered, conjure images as well as ideas. It is poetry, and prose poetry, and personal essays; fine writing by a collection of fine writers.
I learn that for most of the men, who were boys then, pubescent, the Beatles were all about music: musical discovery, even ecstasy. And style too. There was style.
For the women who write about the phenomenon of Beatlemania, there was music too. Absolutely. But there was something else. Something profound: the awakening of sexuality. Even a kind of love. Suddenly I understand all the screaming and crying, the fainting. For emerging, young (straight) women, the Beatles were more than musical. They were also beautiful. Sexy. As Susan Whelehan puts it in her essay: “John. He was mine and I was his…I was going to be his FOREVER. And I am.”
While many parents of the day may have dismissed The Fab Four at first as a silly “boy-band,” we might say now, shaking their longish (for the time), round hair-cuts—singing “Ooooo!” and “Yeah Yeah Yeah!”—fact is from the beginning The Beatles were always at the very least competent,andobviously compelling, musicians. Writes Honey Novick in her probing, poetic essay: “You could actually dance to their music.” And we know they became more and more sophisticated as they progressed through their careers, eventually making challenging, often satisfying real art-music, the way Radiohead did for me in my 20’s.
All this beautiful literature about The Beatles and the 1960’s has inspired me to listen, finally, seriously, to the music. Even if you thought, at the time, “Yeah Yeah Yeah” was just bubblegum for kids, consider the lyrics. One friend to another: “You think you lost your love/Well I saw her yesterday. She says it’s you she’s thinkin’ of/And she told me what to say: She says she loves you.” She loves you man. Yeah! (Yeah! Yeah!). What more is there to celebrate? Ecstatically.
If you were there, or if you want to learn, or if you care about music or culture or the 1960’s or just literature, embrace the “perfect imperfection” of this unique and potent book. Some of the poems made me close my eyes and shut the pages. To savour, digest. Bruce Meyer made me cry. I was 8 years old when Lennon was shot. Assassinated. It made no impact on me then. I wasn’t really there yet. The book put me there, as close as I can ever come. For the Silo, Alan Gibson.
Brantford, ON. The Personal Computer Museum is publishing a brand new book called “Collecting for Dragon’s Lair and Space Ace” (ISBN 978-1490383583) that covers two of the most loved LaserDisc video games ever made. Dragon’s Lair officially turned 30 years old on June 19, 2013.
Written by Syd Bolton, who (according to the CBC) has the largest collection of video games in Canada.
Collecting for Dragon’s Lair and Space Ace not only chronicles the hundreds of home releases of games, clothing, collectible merchandise, magazines, toys and more, but also includes an incredible amount of behind-the-scenes information on the development of the games which continue to see home releases right up until this year.
“Along with an introduction that’ll likely slap a nostalgic smile across your face, Syd Bolton has exhaustively aggregated and annotated virtually every Dragon’s Lair and Space Ace video game and merchandise known to modern man” says Marc Saltzman, syndicated gaming and technology columnist, author, TV and radio show host. “While it’s a specialist’s book, game enthusiasts, retro fans, and old folks will find it a fun read” says Steven Kent, noted video game historian and author of “The Ultimate History of Video Games”.
The book will ship next week (July 24, 2013) and can be ordered through the website
www.collectingfor.com, which will contain support materials for the book shortly. The book will also be available on Amazon.com next week. It is 170 pages, 8.5″x11″, full color and perfect bound.
Dragon’s Lair recently celebrated its 30th anniversary and was the first fully animated LaserDisc video game. It generated millions in sales and revived, for a short time, the ailing arcade industry. The follow-up, Space Ace, was released in the Spring of 1984. Unfortunately, the arcade business continued to decline. Both games have been available for home computers and game consoles since 1984 spanning hundreds of releases and also spawned many related items.
Interest in the franchise has continued to this day and there is even a new documentary film “Inside the Dragon’s Lair” in the works which is expected to release in 2014. For the Silo, by Syd Bolton.
Tiny, powerful digital telecommunication device. NetTalk Duo WiFi.
Miami, FL – – netTALK.com, Inc. (“netTALK”; OTCBB: NTLK), a telecommunications, consumer electronics and cloud technology company, announces that the netTALK DUO WiFi, the world’s first wireless VoIP telephone device, is available at leading national Canadian retailers.
The netTALK DUO WiFi works absolutely where you can access a WiFi connection. Unlike other voip devices, it does not rely on a computer or a router to function taking it to new heights of convenience and portability.
“Never before have Canadians had access to a portable wireless VoIP device such as this.” commented Anastasios ‘Takis’ Kyriakides, President and CEO. Since it works anywhere there is a WiFi connection, netTALK DUO WiFi is light years ahead of the competition, which is why throwing the switch and turning off high phone bills, forever, should be an obvious choice across Canada.”
“netTALK has demonstrated its commitment to the Canadian market over the last few years with helping Canadians save money on their phone bills with the original netTALK Duo” continued Kyriakides. “Now with the netTALk DUO WiFi, not only can they continue to save lot’s of money without having monthly phone bills or contracts, they can truly cut their phone cord as well.”
Aside from working anywhere with a WiFi connection, the netTALK DUO WiFi includes all the features Canadian netTALK customers have come to know and love including:
· Free Canadian Phone number
· Fire Your Phone Company, No Contracts or Monthly Bills!
· Free Call Waiting/Caller ID/ Call Forwarding
· Free Voice Mail to Email ·
Free True Canadian E911
The lowest cost, flat-rate international call plans in the industry. Fax-friendly service. Live customer service and technical support.
Anastasios ‘Takis’ Kyriakides, President and CEO of netTALK Canada. Mr. Kyriakides is no stranger to innovative technology- he is the inventor of the world’s first language translator and also invented the first hand held optical scanner and PC VGA card. #solid!
Mr. Kyriakides concluded, “The DUO WiFi takes ‘cord-cutting’ to new heights, eliminating even the need to tether the device to a computer. It can go anywhere, with the same phone number and the same great service. Reaching new heights in technological innovation, the netTALK DUO WiFi offers unbeatable value, call quality, features and customer service. Now that’s something to TALK about!”
The netTALK DUO WiFi carries a suggested retail price of only CA$74.95, which includes a full year of service. Setup of the netTALK DUO WiFi takes just a few minutes and works anywhere in the world with an internet connection.
The netTALK DUO (the original device from netTALK) and the new netTALK DUO WiFi are winners of PCMag.com and Laptop Editors’ Choice awards, and officially designated “Business-Ready” by PCWorld. The netTALK DUO is a revolutionary VoIP telephone device and digital phone service.
Bottom Line? The tiny netTALK DUO enables free nationwide calls to any phone in Canada and the U.S. from anywhere in the world, as well as low-cost, flat-rate international calling plans and a variety of other features, detailed at www.netTALK.com. No computer is necessary to make calls using the netTALK DUO, as it simply plugs directly into a modem (or computer). The netTALK DUO WiFi is the next step in the evolution of the netTALK DUO, by operating from any WiFi connection.
netTALK offers the following calling plans for the netTALK DUO and netTALK DUO WiFi (prices do not include tax):
Basic Call Plan: Free calling throughout Canada and U.S.; one full year included FREE with netTALK DUO and as low as CA$39.95 plus taxes for each additional year.
North America Add-On: Unlimited calling to the U.S., Canada, Mexico, and Puerto Rico as low as CA$5.85 plus taxes per month.
International Add-On: Calling to 60+ countries, including China,India, Brazil, UK, France, and more for as low as $10 per month (plus taxes).
