I had high hopes for this one, but due to the quality of the latest Marvel Studios product, and the strengths of Joss Whedon (FireflyBuffy the Vampire Slayer, and Dr. Horrible’s Sing-Along-Blog) — I was not disappointed. The Avengers is a great popcorn movie and if not the best of the Marvel outings, it places.

The great bits of the movie are no surprise to Whedon fans: the dialogue and character interaction is superb, and occasionally subtle enough to miss. (Tony Stark, while still being snarky, manages to show a deep respect for Bruce Banner throughout the movie; something he doesn’t do with the other characters until the end.) The characters are well-written, from Black Widow’s ability to coax information out of the arrogant Loki, to Captain America’s spot-on “There’s only one God, ma’am, and he doesn’t dress like that…” line, to Tony Stark’s unwillingness to reign himself in to work with the others until the final battle. Of particular note is the SHIELD agent, Phil Coulson, who has a delightful moment where he’s trying to get Captain American to sign his Cap trading cards. (“They’re vintage!”) All the actors turn in solid performances, but Downey and Ruffalo really shine in this picture. Thor should be a bit more central with the villain being Loki, but he’s underutilized (as is Loki, really…) I got the impression that Whedon simply wasn’t interested in the characters that much.

The good: Whedon also managed to couple the story and characters to the CGI effects well: the SHIELD helicarrier is spectacularly rendered. The Hulk looks great and they manage to pull character out of the computer generated monstrosity in a way the other two movies couldn’t touch.

The bad: Well, there is Whedon’s usual killing off of the most likable support character. He does this in everything he’s put out, from Penny in Dr. Horrible, to Wash and Book in Serenity, and on and on in Angel, Dollhouse, and Buffy. You know it’s coming…it’s still annoying precisely because it’s not that much of a surprise, anymore.

But honestly, for me the worst part of The Avengers has got to be Samuel L Jackson as Nick Fury. He’s phoning the performance in. When he should be pissed, he comes off as mildly offended or peeved. He does almost nothing in the movie but jerk the heroes around to get them into action. His big moment in the sun is when he shoots down his own pilot from launching a nuke at Manhattan on the orders of the Committee — and still doesn’t stop the launch. His new sidekick (Cobie Smulders) is more interesting — and she even milks a bit of character out of a Hallmark card-flat bit player. (Her facial expressions when dealing with Captain America [sly sexual tension] and Tony Stark [ill-repressed revulsion] make her more than just admittedly-attractive furniture in the helicarrier.)

By the end of the movie, it’s obvious that Fury should be commanding a radar installation in Alaska, and Coulson or Hawkeye should be running SHIELD.

Loki was uninspired as a villain, and his attempt to break the cohesion of the team seemed overly convoluted and designed to pad the almost-too-long run time. The final battle is a bit confused and too long, as well, and we never really get much background on the inter-dimensional bad guys that Loki has teamed up with. (I’m presuming if you’ve read The Avengers comic, you’ll have a better grasp of who and what these guys are.)

Overall, it’s a four of five, for me — solidly good, almost great, but it didn’t quite have that ability to make me feel a sense of delight that Captain America or X-Men: First Class did. A few more minutes trimmed in the editing room and a bit more work on making Thor and Loki more important to the plot, would have made this the best of the Marvel flicks.

Orangutans in the Miami Zoo are learning to communicate with iPads, using apps developed for aiding autistic people. As usual, the older apes think the technology is unnatural and corrupting the ape youth of America, but that’s just ’cause they’re squares, daddy-o.

The one thing I learned in the story that was interesting is that this species has no voice box and cannot produce much in the way of sounds.

After about a year, I’ve finally got the gaming group back to playing Hollow Earth Expedition. This time, the intrepid adventurers are returning home to New York CIty after their China adventures to sell the artifacts they’ve collected. We also introduced Tom Steele, private dick — a surprisingly fun character. He’s a former NYPD detective who is dying from emphysema (and doesn’t know, yet.)

The game started out with Steele doing a job for Ciro Terranova, the disgraced “Artichoke King” who is looking for juice to get back in charge of the 116th Street Crew that is now run by “Trigger Mike” Coppola for Luciano. He’s been hired to take pics of a city councilman engaging in the usual nasty sex-for-hire thing Steele deals with. Except the councilman is Trigger Mike’s guy. He is confronted by a couple of goons from the Mason Tenders 47 union, here to teach him a lesson, and it led to one of my dream fights — and didn’t disappoint!

