Project G-Destroy All Monsters (1968)

Alternative Title: The grand finale that wasn’t really the grand finale. OR The one that did the Avengers thing before it was cool.

So, it’s 1967 or whenever this film was being made.  The Godzilla movies were once a big deal, but ticket sales had been sunsetting, and it wasn’t the solid moneymaker it once was.  Toho decided that maybe it was time for a change.  Let’s give the Godzilla film series one big finale, then let’s move it from movies to a cartoon show.  The kids love the cartoons, right?  Except it’ll be anime.  Because we’re Japanese.  That’s what we’ll do!  So they got all the people most responsible for making the Godzilla franchise what it was together, told them to give it a big send off.

Then all these guys, director Ishiro Honda, special effects producer Eiji Tsuburaya (supervising, his protege actually handled the work here, but still), composer Akira Ifukube, producer Tomoyuki Tanaka, they were all sitting together, thinking, “You know?  This will be the last Godzilla film.  And even if, by some crazy, insane miracle that nobody can even dream of, something so infinitisemally possible it’s not even worth talking about, it’s not, it’ll still be the last time we’re all working together.  We need to send if off in some great way.  But how do we take this big, dumb series, and give it a finale that will make a proper impact?”

They found an answer.  And that answer is to make it biggest and the dumbest.  And not just of Godzilla.  This is the Avengers of Godzilla films.  The culmination of the kaijuverse.  Godzilla already absorbed monsters from other films, but this one is the king of it.  We don’t just get Godzilla and his rogue’s gallery here. This film is importing Kaiju from a whole bunch of movies in Toho’s shared universe. This is the crisis crossover, the end of this entire universe of stories.

And obviously, it worked.  It wasn’t the highest reviewed at the time, but it resonated really well with the general audience, and brought in enough dough that Tojo shelved their plans to shelve the series, and had them doing a whole bunch of follow up films.  Moreover, time has been far kinder to the film, and it ranks in the list of top Godzilla movies today.  

It’s also a pretty significant turning point for the film.  As previously stated, this is the last time a lot of the key creative minds in the Godzilla franchise all worked on one of its movies together.  This is also, thanks to the big time jump, the final chronological story of the Showa era.  So the handful of movies coming after this all took place beforehand.  Meaning this is the one that gets to have the final say on what this segment of the Godzilla canon is to be.  

So, what’s the Aether take on it?  How does it hold up?  Aether loves big dumb things, but is this the right kind of big and the right kind of dumb?

Let’s explore.

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Visual Novel Theatre- Analog: A Hate Story

Ok, here’s the deal.  Working from home has led to me playing a lot more visual novels.  Taking my lunches in my War Room makes that a bit more convenient.  So we may be seeing some more of these posts in the future.  Recently, I played/read through Analog: A Hate Story by Christine Love, and wanted to give myself a blast from the past, given that two of her earlier works were two of my first posts in this blog that has a hell of a lot of tenure in the old blogosphere.  But, time’s at a premium.  So I’m going to challenge myself here.  Set myself a time limit.  Write this, quick and dirty, in the time I have available before my next engagement. So, this is going to be rough.  No editing.  Little polish.  Minimal talking about how sexy I am.  Which is very.  Just so you know.


I’m getting sidetracked.

Analog: A Hate Story is, as the name implies, a successor to Christine Love’s first work, Digital: A Love Story, and you could maybe call a sequel because for all I know they take place in the same continuities.  You’re some sort of future space scavenger.  Which basically just means that you go into space and hack dead people’s email accounts.  Somebody hires you to go do that to the Mugunghwa, an old Korean space ship that’s just shown up on the parts of space that people bother looking at again after like a thousand years.   So you go there and start up the ship and it turns out you’re the first person to do anything with the ship in like 600 years, and everyone’s dead, and even before everyone died things went to hell.  So you talk to the AI and snoop through people’s e-mails, which are strangely full of logs that are actually useful and descriptive and more like diary entries and there’s not a penis enlargement spam thing to be seen.  I don’t know why they keep sending those to me.  My penis is glorious enough already.

I’m getting sidetracked.

Gameplay-wise, the ship itself, you control through a text parser.  When you activate the AI, you’ll get a more flexible interface to be reading all the stuff.  The AIs are very advanced, incredibly human-like, and have their own motivations, actions, and what not.  Unless you know the right codes, you can only see whatever e-mails the AI are willing to show you.  The AI’s ability to directly accept speech has been broken, so your interactions with them are limited to answering binary questions they present to you and showing them whatever emails/log entries you want them to comment on.  And, that’s how you progress through it.  Read the stuff, slowly piece the story together, try and get enough of a dialogue going with the AIs to get to the real good plot-twisty material.  