The netTALK DUO WiFi is now available at leading national Canadian retailers; contact marketingdirector@thesilo.ca for the location nearest to you. Visit www.netTALK.ca CP
There are several cover variants for Toews novel, but we like this one.
Miriam Toews’ Irma Voth follows the trials and tribulations of a rebellious, yet eager to please, 19 year old young woman from a strict Mennonite community near Chihuahua. The story begins with Irma recalling the failure of her marriage to local Mexican man. Irma provides the reader with a brief glimpse into her past while she pines over her botched marriage. Her family’s mysterious and seemingly unexplained relocation from the Canadian prairies and her father’s disapproval and disownment over her marriage are vaguely addressed. The story, told by Irma, weaves her past with her present in an effort to understand her situation and the situation of those around her. In her attempt to reason and understand her surroundings, Irma reveals what she knows and what she longs to understand.
As Irma guides the reader through her interactions with the family and community that has cast her aside, the reader catches a glimpse into her very foreign and complex world. As the story unfolds, different characters are exposed. Irma’s younger sister, the 13-year-old Aggie, sees her older sister’s life as an adventure and longs to follow in her footsteps—however resistant Irma may be to this. Aggie’s innocence seems to mirror what Irma has lost in her recent actions and through her actions, the reader can understand the difficulty facing Irma: protecting her sister vs. letting her find her own way, no matter what mistakes she may possibly make. The reader cannot help by admire Aggie’s eagerness and lust for life. Irma robustly contrasts this and the reader is left to try to decipher Irma’s motivations.
Miriam Toews was born in 1964 in the Mennonite town of Steinbach,Manitoba. Did you know? Miriam was a CBC freelancer making radio documentaries. photo: Carol Loewen from www.randomhouse.ca
The novel is told through the eyes of Irma. Much of the dialogue and action is driven by Aggie’s character. Irma takes the position as an observant watcher, but through her actions and inner musings, drives the plot and offers the reader a detailed insight into her past. Not until the end does Irma take a long overdue aggressive stand and make bold moves for reasons she feels justified in. With an ending that will resonate with any reader, this novel tells a haunting tale of moral obligations and maturity.
Sarah Purdy is an educator and a book and literary reviewer for The Silo. Search “Sarah Purdy” from our site to read more Canadian book reviews.
Why Men Lie is the third book in a series that takes place in Nova Scotia’s Cape Breton by Canadian author and journalist Lynden MacIntyre. As a follow up to Giller Prize Winning The Bishop’s Man, this installment of the story follows Effie MacAskill Gillis—a member of the cast in the last two novels in the series.
Effie is an intelligent and accomplished woman. She is a well-respected professor an unnamed university in Toronto. Leads an active social life and has a strong relationship with her adult daughter. However, as reader of the previous two novels will know, Effie has had a rocky past filled with repressed memories that haunt her throughout the book in a series of cloudy flashbacks. As with MacIntyre’s previous two novels, the present is wound fluidly with the past. Effie’s character enhances your understanding of her life and feelings through narrated flashbacks and musings.
Perhaps what is most remarkable about this novel is that it is written in the female perspective. MacIntyre has been known for many years, both as a journalist and novelist, to have an impeccable ability to tell a story. Throughout reading this novel, the reader will forget that it is, in face, a male author and feel connected with Effie.
If one picks up this novel to see exactly why men lie, they may be disappointed. However, instead of giving the reader an answer, it leads them in the search for truth in Effie’s life and even their own. Sarah Purdy is an avid reader and reviewer of books for The Silo.
Johanna Skibsrud’s Giller Prize winning novel, The Sentimentalists, is a journey that sometimes takes place between the lines. Skibsrud’s unnamed narrator takes the reader across time as she tries to reconnect with her troubled past and with her father, which has always been shrouded in secret.
From the beginning, the reader knows little about the narrator. Skibsrud weaves details from the past as she navigates the narrator through a trip back to Casablanca (save yourself some Mapquesting- this is a fictional town CP), Ontario, her hometown. Sparked by recent heartbreak, the narrator travels to Casablanca to spend time with her father in the twilight of his life.
Novels often have multiple cover styles- this one reflects the ‘hidden, not quite visible’ character of the narrator.
In what seems like an attempt to distract herself from her own problems, she devotes herself to finding out some truths about her father’s life before he slips away….forever. The reader never knows much about the narrator. This will be a test for those who like to know about the person who is telling the story. Never named, the narrator releases little information about herself, but a clear and exhaustive picture is painted of her father, Napolean.
[One of the best Woody Allen films- uses an imaginary-advice-giving-fedora-wearing character straight out of Casablanca as a narrative device CP]
Lyrically written, this novel can be a frustrating read at some points. It is full of beautiful passages and poetic imagery. However, at times, the reader may find themselves somewhat lost in the fog of the past and present blending together.
“Lost in the fog of the present and the past….” Lost in the fog – Mount Washington (NH, USA) photo:traveldudes.org
A haunting and promising debut, The Sentimentalists leaves the reader with something to think about. Although difficult at times, it is definitely worth sticking with until the end.
Johanna Skibsrud’s second release is a series of short stories called This Will be Difficult to Explain and Other Stories. For the Silo, Sarah Purdy.
The Ontario Lottery and Gaming Corporation (OLG) developed a powerful analytic tool to provide instant access to billions of lottery transactions dating back to 1999. Dubbed the Data Analytic and Retrieval Technology (DART), OLG developed the solution in six months for about CAN$1.1 million (U.S.$1.15 million) with Microsoft and HP supporting technologies—a sharp contrast to the three-to-five years and more than $10 million needed with other BI solutions evaluated by OLG. Searches that used to take weeks can now be done in seconds. With the DART tool, OLG can identify play patterns to confirm legitimate winners and identify potentially fraudulent behavior and claims. DART builds on other OLG antifraud and player protection initiatives, delivering on the organization's pledge to better inform and protect those who play its games and lotteries.
OLG to Modernize Gaming- New Strategic Direction Will Create Jobs, Support Schools and Hospitals The Ontario government has received a report from the Ontario Lottery and Gaming Corporation (OLG) that proposes modernization of the system, an increase in its revenues by more than $1 billion a year, and the creation of 2,300 net new jobs in the gaming industry and nearly 4,000 additional jobs in the hospitality and retail sectors by 2017-18.
With internet-based gaming growing, a higher Canadian dollar and U.S. border communities building their own gaming sites, our gaming system has to change. These reforms will modernize gaming in Ontario by allowing safe, responsible access to gaming opportunities.
The government has directed the OLG to implement a number of the proposals:
Reconfigure the number of gaming sites and tailor the types of gaming activities made available at each site
Launch multi-lane sales of lottery tickets at major retail outlets, including grocery stores
Increase operational efficiencies by expanding the role of the private sector
Stop annual payments to the horse racing industry by ending the Slots at Racetracks program on March 31, 2013, and allowing slot facilities to be located more strategically
Implement a new fee model for municipalities hosting gaming sites; and
Allow one new casino in the GTA, subject to an OLG business case and municipal approval.
These initiatives will allow OLG to meet the demands of a changing gaming marketplace.
QUOTES
“We are focused, more than ever, on balancing the budget while continuing to provide the best education and health care in the world. Modernizing OLG’s operations and business model is an example of how we are ensuring our assets are delivering the greatest value to taxpayers.”
– Dwight Duncan, Minister of Finance
QUICK FACTS
OLG is the biggest non-tax revenue generating Crown agency in Ontario, and the largest gaming organization – and jurisdiction – in North America, with 27 gaming sites and 10,000 lottery points of sale.
In July 2010, the government directed OLG to undertake a review of its land-based gaming operations and lottery distribution network, to see how revenue from these could be optimized. The government’s plan to transform how OLG does business is a result of this review.
