AnActorExplains

"Metroidvania" is an action-adventure subgenre with platformer elements and a 2D presentation. The term refers to the industry defining games "Metroid" and "Castlevania" respectively. This category of games may be somewhat frustrating to approach as an outsider, making "Mandragora: Whispers of the Witch Tree" an ideal title for newcomers! Developer Primal Game Studio makes every effort to make their video game enjoyable and accessible to young and old players alike. A deeper look at the game's details follows:

Mandragora is a wonderful computer game for various reasons: its absolutely glorious graphics are enthralling, its mechanics are smooth and enchanting and its forgiving gameplay makes for a very approachable experience (while never detracting from the challenges it poses). Teleportation from any point of the map to another comes at no cost and with ease and simplicity. Monsters telegraph attacks thru smooth animations, so that players can learn their unique behaviors. Character classes are diverse and intricate, causing me to spend a good hour before deciding which play style to go with.

Mandragora offers a "Soulslike" experience (the Dark Souls genre of games) where characters use currency to improve their skillset. Skill trees are intricate and players can cross over between classes. Progression is enjoyable. As the player advances, more customization is made available. Different abilities, along with their upgrades are presented in a clear and agreeable manner. Mandragora is never overwhelming, in a good way.

Mandragora excels in its replayability, offering many inaccessible areas which only later become available, as a player unlocks them. Finding hidden areas is especially exciting, and will have you searching for clues in the environment. Despite being light on narrative, Mandragora offers an array of characters who offer crafting options. Please note that some gamers have criticized this title for its somewhat excessive component farming (though I don't see it as an issue).

Mandragora is an absolutely wonderful experience, and an excellent introduction to 2D platformers. Other games in the genre can be unnerving in their requirement or frustrating to grasp. After Mandragora, I feel confident enough to revisit less welcoming titles, such as "Salt & Sanctuary" or "Grime" which pose just as much of a challenge, but with less friendly interfaces or more nuanced mechanics.

(I give this game a 9 out of 10 for its wonderful simplicity, incredible presentation and enjoyable gameplay. Congratulations, Primal Game Studio!)

Mandragora: Whispers of the Witch Tree is available on Pc, Playstation, Xbox and Nintendo Switch.

Ah, Hollywood! An industry of paradox: a patron of the arts that's keen on pushing politics; mired in abuse, but fiercely social activist; filthy rich, yet exploiting its workforce, Hollywood thrives on its pretense. As a consequence, most of its productions succeed thru lavish superficiality while ignoring substance. Assassin's Creed is no exception: while managing to ground its narrative in plausibility and technical excellence, it fails to reinvent the excitement and adventure of its source material.

Assassin's Creed is a beloved computer game, blessed with what was (at the time) jaw dropping graphics, meaningful gameplay, and a captivating premise. The notion that DNA contains vivid memories of our ancestor's lives is both exciting and inspiring! Add to this the Apple of Eden: a relic, lost to history, that can rob men of autonomy, and you've got yourself a treasure hunt; one that spawned a multi-million-dollar, two-decade franchise.

Sadly, that franchise quickly devolved into senseless sci-fi and vague fantasy thru the Apple's magic powers and a precursor race of Earth Gods. Without a practical narrative, Assassin's Creed, quite ironically, robs mankind of its agency: instead of humans confronting themselves, we're painted as slaves to a greater race (which is also responsible for all of humanity's achievements)! The game goes further, making the protagonist's immunity to the Apple a genetic hand-me-down instead of a nod to individuality, maturity or insight. Much like pyramid conspiracy theorists or moon landing deniers, Assassin's Creed fails to champion human exceptionalism, choosing laze and absurdity over thoughtful storytelling. This kind of narrative cheapens the factual achievements of our ancestors by selling an egregious fiction.

Assassin's Creed, the movie, is a technically dazzling adaptation, with bewitching cinematography, that manages to keep all the narrative nonsense out of reach. The gorgeous use of shade and color is only surpassed by each scene's placement of elements in an intricate presentation. Sadly, by rejecting the game's legacy protagonist for an underdeveloped replacement, the film fails to establish audience empathy. As a result, fight scenes carry little weight, and are further sabotaged by uneven pacing. It's unclear plot and lack of levity further hinder audience interest.

David Ehrlich of IndieWire best describes this film by saying, "it's the best video game movie ever made... the kind of backhanded compliment that... fits the bill on both counts". Despite its timely message of a legacy within you, counterfeit consent, an enslaved humanity and villains as our heroes, Assassin's Creed attempts to court success thru technical aspects, despite neglecting opening exposition and action sequence, culminating in an uninspired ending. A mediocre picture, at best.

Every human being has issues! Most of us work tirelessly with no recognition, some make a mistake and are punished relentlessly, and others, still, will succeed only once and define their career. This last example seems to be the case for writer, director Alex Garland: a man whose divorce from plausible reality mars every narrative he produces. "28 Years Later" is no exception, marking another setback in what we'd hoped would be an industry defining franchise.

If you've seen his other films, you might understand what I'm getting at: Garland refuses to make sense or devise believable narrative. While his movies may feign depth of meaning, he consistently fails to develop them. "Civil War" is especially guilty of this, as pitting Texas and California against the rest of the nation is absurd. Any momentary research would reveal that these two states are politically opposed. "28 DAYS Later" was hailed as groundbreaking, but Garland swindled the idea from a computer game! In "Ex Machina" he failed to develop a pressing pace, magnify suspense or make sense of character decisions. "Annihilation" is littered with plot holes which aren't ambiguities. Despite being lauded and lavishly merited, Garland's negligence has repercussions, especially with conscious individuals and mindful professionals (as well as history).

"28 Years Later" continues Garland's lack of reasoning: the film's music isn't a fit for the horror genre, character attitudes don't match the gravity of their situation, and his constant use of "Deus ex machina" (sudden solutions) breaks disbelief. Instead of merging the franchise thru a bloodline or narrative heritage, Garland limits us to brief glimpses into his universe thru unassociated vignettes, discarding prior characters and innovations. He attempts to blend moments of utter peace and indifference with horror, disconcerting thru extreme contrast instead of elevating concern. These mistakes have no excuse, but Garland doesn't care. He's being rewarded instead of confronted, and critics won't point out the shortcomings (it doesn't pay to be honest).

Fortunately, this movie enlists the creativity of director Danny Boyle, whose imagery alludes to the virus in unexpected ways, hinting at the natural rage in man. His gorgeous cinematography is in no way cheapened by the employment of a mind shattering twenty iPhone 15 Pro Max mobile handhelds for recording! The unique 2.76:1 width of the film is breathtaking. Even then, his sudden bullet-time cinematography can be jarring and uncalled for flashbacks to British history are also disconcerting.

In conclusion, this movie's lack of commonsense detracts from its legacy. Implausible moments are employed for cheap dramatic effect, and a highly frustrating finale requires an understanding of British culture. "28 Years Later" boasts a serious and wonderful performance by protagonist Alfie Williams as well as the timeless ease and certainty of Ralph Fiennes. This film brings life from death, teaches respect for each and is an adequate addition to the horror genre.