Steele decides to crash through the one-way mirror above the councilman’s bed to avoid the 10lb. sledges that bad guys are wielding and manages to get a hold of one. That’s right, the scene I’ve wanted in an RPG since seeing Street of Fire all those years ago finally happened: sledgehammer fight! Steele has a bit of trouble due to his emphysema, but he managed to fight these guys down a set of stairs and into an alley before winning. It was fast, dangerous, and fun!

Then we cut to the arrival of Dr. Hannibal Drake and Jack MacMahon in NYC. There was some character stuff with Drake’s grad advisor/mentor, they drop off the mellified men they found, and stop by Jack’s apartment on Upper Park West…to find it being tossed by goons. There’s another great fight using the environment (something I liked seeing in Haywire [see today’s quick review]) with heavy glass ashtrays being used as bludgeoning weapons, Tiffany floot lamps, art deco metal naked lady table sculptures…it was funny and magnificent. We were off to a great start.

Steele gets hired by a limey, a Special Branch guy and fellow Mason. He needs help finding a journal of research from a murdered Scottihs lord, that Jack’s uncle Mike (also murdered for it) sent to the States. The British flatfoot knows it went to Jack. They link up with the other two characters right after the fight. The journal would have been mailed to his PO box nearby. They arrange to meet and retrieve it the next morning.

The English cop doesn’t know the full story, just that it has something to do with a missing Illuminati treasure from 1776 that was hidden in the United States. Drake is hooked! Jack is too; his uncle was murdered! Steele is a Mason and this involves the Brotherhood, so he’s in…

We ended there. Let the ride begin!

On a lark I bought Haywire from iTunes last night. It’s an action movie by Steven Soderberg (usually good stuff) and stars MMA fighter Gina Carano, Ewan McGregor, and Michael Fassbender. To my surprise, I didn’t get the movie I thought I’d get, but an a rather decent espionage/action pic.

The good: the movie isn’t overly convoluted, like a lot of spy pics like to get with triple and quadruple twists; the intelligence field is often stunningly simple — the motivations are money, feeling unappreciated or undervalued, or there’s an ideological component. Know the motivations, anticipate the actions, then take the blame when policymakers screw up the big moves. Haywire keeps is simple. The bad guys are quickly established, their motives are a bit shady, but once understood, the plot is — as in life — a “why didn’t I see that coming?” moment.

The fight sequences, as you would expect, are quite good and very vicious. they have a reality that most fight coordination lacks. Soderberg also understands that it’s better to see what’s happening, rather than obscuring it in fast cuts to make the action faster. You can see what the participants are doing and it looks painful. Easily the most brutal feeling is the first encounter with Channing Tatum, an actor you might not know the name of, but you’ll recognize straight off.

I like that Soderberg kept her character, Mallory Kane, more realistic. She gets knocked around a lot, and while her character keeps fighting, she doesn’t have the superman feel the action pics give to some characters. She gets bruised and cut, and stays that way; she gets hurt and doesn’t shrug it off. It has a similar feel to the fights in Casino Royale.

Soderberg looks to be using natural lighting through the movie, and it gives the film a more realistic feel than the artfully lit action movies. The music is quirky and has an almost 60/early 70s feel to it that lends a big more class to the picture. Top it off with excellent performances from Fassbender (rapidly becoming one of my favorite actors), McGregor (always reliable, even when the movie sucks), and a very understated, classy turn by Antonio Banderas. I’m not overly impressed with Tatum as an actor, but he slams down the action work like a champ. Michael Douglas is a bit player in the movie playing every other Michael Douglas in a suit role.

The bad: the timing of the film and the way the trailers were put together made this feel like it would be a “Bourne with tits” show. It is and it isn’t. You know the heroine got set up (not by the government, but by her company, run by her sleezy spec ops contractor boyfriend [McGregor.]) The film tells the why in flashbacks and I found I wanted a bit more reveal over the course of the movie, rather than the confession/info dump from McGregor at the end. I thought Douglas’ role needed expanded and better integrated into the film; that could have been an editing room issue.

I’m splitting this bit specifically to talk about Gina Carano. She looks like someone that knows how to throw a punch and isn’t glammed up, and she is beautifully physical in the role. She doesn’t get a lot of time for acting — probably a good thing for her first movie — and there’s a lot of glaring and looking superior. I don’t fault her; the director could have worked in a few moments to really humanize her with a few small gestures. I’m not saying she can’t act, but I don’t think she was pushed as hard to do so as she was to show off her remarkable athleticism. I didn’t expect this, as I was supremely unimpressed by the trailers, but I’d like to see her in something again where they give her a bit more than just muy thai to do.