Eight million people in Ontario play lotteries at least once every year, and 2.7 million Ontarians went to an OLG gaming site at least once last year.
OLG generated $2 billion in net revenue for the province in 2010-11.
Since 1975, OLG lotteries, and OLG Slots and Casinos have generated more than $28 billion for Ontario.
Since 1998, OLG has provided nearly $3.7 billion to horseracing in Ontario through the Slots-at-Racetracks program. This year’s payment is estimated to be $345 million. That’s more than is spent on road safety or water safety. It’s also enough money to pay for more than two million house calls from doctors, nine million hours of home care or 27,800 hip or knee replacement surgeries.
Provincial proceeds from gaming activities help support key government services, including health care and education.
Ontario spends nearly $50 million annually on problem gambling treatment, prevention and research – more than any other jurisdiction in North America.
SUPPLEMENTAL- retail lottery fraud-the ‘switching of lottery tickets’ was a problem in the past and the OLG has developed new innovations to combat fraud-
“Love is a big and wonderful idea, but life is made up of small things. As a kid, you have nothing to do with the way the world is run; you just have to hurry to catch up with it.”
Heather O’Neill’s first novel, Lullabies for Little Criminals, is a firsthand heartbreaking account of growing up. Told through the eyes of a young girl as she matures, the novel navigates through the perils of maturing in a harsh, and at most times, unforgiving world.
The author of Lullabies for Little Criminals: Heather O’Neil photo courtesy of quillandquire.com
The story revolves around a young girl named Baby. Baby lives a nomadic life with her father, Jules, in urban and rural Quebec. Motherless and often neglected by her drug addicted, yet loving, father, Baby is left to her own devices.
As the story evolves, Baby ages and rapidly enters into young adulthood. Going from carrying around her dolls around in a vinyl suitcase from apartment to apartment to blossoming into an attractive young woman, Baby struggles to understand her place in her small world. Tempted by a dominant male figure when her father begins to distance himself from her, Baby begins to quickly get lost in an adult world she is not ready for.
An alternate cover.
Perhaps one of the most striking elements of this story is O’Neil’s ability to capture and depict the young mind at work. We have all been there—young and confused. Baby epitomizes this perfectly. O’Neil’s writing is full of heartbreaking realizations that, at one time of another, we have all come face to face with.
“From the way people have always talked about your heart being broken, it sort of seemed to be a one-time thing. Mine seemed to break all the time.”
A captivating read that will absorb its reader from the very start, Heather O’Neil’s Lullabies for Little Criminals, is one that will capture your imagination and stir your senses. For the Silo, Sarah Purdy.
It all began with an amazing trailer, one which captivated gamers and zombie fanatics alike. To some, it was projected to be the most epic zombie game ever created! Well…almost. I can recall after watching the 30-odd, brief second commercial I said in an ironically zombie-like tone “gotta get that game”. The problem however, just may have been the hype. Read me out. The game Dead Island (never mind the trailer for a moment) is by far one of the coolest, addictive zombie games I’ve played in a good while.
You begin your zombie mashing quest on the fictional island of Banoi. You awake to find out that you’ve been bit by a zombie yet miraculously you, and only you, are immune to the zombie “infection” that has infiltrated the island. You are then sent out to complete various missions while also trying to find a way off the island. Of course, this is the game in a very tight nut shell, but you get the idea.
Played in first person, Dead Island is a zombie game that strays from the pack. Unlike other zombie games (Call of Duty: Black Ops) there’s a point to all the bloodshed! Rather than barricading yourself in an old, blown to bits, refuge waiting to die, you are continuously following quests and searching for either a cure or a way off the island. Furthermore, you are completing missions while hacking zombies to bits! (Of course this is all done for the protection of the other survivors and not for the sheer enjoyment). Dead Island also offers a great deal of discovery and has the detailed graphics to go along with the experience.
The bulk of your gameplay is going to rely on questing and exploration but it’s a gorgeous island to explore. Another point of interest is the open concept within the game. You are on an island! You are not surrounded by cement walls or debris covered roads but rather lush trees and a sparkling ocean which I think adds to the creepy factor. I mean, think about it…taking a vacation to a sandy beach resort is nothing out of the ordinary. Now imagine if that was your vacation ruined by zombies!
In terms of characters, there is enough character choice to satisfy and not overwhelm. Four characters, each of whom have their own background stories and their own weapon of expertise. For example, I played as Sam B who is skilled in the use of brass knuckles. Ha ha yeah, I thought it was pretty gritty too. I would change one thing though in regards to the characters; I would have preferred the ability to create your own character and the choice to choose your own expertise. I figure by creating your own character this allows you to better connect the game to the player.
One of the filthy Zombies from Dead Island BRAINSSSSS
Now for the zombies themselves, it’s nice to finally see some variety! You have your traditional “walkers” who can only be described as resembling something stumbling out of a bar at 2 in the morning, and you also have your “infected” who can occasionally sprint at you from any direction while releasing an ear piercing scream. Hell, there are even ones that go boom! The variety in zombie types requires you to be a quick thinker and an even quicker player. When you’re being attacked by a gang of eight zombies, ranging from useless to deadly, you need to utilize your weapons effectively and efficiently or else it’s game over.
Finally, let’s talk weapons. Of course you can use anything that’s lying around: a paddle or broken stick, but you can also improvise, upgrade and modify your weapons. For example, you can begin with your ordinary baseball bat, find some nails or barbed wire and you have one mean heavy hitter. This really gives you a chance to test your creativity and get the big points. All the random objects you find around the island are good for something, especially weapon modification so even the exploration has a purpose. Find yourself a stick, rags, nails and gasoline and you have a torch as well as a weapon! There are guns to be found or traded on the island but I actually preferred not using them. I mean let’s just pretend for a moment that zombies really did break out on my tropical island vacation, the chances of me finding a gun on the island….slim. So I played with what I had and what I could create. This method actually tests your abilities more than you’d think.
Overall, Dead Island is what I’d like to call a pallet cleansing game. It’s a break away from the shoot em’ up zombie games and provides a fresh new take on the idea of “infection”. However, I should mention that if serious amounts of blood and gore ain’t your thing, then perhaps Dead Island should stay on the shelf otherwise, it’s money well spent! Have fun gamers and remember to double tap! For the Silo, Holly LaRue.
What’s that Big red capital ‘C’ circling? Santa’s glass of holiday wine punch!
With dinner or dessert, as a gift or enjoyed over conversation, the versatility of wine is rarely more apparent than over the holiday season. With a little bit of foresight and planning, you can make this Christmas and New Year’s extra special with a drink that not only brings people together, but also enhances the flavours of your Christmas feast.
“Wine makes the perfect gift, whether it is for a co-worker or your spouse, and it really is the finishing touch to a great party, ” says Heidi Fielding, the Hospitality Manager at Beamsville’s http://www.fieldingwines.com Fielding Estate Winery. “Knowing which wines best complement which foods and flavours adds a layer of sophistication to your party, and knowing the perfect wine to serve at every step of the party adds an element of organization and flow.”
Thinking roast duck or ham for Christmas dinner? The Fielding ‘traminer is a fantastic match. CP
Here are some of the many ways Heidi suggests you can incorporate wine into your holidays:
Gifts for coworkers. Buying gifts for coworkers is always a difficult task, but a bottle of wine is a gift that works for just about anybody. There is a full slate of Ontario VQA wines available for less than $20, many of which have a universal appeal and stand well on their own or matched with food. Consider a medium-bodied and versatile wine that goes well with everything from appetizers to red meats.