The plot itself largely centers around sexism.  And before we get the idiots from both sides that seem to make up the loudest voices whenever sexism comes up in games, this is a specific type of sexism, that doesn’t really apply to modern day life.  No matter how much said idiots talking about the game online seem to try to make it do so.  In the ship, it looks like most everyone all died at one specific year.  300 years or so before that, something happened to the ship that set their culture, collective knowledge, and overall intelligences back to a Joseon-era Korea style community.  So this is about sexism in Joseon-era Korea.  With artificial intelligence.  And e-mail.  And spaceships.  It’s a weird sort of anachronism that honestly seems a little forced, although the VN doesn’t say why they got culture-shocked back to the bad times so maybe it makes more sense once the sequel picks it up.  In any case, when that happened, AI memory got wiped and reprogrammed, everyone turned into idiots, and things got bad.  Like, we see it from the women’s point of view most often, and they definitely got the short end of the stick, but backwards societies are no good for anybody, and, realistically, nobody’s really living up to their potential there.  Birthrates have been falling to an incredible degree, men and women’s roles are sharply divided and both are recognized solely for their political positioning rather than their merit, few know how to actually work the technology they depend on to survive and they have even less knowledge of medicine, old age sets in when people are in their 20s to 30s, etc.

C’mon Aether, gotta pick up the pace here.

Project G-Son of Godzilla (1967)

Alternate Title: Ok, I guess Godzilla’s a dad now?

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I don’t care about this movie.  You can’t make me care about this movie.  I can barely bring myself to write this post.

That’s how you know this post is going to be a good one, right?

So this movie is another Jun Fukuda joint, the same director behind the previous film that wasn’t quite up to what we’ve come to expect from Godzilla and didn’t make a whole heck of a lot of sense but was still kind of ok.  As I believe I previously mentioned Fukuda wasn’t a big fan of his own Godzilla output in retrospect, although I would say he’s probably being a bit too harsh on himself, overall.  He did make a few that are really good for those like me who love the extra dumb ridiculous stuff.

That probably doesn’t sound like it’s a compliment, but I’m intending it as such.

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Where was I?  Oh yeah, I was crapping all over this movie.  So whereas Ishiro Honda would direct Godzilla films to be about big dumb monster action but also had this hidden theme of social commentary layered underneath it, and underneath that would have a sense of vague sense of “you know, this is all good fun but this would also be crazy horrible to live through”.  Three layers there.  It’s like a cake where the top layer is crazy fun but the middle layer has encyclopedia pages in it that make you think of how horrible society as a whole is, and the bottom layer has a picture of your abs crying in it so you regret the whole thing.  That analogy got away from me a bit, I think.  But yeah, Honda’s movies were more dumb fun that made you think a bit about it.  Jun Fukuda cut out the thinking part.  Sometimes it works.  Sometimes it didn’t.  It didn’t here.

Son of Godzilla is notable for introducing Minilla, the hideously ugly Godzilla baby whose existence proves there is no such thing as a kind and loving god in the Godzilla universe.  Even as far as child-relating young versions of Godzilla, Minilla somehow manages to be even less cool than Godzooky, and at the modern day, we’ve gotten exposed to Godzilla Jr. who is both way cuter than Minilla could ever be and could mop the floor with him without even getting short of breath.

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Look at him.  Doesn’t that make your soul shrivel up a little?

Anyways, lets get on with the recap.

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Eyes on Judgement

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If you know anything about me, you know this world is a far better and sexier place with me around.  But that’s not super relevant to this post.  You might also know that I’m a big Yakuza fan.  Like, the series, not the organized crime bastards.  I love the games.  The extreme manly drama, the pitting of the romanticized noble criminal ideal against the wicked pragmatic crimelords that exist in the same sphere, the excellent and fast-paced action, the city district we’ve gotten to know so well that it’s almost a character in itself, the placing of dark story beats right alongside impossible to take serious goofiness, it fills a very warm place in my cold, dark heart.