Overall, I’d give this a three and a half to four out of five, depending on your expectations of the movie. If you want kick ass fights and a spare but good story, four; if you wanted a deep spy thriller or a more Bourne-like frenetic ride, 3.5. Or for those that know me: it was a good matinee movie, but not a full pricer. So if you rent, well worth it; if you and a bunch of buddies are going to watch it at least once, it’s a good buy from iTunes or on DVD.

Having a pretty crappy week, between tech issues, problems with my dissertation chair, and busting my ass getting lesson plans together for my upcoming classes (but at least I’m teaching!) So tonight, it’s Hollow Earth Expedition and this afternoon it was take the kid outside to play:

 

I’ve been tapped to teach a survey class on Western Civilization from the Middle Ages to the French Revolution, and have been putting together my lesson plans. This inspired me to buy a copy of Ingmar Bergman’s superb 1957 The Seventh Seal — a movie about a Crusader returned home after ten years, disillusioned with life and doubting his faith (played by Max von Sydow.) On the beach, he is met by Death, and convinces him to play a game of chess in an attempt to forestall his demise.

The movie deals with the effects of the Black Plague on the people: the belief that they were being punished by God, the collapse of faith, and the fear of everything in the minds of the 14th Century people. It’s a spectacular bit of filmmaking, and an excellent primer for someone running a Middle Ages style campaign.

The latest episode of our Battlestar Galactica campaign is a follow-up to the last adventure. Previously, the characters had discovered that a worker at an archeological dig on Sagittaron that is causing massive political, religious, and academic upheaval — they’ve discovered an ancient city that appears to have been very modern and destroyed by a nuclear weapon 10,000 years before the Colonies were allegedly settled — is an astronomer that disappeared from a deep-range early warning observatory they found abandoned, possibly attacked by Cylons, at the beginning of the campaign.

Tracking the man down to Leonis, they arrested him because his travel companion — a beautiful, tall blonde woman — was involved in identity theft. Questioning him, they discover he has been brainwashed into believing his new life as an archeologist. When they finally break the programming, the man claimed the “they’ll know! They always know!” and that “they” were the Cylons. Moments later, he passes out from the stress. While doing an examination on the man, the back of his head blows out. They assume it was a kill switch or some kind of cybernetic implant.

They turn their attention to the companion, who had disappeared from Leonis, only to turn up on Caprica. A look into the mysterious “Vala Inviere”, they find out she works as a lawyer for the commander’s wife, who is the head of one of the more powerful political lobbyist groups in the Colonies. This would give the possible Cylon agent access to politicians, policy, and other important state information. They race to Caprica this episode to find her.

The evening starts with them linking up with the Colonial Security Service (essentially the FBI) to find and track her. The commander is hoping to follow her and find her associates. He has made certain his father, the president’s security advisor, is in the loop and this has put the character in the high-profile position of leading the investigation. However, the director of the CSS runs the operation up the chain of command to the Colonial Attorney General, a smart, connected, and highly ambitious politician looking to be the next Caprican Quorum member — a position that the sister of the commander (and wife of the other PC) is running for. The AG has been at loggerheads with the lobby group in question and sees the opportunity to link this powerhouse to Cylon sedition. She lobbies the president to take over the operation.

There was a lot of politicking this evening, and I used a modified version of the d20 Babylon 5 influence mechanics to represent the commander and his brother-in-law using all their connections to try and thwart the AG. (If you use the search function, you’ll find the post on this; I’m trying to punch out this post before the daughter wakes.) Their opponent, however, outmaneuvers them. Tomorrow, she takes over the mision and launches an arrest and seizure of the Inviere woman’s computers and other devices. The CSS is raiding her fancy home, while the AG leads the raid on the lobby firm. The commander and other PC get to ride along as observers — the AG is essentially rubbing their noses in her move to link their family to the Cylons.

The raid goes predictably bad, when the suspect turns out to be preternaturally fast and strong. She nearly breaks the commander’s neck in one surprise attack. There was a fast and furious fight and one of the CSS agents is injured. Another kills the suspect with a shot to the head, in the same general area where the last guy had the device implanted that killed him (but there’s no explosion…they didn’t catch that.)

The rest of the night was more politicking, trying to insulate the family from the AG, by dropping the blame for the operation on her. She, in turn, blames the tactical team and gets a bunch of them canned; she survives the incident (politically) but she is in a disadvantageous position with the president, right now. The characters, however, appear to have personal reasons for trying to shift the blame, and while the whole incident is being hushed up for national security concerns, the commander’s father has to step down as PSA. The lobby firm is safe, and the commander’s career is unaffected — in fact, the whole issue has been turned over to the military intelligence machine, which includes his command element. He’s not quite out of the loop, yet, but his political buffer (his dad) has been temporarily neutralized.