Gifts for loved ones. Just as wines make a good gift for friends or coworkers, higher end wines are ideal for those who are special to you. A
fine wine is a shared experience and fodder for fond memories.
The House Party. Serving wine to your Christmas party guests is a classy and simple gesture that makes a good party great. It’s not a given that all of your guests will be serious wine drinkers, so serving a light white wine is a great idea that will generally please most.
Cocktail Hour/Appetizers. Wine isn’t just for the main course. Picking the right wine to go with your appetizers, or a good wine that can stand on its own, is a definite crowd pleaser.
Christmas Dinner. Not sure which wine to serve with turkey? Definitely a Chardonnay or http://www.fieldingwines.com/store/prod/50 Pinot Noir are perfect with turkey and all the traditional Christmas dishes. These wines are rich enough without overpowering the flavours and spices. A dry Rose is also a great choice and looks very festive at the dinner table.
Hostess Gift. When someone goes through the time and effort of planning a Christmas party, it is a good idea to extend your gratitude with a small gift of appreciation. Take the time to visit an Ontario winery to find a truly special bottle of wine that may not be found in the LCBO.
About Fielding Estate Winery
Fielding Estate Winery is a unique, award-winning winery with an inviting atmosphere located on Niagara’s Beamsville Bench. Fielding’s Muskoka-inspired wine lodge nestled at the foot of the Niagara Escarpment offers stunning views across the winery’s vineyard to Lake Ontario and Toronto’s skyline. This vista is the dominating feature as you sample of some of Ontario’s finest VQA wines, made from grape varieties that perform best in Niagara’s unique microclimate vineyards — Riesling, Pinot Gris and Chardonnay for whites, and Pinot Noir and Merlot for reds. With three gold medals, Fielding was the most decorated winery at the 24th annual Cuvée Awards in March 2012 and General Manager Curtis Fielding was named 2012 Grape King recognizing viticulture excellence. CP
Any veteran professional athlete who has performed at a high level for many, many years knows that a career threatening setback can occur at almost anytime. Given a long and reliable service to his team, he can reasonably be assured that if something grave happens, he’ll be allowed a chance to reclaim his position once back to good health.
Not so for lead singer Jon Anderson of classic 70’s progressive rock band Yes. Anderson was struck down in 2008 with an acute respiratory failure that left him without his voice and close to death. His band mates, eager to cash in on a reunion tour, cast him aside and scoured Youtube for a replacement. They captured Benoit David, a Canadian and singer for Yes tribute band Close to the Edge, and they went on their merry way. Fans cried foul and Anderson was left miffed and alone to face his illness.
That unfortunate story made Anderson’s August solo show and return to health at Festival of Friends in Hamilton all the more triumphant. Armed with only his magical voice, an acoustic guitar and his supportive wife side-stage, at age 66 Anderson showed us all that he can still deliver the powerfully high alto vocals that personified the original Yes sound. He ran through a 15 song set that included Yours is No Disgrace, Owner of a Lonely Heart, I’ve Seen All Good People and the mega-hit Roundabout among many others.
Stripped of the power of his supporting players, Anderson re-invented the songs- exposing the soul of each one at its very core. It was a magical show and although Anderson’s tenuous situation with Yes is quite well documented, he took nothing but the high road when interacting with the audience between songs. He only expressed gratitude for getting his health and voice back, and more thanks for all the support afforded him by those that truly loved him at time when he was deathly ill.
Anderson earned enormous applause from an appreciative audience throughout the entire set. It was a wonderful sight to witness at the end of the night- a waving Anderson beaming from ear to ear- a man betrayed leaving the stage with the most important thing of all- his integrity intact. I’ve Seen All Good People by Silo contributor and songwriter/performer John McIntosh.
Patrick DeWitt’s The Sisters Brothers is everything a good western should be. Set during the Gold Rush of the 1850s and littered with gun fights, loose women, saloons and robbery, this novel would easily appeal to any western enthusiast or history buff. However, just buried beneath this classic western narrative, is a story about the power of relationships, family, redemption and self-awareness.
They story is narrated by one of the Sisters brothers, Eli Sister. From the very beginning the reader can tell Eli is more brains than brawn—the introverted, overweight polar opposite of his brother, the notorious and lethal hit man, Charlie. As a duo, they are given the job to kill a man named Hermann Kermit Warm. Their orders are given to them by a man who is only known as Commodore and who only meets with Charlie. Everything the reader knows about the job is second-hand information given by Eli. The lack of information engulfs their mission in a cloak of secrecy and mystery. The reader, along with Eli, is not quite sure why there is a hit on this man, only that there is and the brothers are the ones to execute it. From this point on the brothers travel from Oregon City to San Francisco meeting a variety of noteworthy characters from all backgrounds along the way.
Patrick Dewitt (L) and author Peter Benchley (R) more than a passing resemblance?
The most engaging aspect of this novel is DeWitt’s ability to engage the reader through fast dialogue and deep inner thoughts. Eli serves as a vehicle for the reader to see and understand what is going on in the novel. Although Eli lives a disgusting life full of violence, lust and indignity, his words and thoughts produce a character that is truly human and surprisingly relatable. Eli suffers with feelings of inadequacy when it comes to his relationship with his brother and the line of work they pursue. This inadequacy is subtly mirrored by his relationship with his horse, named Tub, who seems like more of a burden to Eli and the mission than anything else.
Perhaps the most striking theme in this novel is the theme of relationship and family. Eli forms and fosters many relationships throughout the novel—most notably his relationship with Charlie, his brother. Eli’s venerability is exposed through this relationship. At one point, when asked about his relationship with his brother, Eli states, “Our blood is the same, we just use it differently.” A very thought provoking statement gets to the very heart of human nature and relationships. Throughout the novel, Eli’s relationship with Charlie is tested through action and dialogue. As the novel comes to a close, relationships change due to circumstance and the roles they both play in each other’s lives will not be reversed, but destroyed in an unlikely way.
A book wholly deserving of its Scotia Bank Giller Prize Short List nod, Patrick DeWitt’s The Brothers Sisters is a surprising hard edged exploration of what makes us all human at our very core. Book review by Silo contributor Sarah Purdy. Read more from Sarah by searching her name from our homepage. Silo Direct Link to Patrick DeWitt Website CP
Question: what do William Shakespeare and DJ Hero have in common? Well, in the famous words of Will himself, “If music be the food of love, play on”. That’s right, the soundtrack is the star in this new video game! We’ll get to the gameplay in a moment but first let’s jive to the beats.
Saturday morning, I’m sitting in my living room, morning coffee in hand staring at a turn table. I think to myself, so that’s it? A box with some buttons and a spinny thing? How bad could this be? I mean really, how is this game going to be any different than guitar hero (minus the obvious difference in “controllers”)? As a newbie to the turn table scene I was confused but anxious to give what little skills I had a try. Now, with bloodshot eyes, cramped fingers and a twitch from drinking copious amounts of coffee, I am here to tell all. Far beyond what I had initially set out to review this game for, the music in DJ Hero is by far the most creative and energetic. It’s new, original and truly defines what the game is all about. All the tracks are original mash-ups created by such talent as DJ Jazzy Jeff and Grandmaster Flash. If you are looking for funk, hip hop, techno or maybe all three spun together, you’ve got it! Even if you’re a soul man, look no further. Unlike Guitar Hero and Rock Band, DJ Hero is comprised of never before heard tunes that are incredibly well matched. My favorite – the Vanilla Ice and MC Hammer mash-up. Yeah, it’s a way back playback but I loved it! I’m going to say, with great certainty, that it is nearly impossible to play this game without a single toe tap or head bob. Simply put, the music featured on DJ Hero well surpasses my expectations. 10/10.