However, the series is in a place of big transition right now.  Yakuza 6 broke the mold in a lot of ways.  The biggest, after 20 some years in meat-time and with us watching through Kiryu’s eyes over an in-universe time period from the late 80s up until the end of the new 10s, and the developers decided it was time to close the book on him.  They closed the book in a way that they can and almost certainly will open it up again, but for the time being, the developers are serious that whatever Kiryu’s future involvement, he’s not going to be the center of the story anymore.  Which, honestly, has been a long time coming.  With the series kind of trying to hold onto at least something of a realistic sense in its conflicts, they’ve long had troubles with managing Kiryu’s in-universe power level.  Yakuza 1 started with him being feared, and saw him, with some complicating factors on his side, just rampage through the strongest yakuza family in his area.  Yakuza 2 had him as an absolute legend, and saw him as the muscle of a small group that conquered like four crime families.  Yakuza 3 had to have an absolutely ridiculous plot bringing in the CIA just to up the stakes enough to where his power standings at this point was.  Yakuzas 4 and 5 had to sidestep the issues by having Kiryu as the member of a team of player characters with the least direct involvement in the plot just to keep things feeling threatening, and even then 5 still had Kiryu end a gang war single-handedly take on every single member of another crime family. At the same time.  And win.  At the end of the first act.  So yeah, his power level was a big in-story issue, and there was only so long they could stave it off with prequels and side games.  So it makes sense that they’d see him retire from his main character role at the end of 6.

But we still need our Yakuza fix.  And sure, there’s Yakuza 7 coming out, but what if that’s not good enough for you?  What if you want a completely new perspective of the Yakuza series?  What if you were really curious about what a Yakuza game would be like as seen through the lens of Phoenix Wright?

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Judgement is a Yakuza game through and through.  And it manages to be something different at the same time.  The gameplay is familiar.  The setting, which has been so integral to the series, is familiar.  The spirit behind the game is familiar.  But now, we’re looking at it through a new lens, and in a game that’s willing to break the traditional franchise rules.  Let’s jump into that.

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Project G-Ebirah, Horror of the Deep

More Memorable Title: The One Where Godzilla is Really King Kong

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Ebirah, Horror of the Deep is kind of an oddball entry in the Godzilla canon.  To start with, it wasn’t really set up for success.  It was originally going to be a King Kong/Mothra crossover that also ties in with a 60’s Japanese cartoon based on King Kong.  However, with Toho and the cartoon producers not coming to terms on what they wanted this film to be, they bailed on the project, taking the rights to King Kong with them, at the end of pre-production.  Toho apparently still wanted to move forward with the project but not spend any extra time or money on it, so they just crossed out all instances of “King Kong” in the script and wrote in “Godzilla” with a green crayon, pulled an old Godzilla costume out of storage, and called it a day.  Moreover, this film had like nothing for budget, so they had to scrounge the warehouse for all their special effects.  And rather than being in the hands of Ishiro Honda, who had directed most of the previous Godzilla films, this movie would be helmed by Jun Fukuda, who would go on to produce a number of probably the goofiest Godzilla movies in the Showa era, and was never really satisfied with his work on this franchise.  So, yeah.  From the sounds of it, production was kind of a mess.  All they had to go off was a hope and a dream, really.  Let’s see how they did with it!

The opening of the movie runs about as fast as its possible to go.  They waste zero time establishing things here, they want to get to the bulk of the plot as quickly as possible.  So, there’s this total dweeb whose brother was in a shipwreck and lost at sea.  Everyone thinks the brother is dead, but his mom goes to a psychic who says he’s still alive.  So this dweeb goes to the police who are all like “Oh, a psychic says he’s alive?!  We’ll totally send out all our resources for a massive manhunt right away because psychics are totally 100% accurate!”  And then they do that and the movie’s over.

Oh, no, wait, they just toss him on his butt out the door.  So the dweeb goes to the newspaper, who’s like “we’re a newspaper, what the heck are we supposed to do?”  But then he sees a flyer for a marathon dance contests where the person who dances the longest wins a yacht.  So he goes there and asks if he can enter and they’re like “We’ve already been doing this for three days, are you crazy?” So then he talks to these two guys who just lost the contest, rather than anyone who might actually have a yacht, and tells them he wants a yacht, so they just drive this random schmuck they just met down to the wharf, where they go into some random yacht, and start throwing a party.  But then it turns out that the yacht is occupied, and its apparent owner, Mr. Safecracker, holds them up with a rifle before telling them for some unknown reason that they could crash there that night but they had to leave in the morning.  But the dweeb just goes ahead and steals the boat.

In the morning, they find out that the rifle Mr. Safecracker has was just a toy, and that judging by an alert going out over the radio, the yacht wasn’t actually owned by Mr. Safecracker at all, and Mr. Safecracker is, in fact, is a Safecracker.  In spite of the fact that nobody wants to go along with the dweeb, they don’t do anything about him taking them off to who knows where.  And then one day there’s a big old storm and a giant claw comes out of the water and crushes their boat.