The episode has heightened the political intrigue and Cold War feel of the game, and has highlighted the dysfunctional nature of my Colonial government. (The legislature is essentially shut down due to a Sagittaron-led boycott in the Quorum over the archeological dig, which has brought work to a standstill.)

The characters are now angling to convince their bosses in BSG-20 (the Expeditionary Task Force) to allow them to lead a series of covert missions over the Armistice LIne to see what the Cylons are up to. It was an interesting move that’s giving me a series of adventure ideas for the next few games.

Overall, the players are enjoying the game, and I feel the campaign is really gaining legs with a very different feel from the last time I ran BSG — the level of paranoia is heightened, much like the early episodes of the show, because my Cylons appear to be using humans as agents. We don’t know anything about the Cylons themselves, other than they’re still out there. We don’t know the level of infiltration, what they’re up to, but with the agent placed in their immediate circle, it’s very personal to the characters…which should get them to act more impulsively and give them the opportunity to have serious consequences for their actions.

“What’s past is prologue…” William Shakespeare, The Tempest.

The Bard, of course, meant this in relation to the events in the play, but it holds true for people’s lives, as well. You past never really leaves you. Inside every man or woman is the little boy or girl they were, the teenager, or the young adult… A person is the sum of their past experiences, and they inform our opinions on politics, religion, science, and even gaming.

In a recent discussion, it was pointed out that watching people playing games gives you an interesting insight into their own character, as much as that of who they are playing. It doesn’t take long for an experienced GM, or simply one familiar with the players, to get an idea of what they will do in the course of play, regardless of what their character might do.

One excellent example was a player who loved to be in charge…until he was. His personality was such that he liked the idea of authority, but not the weight of responsibility. No matter what the character was: the intrepid starship captain, the bad-ass cop, the hot-shit, no fear fighter pilot, he played them the same way: they were risk aversive and when saddled with a situation that wasn’t a simple shoot and scoot…he simply locked up and let the other players do for him. He wanted to be the big hero, but for the same reason his life choices led to stagnation and bitterness, his gaming suffered. Another consistently played the ingenue or “slut”, but preferably one with serious political clout. She had been raised as the black sheep of her family, had a hardscrabble life through her 20s, and after finally getting to be the big fish in her small pond, tended to be authoritarian in desire, if not ability. It showed in everything she played, no matter what she played.

Players tend to choose the role they wish they could have in a game: the tough fighter, the cunning wizard or thief, the charismatic bard. However, these choices are as indicative of the player’s personality, as their style of play. This insight into their personality can give you hooks that will allow you to wrap the player into the story lines. The obvious exception to this is the wannabe actor/tress that wants to play something different every time and loves to act! their part. (They’re fun to have in the game. They’re also often annoy to have in the game because when they center of attention isn’t on them, they get bored and either tune out or get disruptive.)

This personal prologue also informs the role of game master. My experience in the intelligence field has led me to a run modern and science fiction games with a highly jaded eye. Government types are usually venal and not especially competent. In the past, when I ran a superhero game, the “villain” of the piece turned out to be an “anti-hero” who cobbled together a new Roman empire to save Europe (and give herself massive power.) Today, after experiencing the ineptitude and corruption of big-government types and authoritarians wrapped in Progressive platitudes, the supers game feels much different, with these exceptional creatures bound by “necessary” licensure, insurance claims, legal actions, and their own, often mediocre personalities. Our “lead” hero is a corporate tool more interested in his Wheaties endorsement than saving people’s lives.

Our espionage game has the players as members of a special task force that is co-owned by the CIA and DHS. They operate in CONUS as DHS sworn agents, and abroad as part of a special action team. (The first games were set before the National Defense Authorization Act destroyed posse comitatus and due process for “terror” suspects; I have them as the “test case” to get the law enacted.) They are trying to protect the people from bad guys. tjhey also have been bending the laws to use asset forfeiture to roll around in expensive cars and clothes. They’ve engaged in actions that were a questionable legality both in and out of the US. Having the authority and ability to do things outside the spirit of the law means they haven’t broken the law…but they are not always the “good guys.” This is inspired by my libertarian politics, rather than the Progressivism that I hewed to in my teens and early adulthood.

Knowing your own biases and beliefs is essential to crafting your stories and not getting stuck in a rut. As with the players, you will aim for your comfort zone. I tend to run espionage or investigative adventures, no matter the setting. the trick is to use my background where it is constructive, and ignore it so as not to get in a rut where it is constrictive.

You can now reach this site through blackcampbell.com, as well as the blackcampbell.wordpress.com addresses. The move to a new domain is in advance of what I hope will be some swift movement this year on moving into the games publishing realm.