In terms of gameplay, DJ Hero is actually quite intense. Although the game does a walk-through of all the controls and allows you to play on either easy, beginner, medium, hard or expert levels the tricky part is somehow managing them all at once. Unlike Guitar Hero for example, you are doing more than just pressing buttons and strumming – you are pressing buttons, controlling the effects dial, sliding the cross fader, scratching either up or down or all around (depending on the directions), oh yeah and remembering to blink and breathe. I love games that really test my abilities including my use of hand-eye coordination and this video game certainly put those abilities to the test. DJ Hero requires each hand to work separately and perform its own task. You earn stars based on your performance and it is through this that you are able to unlock new mixes, characters and costumes. DJ Hero is incredibly challenging but always leaves room for improvement which is part of the reason why this game is so awesome.
Speaking of improvements, this game could use one or two. More specifically, the multiplayer function in DJ Hero is slacking. I will give Guitar Hero and Rock Band the points on this one simply because they offer more variety. For example, Rock Band allows for several different instruments to all play together and help “create the music”. DJ Hero’s multiplayer function allows for another turntable to be added to the mix but you are still playing the same song, the same notes and not contributing to the overall sound. DJ Hero also allows for a guitar to join in however, the songs to be played on guitar are limited and don’t come together as smoothly as you might think.
Despite my two “needs improvement” comments, overall DJ Hero is a definite must have! It challenges your mental and physical abilities and successfully frustrates you to your core. I can recall shouting several profanities at my television screen therefore, I caution you to refrain from playing this game in the presence of small children (if you’re anything like me that is). As I mentioned in the beginning of this review, the music/soundtrack is truly the star of this game and works well even as the background music at your next shin-dig! I now have a new appreciation for the guy running the beats up in the little booth at the clubs. Next time you’re out, shakin’ it like a polaroid picture, buy the guy in the booth a drink would ya?
Reviewed & Written By: Holly LaRue
Duke Nukem Forever – released June 14, 2011. Yeah we know this is an ‘old game’ by most standards but it deserves a special Silo re-visit.
The Duke is back.. and with harsh criticism.
If you’ve ever played any of the previous Duke Nukem games from the 1990’s then you’ll know what to expect from the latest Duke, Duke Nukem Forever. The majority of reviews about the June released Duke Nukem Forever game are filled with gamers’ expectations and high hopes but immediately reveal their dream crushed realizations. C’mon folks, it’s Duke Nukem! A game that was popular in the 90’s and for good reason – it’s meant to be silly, fun and contain some cheese factor. Known for its incredibly macho yet vulgar main character who strives off his ego and his chicks, Duke Nukem is a game forever built on stereotypes, cheesy one liners, and ridiculous scenarios! My question is simply, is this a bad thing? In a way, I found Duke Nukem Forever a breath of somewhat fresh air. Instead of planning attacks and trying to survive deadly missions and zombies, I was cruising around in a buggy and fighting miniature aliens!
Duke Nukem Forever has nothing on games such as Call of Duty or Gears of War but I think it’s safe to say that this was not the intention here. For example, the plot itself is simple and to the point: aliens land, aliens start stealing women in order to breed while turning men into cops to assist in taking out Duke Nukem. (of course, its such a simple premise, we could come up with that just walking down the street CP )Duke’s objective: kill aliens, rescue women. This game is not intended to spark the creative and mystical part of your brain rather, allow you to sit back and enjoy the entertainment! Sure it’s not as intense or as gritty as the rest of the games of today, but you also don’t spend the whole game clunking around like a trashcan full of potatoes peeking over chest high walls to shoot at things. After all, it’s a throwback to your youth; you run, you jump, you shoot things.
In terms of the graphics, only mediocre but despite the opinion that the gameplay is slow and non-interactive, I beg to differ. There is lots of chance for adventure depending on how you’re playing the game. If you’re willing to loosen your mental grip on missions and tactics and just have fun with the game, then you’re more likely to see the exciting potential the Duke has to offer.
Some of the points people and critics alike are missing with this game is the sheer compatibility factor to the age group playing this game. Why did everyone love it so much in the 90’s? Duke himself – a stereotypical “manly man” with a foul mouth and the need for ass slapping women from time to time. Nothing has changed in Duke Nukem Forever nor should we expect it to. The game is fun, entertaining and doesn’t rely on continuous strategy. Nor does the game try to get deeper than it needs to be which proves that less rigid gameplay can be a bonus from time to time.
When did video games become so serious? Lighten up a little people and enjoy the silly potty humour once in a while. Duke Nukem Forever is nothing to rave about but it deserves its praise nonetheless. As mentioned, if you pick up this game expecting to have your mind blown then you would be in for disappointment but if you are picking it up and thinking to yourself “what the hell, why not” then you’ve got the right idea. On a scale of 1 to 10 I would rate it a 7.5 for delivering what I had expected and hoped it would, pure entertainment. Also, it’s been in development for 13 years so if you’ve waited that long you should at least play it.
Holly LaRue is a new videogaming writer and reviewer for The Silo and hails from Hamilton, ON She can probably kick your butt at your favourite first person shooter. BANG!
It was 2011 when I wrote this piece and everywhere I turned I saw the influence of one videogame or another. Now they’re no longer just a niche sideline favored by the odd and socially awkward; they’re as ubiquitous as music and movies and, as an industry, bring in just as much or more money too. Is it really all that surprising, then, to see the unique influence of the medium turning up in some rather unexpected places?
Consider the Rocket Racing League. Heard of it? Founded in 2005, the RRL is a private air-racing league that, if it ever manages to get off the ground, will use custom-designed canard “rocket racers” in aerial races with a twist: instead of flying through physical obstacles as conventional air racers do, RRL pilots will navigate a virtual race course created by a computer.
“The Rocket Racer pilots see the Raceway-In-The-Sky with a custom Cockpit Based Augmented Reality System projected onto a 3D helmet display,” the Rocket Racing League website The Rocket Racing League explains. “For the thousands of fans in attendance, they will witness the racing action live and in real-time on large projection screens fed by the Ground Based Augmented Reality System. For the millions of fans watching on televisions and PCs at home, they will experience the thrill of the Rocket Racing via unique remote and rocket-mounted cameras that give at-home fans the sensation of riding right alongside famed Rocket Racing League pilots.”
The system will not only challenge the fliers but also provide a unique opportunity to engage with the live audience through jumbo video screens projecting the virtual course and even viewers at home by way of a planned video game that will let armchair pilots actually take part in the races, competing online in simultaneous real-time. But what if you’re after a more visceral, in-your-face experience? That’s doable too, and it doesn’t take a million-dollar rocket plane to make it happen.
Behold “Wipeout,” the ABC game show that puts contestants through the wringer of various bizarre and rather rough obstacle courses that more often than not result in a spectacular wipeout – hence the name – and a quick trip into a mud pit. Its roots can be traced back to the 1980s Japanese show “Takeshi’s Castle,” Vintage Video of Takeshi\’s Castle better known to American audiences (in edited form) as the Spike television extravaganza “Most Extreme Elimination Challenge.” But more to the point, these shows share a more basic commonality: a powerful video game sensibility in their design.
Check out a video clip or two at the “Wipeout” website – http://www.abc.go.com/shows/wipeout and tell me that those courses don’t look like some twisted Nintendo Super Mario Bros. creation sprung to life. All that’s missing is a oversized, angry gorilla who throws barrels. And while some people just love to compete, and the big cash prize for the winner is a mighty powerful incentive, the real attraction is far simpler: it’s an opportunity to put yourself into the middle of a full-size, real-life Super Mario level. Who could say no to that?
As gamers get older and technology gets better, we’re certain to see this kind of game-inspired entertainment become increasingly commonplace. In another facet Video Games Live has become the new musical craze. The performance is a musical compilation of some of the classic 8 bit game tunes from games such as Pong. Performed by the Video Games Live orchestra. In a way, we’ve come full circle; art imitates life and, as always, life imitates art.. It gives a whole new meaning to the term “virtual reality,” wouldn’t you say? For the Silo, Andy Chalk.
Back in the mid 80’s, my high school buddies and I would travel every month or so from Simcoe to the Brantford Civic Center to get our fill of WWF wrestling. It was great because in those days they used to do the TV taping right there in Brantford for broadcast all over North America. It was usually a long night of about 3 hours of wrestling for 3 different TV shows. For $5 it was the best entertainment value around. Sometimes the matches would drag on.
Harley Race and Nikolai Volkoff were not exactly the most captivating performers, but we would endure them waiting for something to peak our interest. I’ll never forget the night a new wrestler was introduced to us. The ring announcer welcomed him as Randy ‘Macho Man’ Savage. Out he came in a garish, metallic robe which reflected the television lights in a million directions. He had a maniacal look on his face and he revealed the craziest wild eyes when he finally removed his dark ski-goggle type sunglasses. His matted hair was held back by a colourful headband and he sported an unruly beard.
Once in the ring, he took off the robe to reveal not the plodding weightlifter type body we were used to seeing, but the more sinewy muscularity of an athlete. We, the veteran and savvy fans, took this new guy and his ring entrance with a grain of salt. “Macho Man”? Really? “Who calls themselves the “Macho Man”?” we thought. At that time our only reference to a Macho Man was voiced by a pop group named the Village People, and that was just plain challenging for a group of adolescent high school boys. So we watched on with wary eyes. The bell rung, the match started, and then the Macho Man turned into a human whirlwind.
He raced around the ring delivering all his moves with expert efficiency, but at a hyper-speed we had never seen before. He threw his man out of the ring, darted up to the top turnbuckle and came down hard onto the opponent’s backside with a double axe handle. He then threw the poor sod back in, picked him up and body-slammed him to the centre of the ring and jumped back up onto the top turnbuckle as quick as a cat. What was he going to do now? He raised his arms and pointed his fingers up high towards the arena roof and paused for a moment while the crowd held its collective breath. Then….he leapt. Sky-high into the air he launched, coming down with devastating force into the chest of his opponent with what would become his signature move, the Flying Elbow. One, two, three, and it was all over in the blink of an eye. We were awestruck. A star was born. After that display of wrestling awesomeness, it goes without saying that we were now all charter members of the Macho Madness fan club.
Savage’s “Oooooyyeeaaah” catch phrase and white-hot interviews would solidify his character, and his lovely manager Elizabeth would provide the eye candy which surely helped propel him to the highest heights of wrestling stardom. Whenever his entrance music, “Pomp and Circumstance” hit, the excitement level dialled up to a fever pitch. He would become a multi-time WWF champion and face off against Hulk Hogan in the top money-drawing program of the day. His crowning achievement was likely his match against Ricky Steamboat at Wrestlemania 3 in what is widely regarded as one of the best wrestling matches of all time.
Randy Savage, real name Randy Poffo, died tragically in Florida last month after having a heart attack while driving his car and then colliding with a tree. He leaves us at the too young age of 58. I know my buddies and I are not the only ones out there missing him. I’m sure some of you have your own favourite Macho Man moments.
Maybe you should have a stroll down memory lane and check out some Macho Man on Youtube In my mind, he was thegreatest of all time. John McIntosh is a favourite writer for The Silo.
Machinarium is not a new videogame. But if, like many gamers, you overlooked it when it was released in late 2009, you owe it to yourself to go back and pay it some attention. Machinarium may look simple or perhaps even a touch primitive at first glance, but in reality the game is an inspirational fairy tale set in a wondrous, grimy world of living machines; a touching story of struggle, heroism and robot-love.
One of Machinarium’s most remarkable qualities is the way its tale is woven without a single word—there’s not one instance of speech or text in the entire game. Instead, everything is told visually. Dialog between characters unfolds as brief animations, while plot details are filled in through flashbacks.
Even the physical appearances of the game’s denizens, from the diminutive main character to his ruffian tormentors and the strutting, tin-pot police who, in theory at least, guard over the city, figure prominently in the storytelling process, as the pint-sized underdog struggles against bullies and thugs to be the hero his doe-eyed beloved has always believed him to be.
That may be a lot to read into a game that, bizarre setting aside, is a fairly straightforward point-and-click adventure. From a gameplay standpoint, Machinarium is solid if not particularly noteworthy. But the details of its world most definitely are. Each level and everything in it is entirely hand-drawn, providing a unique and whimsical visual style, while the soundtrack, both musical and ambient, is every bit as impressive—possibly more so. The combined effect is nothing short of extraordinary.
Gamers unfamiliar with the standards of “adventure logic,” in which odd, occasionally arbitrary sequences of actions are required to complete tasks and move things forward, may need a little time to get settled, but veterans of the genre will feel right at home. You will collect objects, you will combine objects, and you will use those objects on other objects to make things happen. But the game mechanics are actually quite simple, because everything is visual and its various regions are fairly tightly compartmentalized. Some of the problems you’ll face are real stumpers, however, and while one hint is available for each of the game’s screens, don’t expect it to do much more than give you a very gentle nudge in the right direction.
But that’s okay. Machinarium is a slow-burning experience that’s best savored rather than merely consumed. It crafts gripping beauty out of an ugly world in a way that elevates it from the merely good to the truly memorable. It’s not for everyone: twitchy Halo junkies probably won’t find too much to like in it. But for anyone in the mood for something a little more thoughtful, or who’d just like to see the videogame medium stretch its legs a little bit, Machinarium is a wonderful, magical game that simply should not be missed. For the Silo, Andy Chalk.
Movie expectations are a dangerous bag. We savor anticipation, but envisioning a positive experience before you’ve actually had the experience can warp perception and lead to anti-climax: the proverbial let down.
Hype is another form of expectation, one that is projected from external sources. And how many times have we heard the phrase: “It just doesn’t live up to the hype.” We get suckered by marketing and take solace in acerbic criticism. We love to hate the let down.
I went to my local video store a couple of weeks ago on a mission. It was time, I decided, to watch The Social Network, the much acclaimed film by director David Fincher (Seven, Fight Club) about the founding of Facebook.
Rarely do my trips to Super-A Video feel like such an event. First of all, Columbia Pictures has gone all out on a gorgeous, deluxe box for this film. I felt like I was in a record store again, holding in my hands, for the first time, a new album I had been waiting for. Some of you will remember what that was like…
On the cover, a host of superlatives from the likes of The New York Times, New Yorker, and Rolling Stone Magazine. “Stupendous!” “Exhilarating!” “Absolutely emblematic of its time and place!” The list of ecstatic declamations was exhilarating in itself. But it also made me nervous. Will it live up to the hype[rbole]?
So this was my Friday night. I dimmed the lights and sank into my couch, prepared for what was, in the educated opinion of many, a defining cinematic event. This is my substitute for romance, I guess. And in this case: no anticlimax.
The film starts at a blistering pace with a scene of two people sitting relatively still. The momentum is in the dialogue, in the intellectual animation of two brains on fire. I watched the movie again on Saturday, this time with a friend, and he was literally on the edge of his seat, concentrating to following the rapid-fire repartee which is the opening salvo of Fincher’s film. And then he said, “Wow. What a way to start a movie.” Certainly makes you pay attention.
Screenwriter Aaron Sorkin (A Few Good Men, TV’s The West Wing), who is known for his dense, tightly scripted approach to writing, has already won the Golden Globe for this piece of work and the Oscar seems likely. But don’t let my description of the opening scene scare you off. The Social Network is not an exhausting experience. It chronicles a moment of great creative outpouring in the lives of brilliant people who think very quickly, and it finds a way to carry you along, and in, to the tale of their accomplishments and relationships.
The DVD extras illuminate what can happen when a great director, writer and actors work collaboratively on a project like this, providing a rare glimpse into the artistic process of an incredible team. Fincher (Golden Globe, Best Director), comes off as an affable perfectionist, admired in spite of the fact that he will do 99 takes of a scene—ie: that electric opening. And the newly feted Jesse Eisenberg, with a host of Best Actor nominations for his role as principle Facebook architect Mark Zuckerberg, seems almost as smart as the genius he portrays.
The other star of this film is Trent Reznor and Atticus Ross’ original soundtrack. At times haunting, at times propulsive, these long-time musical partners (Nine Inch Nails) have created a techno film score that will make your home theatre sing. Never obtrusive, always complimentary, it adds tone and depth, feeling and movement to this film. And it is cool. This is important. Zuckerberg knew that, with Facebook, he was on to something cool. He also knew that there is no more precious commodity—aside from sex—when it comes to marketing to young adults.
The Social Network, too, is that rare constellation of co-factors: it is a document, and example, of pop-culture that is blisteringly smart, sophisticated, exciting, funny, sexy, and cool. It is also a work of art, and for all of these reasons it is, truly, an emblem and anthem of our time. For the Silo, Chris Dowber.
One of Will Ferrell's most original roles, from 2001's ZoolanderFebruary can be hard, but March might be even harder. March is like exam week in the University of Winter: you’ve already had a really long haul and now you just have to steel yourself and push through to the end. There is drudgery in any life I guess, but I believe in taking breaks, and a funny movie can be like a 90 minute tropical holiday.
Reclining recently, cozy on my couch, I found myself contemplating two actors who seem to have their fingers on the comic zeitgeist. So the next time you’re at your local video store, or cruising Netflix for a digital vacation, keep an eye open for their films and beat the blahs while you warm your cockles.
The first is Michael Cera (pr. like Sarah), a quirky kid from Brampton with incredible comic timing who makes intelligence cool and softspoken wit accessible to a new generation. He got his first acting gig in a Tim Horton’s commercial (Wikipedia disclaimer), but I became aware of him watching Arrested Development, one of those truly brilliant television series that comes along now and then, creates a cult following and wins every possible award, but never generates the popular groundswell necessary for longevity on network TV. An Arrested Development movie is slated for 2012 release however, in case you’re interested…
You may have also seen Cera in Jason Reitman’s Juno (yes, that is the son of comedy legend Ivan Reitman), which generated big buzz in 2007, winning the Oscar for best screenplay and receiving a total of four nominations.
Diablo Cody’s script begins with a barrage of hipster language that put me off at first, but the story quickly evolves into a touching and comic tale about a very interesting teenage girl coming to terms with an unplanned pregnancy and the people it brings into her life. And Cera is perfect as Bleeker, a smart, quiet kid who might be relegated to a painful highschool nerdom if he wasn’t so sure of who he was.
Michael Cera’s become a big star in the last five years (he’s just 22), headlining a host of oddball films tailor made for his unique persona, which makes me think of Bob Newhart as a hip, skinny teenager. Titles like Superbad and Scott Pilgrim vs. The World, a contemporary comic-book of a film in which the young hero must defeat his lady-love’s seven evil ex-boyfriends, have been very successful vehicles. But my absolute favourite is 2009’s Youth in Revolt.
With a remarkable screenplay based on C.D. Payne’s novel Youth in Revolt: The Journals of Nick Twisp, this film is up there in the intelligent-teen-movie stratosphere formerly inhabited solely by director John Hughes in the 1980’s (Pretty in Pink, Ferris Bueller’s Day Off). But Youth in Revolt is distinctly more literary, with an artful style and darker edge for the new millennium.
Cera plays a precocious young man who must create a dashing, sociopathic alter ego to accomplish things his normal, mild-mannered self could never do—kind of like Fightclub except, in this case, ego and id work in tandem, side by side, in full awareness of one another.
There are so many reasons to love this movie, but for me Cera’s performance is at the top of the list. One of the only criticisms I’ve heard of this young star is that his characters are so similar, film to film, like Woody Allen without all the mania. But in Youth in Revolt, we get to see Cera really act. His portrayal of Nicholas’s Twisp’s alter ego, Francios Dillinger, is one of the most enjoyable performances I’ve seen. Ever. The transformation is subtle but total, and utterly believable. And the white pants…but I won’t say too much.
Will Ferrell is the other guy working right now who really does it for me. To take a momentary detour, Bill Murray has a cameo role in 2009’s Zombieland that sets up the way I think about Ferrell. When Emma Stone’s character recognizes Murray as himself she cries, “This guy has a direct line to my funnybone!” Will Ferrell has become that actor for me.
I remember an appearance he made on ABC’s The View a few years back. He was just sitting there in a jacket, sporting that little fluffy perm of his, and one of the hosts asked him how he’d been doing. “Fine,” he said. “Just fine.” Then there was a beat, and everyone started to laugh. Someone even commented on it. “You don’t even have to do anything and I laugh.”
Now, why is that? What is that? Was it the way he pitched his voice, the terseness of his response, the barely perceptible glimmer in his eye, or the relative stillness with which he held his body? The answer, I think, is yes: it was all of those things. But there was something else as well, an almost palpable comic energy that he generates, an X-factor that is greater than the sum of all those parts. Sometimes I just look at him and I’m done.
Ferrell became famous on Saturday Night Live and has gone on to become one of the most recognizable actors, comic or otherwise, of our time. He has reached a rare echelon. His name is pretty much a household word.
His magnum opuses, if you will forgive the term, are probably Anchorman, Talledega Nights, and Semi-Pro—three films that could be considered a kind of trilogy, if you think about it. They all feature many of the same (A-list) actors, and in each one Ferrell plays a similar character: a charismatic doofus in love with himself but largely ignorant about anything of genuine substance. They are all funny films, sometimes gut-bustingly funny. But I recently saw him opposite Mark Walberg in The Other Guys, another star-studded comedy in which the two leads play cops with unbalanced personalities. And this one is a little different.
It’s another big-budget comedy; action-comedy really. And we get to see Ferrell lying on the ground at one point, screaming non-sequiturs at the top of his voice in a style that has become one of his trademarks, going right back to SNL and his appearance in the first Austin Powers movie.
But what’s really fun about The Other Guys is the way it showcases that incredible energy Will Ferrell brings to deadpan comedy. Nobody does it quite like he does.
Ferrell has tried his hand at more serious roles, opposite the likes Emma Thompson and Dustin Hoffman in Stranger Than Fiction, although I never quite believed him in this film, kind of like I never believed Bill Murray in The Razor’s Edge. And while Murray, in his maturity, went on to give us his wonderful interpretation of an aging actor in Sofia Coppola’s Lost in Translation, one of the best films of 2003, he did it by using his naturally funny energy; toning it down, sublimating it, until he finally broke through into something, someone, simply sweet, and truly human. It was a subtle piece of work. Whether or not Will Ferrell, the man who gave us Mugatu, can do something like this…doesn’t really matter. Certainly he was born to be funny, and there’s nothing wrong with that. AG
In the videogame world there’s immersive gaming and then there’s immersive gaming. Take Blizzard’s World of Warcraft for example. Not only can you buy “virtual treasure and items” on eBay using real life money, there’s a new cataclysm expansion pack that allows your character to learn a new archaeology skill and visit “virtual dig sites” to gather your own artifacts. This sort of ingame depth and detail is why over 12,000,000 people spend a great deal of time “existing” in the virtual World of Warcraft.
Featured image- middlesavagery.files.wordpress.com
The Rocket is a story about a man, a husband, a machinist and a hockey player; a man juggling a day job, a marriage and a passion to play “the game.”
His journey is classical and it has all of the elements of a Greek comedy, with the effect, just like in the Aristotelian tradition, of purging our souls of fear and pity- it is a catharsis. The fact that this is the story of a hockey player trying to make it in the the big time is something many Canadians can relate to: the quest has become a modern day myth in itself with legions of hockey parents secretly living the dream vicariously through their children.
Imagine, then, the impact that Maurice Richard had on an entire generation of francophones. During his playing years, many French-Canadians suffered through an undisguised social prejudice; Richard perhaps more than most. But this was a man who never gave up for long. Despite the stigma of being French, and a labourer; despite being viewed as “too soft, too small for the game,” Maurice Richard rose above and became “The Rocket”. For the Silo, Jarrod Barker.
Playing on Netflix at the time of this writing. Watch for Shawn Avery the pesky New York Ranger left-winger in a casting coup.
C’est une histoire au sujet d’un homme, d’un mari, d’un machiniste et d’un joueur d’hockey. Un homme jonglant un travail de jour, un rapport et une passion de jouer « le jeu ». Son voyage est classique et il a tous les éléments d’une comédie grecque et a l’effet de, juste comme dans la tradition aristotélicienne, purgeant notre âme de la crainte et le plaint est une catharsis. Le fait que c’est une histoire d’un joueur d’hockey essayant de faire le de premier rang est quelque chose beaucoup de Canadiens et Norfolkers peut se rapporter à et cette recherche est devenu un mythe moderne de jour en soi avec des légions d’hockey parents secrètement la vie le rêve délégué par leurs propres enfants.
Imaginez alors l’impact que Maurice Richard a eu sur une génération entière de francophone. Pendant ses années de jeu, beaucoup de Canadiens français ont souffert par un préjudice et un Richard sociaux ouverts
peut-être davantage que les la plupart. Mais c’était un homme qui n’a jamais abandonné pour longtemps. Contre les confins d’être un canadien français, contre les confins d’être un travailleur, contre les confins de l’visionnement en tant que « trop doucement, trop petits pour le jeu.
Maurice Richard est devenu le Rocket.
Maintenez une surveillance pour un garde forestier embêtant Shawn Avery de New York de gauche dans un coup de bâti.
If you’re like me and grew up on a rich diet of 1980’s science fiction films, you should walk (no make that moonwalk) to your nearest video store and ask for MOON. This little gem is an existential journey into the mind of a lonely farmer-astronaut and hits close to home. Sure there’s the usual high contrast and gritty sci-fi production values, but there are also some poignant connections to our rural habitat. Picture a massive, rambling, white combine harvester gathering hay under a full, late fall moon, except that in this case the moon is the earth. A tiny, lonely man is hunched over the controls in an elevated and sealed cockpit. Now remove all semblance of colour, add a few craters and hills, and you get part of what makes this film so familiar and, dare I say, rural.
Growing up here as a boy I imagined that the once plentiful silos and drive-sheds in Norfolk (especially the aluminum ones) were rocket platforms and moon bases. Even the large, four wheeled crop sprayers had a space age look to them. And that is why I felt especially connected to Duncan Jones’ incredibly moving MOON. It pulled me in and felt familiar.
If I had to bet the farm I’d say the production designer looked at both farms and farm machinery while working out the aesthetics of this movie. But more than that, the story pulls at your heartstrings.
Sam (played by the remarkably versatile Sam Rockwell in a breakthrough role) is a lonely astronaut working on the moon, farming the soil for energy until he begins to suffer from extreme isolation- complete with lucid dreams and hallucinations. What follows next is one of the finest surprise plot twists in contemporary cinema.
Satisfying space fiction from son of iconic rocker David Bowie. For the Silo, Jarrod Barker.
Dr. Temple GrandinTemple Grandin, you may or may not know, is a person. I had not heard of her until recently, but I suspect her name is going to become much more recognized. Time Magazine recently named her one of their Time 100 for 2010, ie: one of the hundred most influential people in the WORLD. She has a website. I highly suggest you check it out.
Temple Grandin, the film, is the authorized movie biography of this remarkable woman. She was diagnosed with autism in 1950, when the disorder was still called infantile schizophrenia. Her mother was told that Temple’s options for any measure of achievement or satisfying relationship in life were nil. Institutionalization was offered as the only practical option. But her mother wouldn’t give up. Claire Danes utterly transforms herself to tell us the story of Temple’s emergence from a relatively isolated kind of consciousness into the person she is today: author, lecturer, PHD, world renowned animal expert and autism advocate.
One of the first things we learn about Grandin is that she thinks in pictures, which makes film an especially potent medium for telling her story. Director Mick Jackson uses images throughout the film to help us understand how Grandin sees and feels the world. This is in keeping with what some have called Grandin’s greatest contribution to science- she was the first autistic person able to articulate to a wide audience what it is like to be autistic. Jackson’s film will widen the influence of her legacy further still. As well as a great story, it is a moving work of art.
I’m not sure if the brilliance of Claire Danes’ performance can be overstated, but I will simply say this: I had no idea. This woman is an ACTRESS!! HBO films are not considered for Oscars, but I predict she will have her day. An Emmy for this one?
The Brothers BloomTHE BROTHERS BLOOM (2008)
D: Rian Johnson
I always get a little nervous when a movie starts with voice-over narration. Perhaps I shouldn’t– lots of good movies, especially American ones, begin with this omniscient voice. It’s arguably a lazy device, but effective if you want to pack a lot of background into a few short minutes. The Brother’s Bloom, writer/director Rian Johnson’s second major studio feature, manages to stand apart even in it’s use of this usually prosaic staple. Listen closely: the narration rhymes.
It turns out to be an appropriate opening gesture. The brothers, extremely literate con-men played by Mark Ruffalo and Adrien Brody, inhabit the modern world like glamorous anachronisms, gentlemen thieves in elegant suits who travel by steamer and luxury train. Into this consummately stylish dream falls–by no accident–Penelope Stamp, eccentric heiress and principle mark of their final job, played to perfection by Rachel Weisz.
Weisz is like heaven to watch. I can’t remember finding a woman so flawlessly beautiful for two straight hours (trust me, I’ve talked to a therapist about that irritating perfectionism). And a big part of the beauty of Penelope Stamp, apart from, or maybe as well as, her sad brown eyes and angelic countenance, is her deep intelligence, charm, whimsy and wisdom. Johnson has created a very compelling character here, and Weisz eats it up, scene after scene.
Another standout, in a movie full of standout acting, is Rinko Kikuchi as the brothers’ nearly mute and certainly odd explosives expert Bang Bang. Kikuchi has been a rising star in Japan for several years now–you can watch for her in some upcoming english-language films as well, notably Mikael Hafstrom’s Shanghai (she will take the lead in Ahn Hung Tran’s Norweigan Wood). Or just marvel at her here, as she carries on whole conversations without saying a word.
With The Brothers Bloom, Rian Johnson has assembled a stellar cast to follow his smart and very stylish lead, creating a film full of interesting, funny, even beautiful moments. Just wait until the tree falls over. I don’t think my telling you will ruin a thing.