There.  That’s the establishing events.  It might have taken me longer to write that than it took the film to go through everything.  It was really rapid fire.

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Project G: Invasion of the Astro-Monster (1965)

Better Title: The one where Godzilla dances

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By this point in the franchise history, Godzilla was getting to be pretty big in America.  His movies were pulled from Japan theater, edited badly, then dubbed badly, and the American audiences were like ‘yessssssssssss’.  So one American production company decided that maybe they should try and get in on the ground floor of all that.  So they rolled up to Toho, started getting involved in some monster movies, then when it came time for another showing of Big G to pop up, they were like “Yo, here’s a giant bag of cash.”  And the rest was history.

With United Productions of America bankrolling half the cost of this film, they were wanting to make sure it’d do well with their target audience, so this is a bit more Americanized than most of the other Godzilla films are.  Godzilla usually has a rather slow build, with a lot of mystery and people just kind of chilling before it’s finally revealed that all the weird stuff happening is really because of the monster whose name is in the title and also Godzilla is there too and they’re going to fight!  Instead, here, the action starts right away.  There’s a decent amount of human action and romance, there, and there’s even a western lead character for the first time in the series.  And, probably a bunch of other subtle changes, too.  I’m not really a film guy.  I can’t really say much about the cultural differences in media there.  Maybe Red Metal can, he’s the movie dude.

In any case, this is Godzilla with an extra dose of AMERICA! In there.  Let’s see how that goes.

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Project G-Ghidorah, the Three Headed Monster (1964)

Alternate Title: The one where Godzilla gets lasered in the dick.

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The Godzillaverse has a revolving cast of monsters in it, but there are a bunch that show up with consistency.  You get four of the main ones appearing all together for the first time this film, with the monster who’s widely considered Godzilla’s greatest rival getting the big introduction.  Heck, he’s even supplanted Godzilla in the title here!  So you know he’s got to be a big deal!

So with the introduction of King Ghidorah and with bringing Rodan in to the Godzilla canon, this movie establishes a couple of set pieces and the way things work that other films in the series will continue on with.  This is also the most pulp sci-fiish of the Godzilla films we’ve seen yet, also establishing a new trend for the series.

And, it’s also where the movie wades knee deep into the goofiness the old Godzilla films where known for.  Which, it’s been moving in this direction.  This isn’t out of nowhere.  King Kong vs. Godzilla had a lot of parody and cartoonish moments.  But this takes it a step further.  Some parts here are just downright slapstick.  And there’s no going back from that.  Kids were making up a big share of the movie market in Japan at this time, and apparently, they don’t go for big, deep, metaphorical critiques on the nature of war like adults do.  Go figure.

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The film centers around a brother-sister duo.  Media Girl is part of the production team behind one of those History Channel shows about aliens and weird conspiracy theories that my own sister spends too much energy on.  Detective Bland is, well, a bland detective.  The princess of the Ruffle Kingdom is coming to Japan for some reason or other, and Detective Bland is assigned to be her security.  Also, it’s January, but there’s a freak heat wave going on so it’s like 80 degrees out.  This never actually matters, but hey, global warming is bad, okay?

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Unfortunately for the Princess, her uncle wants her dead for political reasons.  These guys are the worst dressed.  Absolutely the worst.  Look at that picture up there.  Imagine a whole country of them.  So they put a bomb on her plane as it’s heading towards Japan.  Princess is watching a meteor shower from the plane, when she starts hearing a voice telling her to get out.  So she apparently bails from a plane in flight, just as it blows up.  Did she make it out in time?  Who knows?!  I do, because I watched the movie.

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In Review of the Playstation VR… as a Treatment Method

 

ps-vr-zvr2-model-product-shots-screen-01-ps4-eu-17nov17.jpgVirtual reality.  The next frontier.  If you’ve ever been a child, you have desired it.  Virtual Reality was the future.  And now it’s come.  Didn’t exactly take the world by storm, but it has come.  And as with most new technology, time has made it more affordable and accessible.  The tech has its problems and flaws, as everything does, but it’s working, and it’s here.  And recently one of the pieces of VR with the highest user base, the Playstation VR, has entered my home.  So we’re going to take a look at it today.  A review.  But not in terms of gaming.  Lost to the Aether has its place in the interbutts, and that place is not giving you the same sort of content you’d find everywhere else.  Instead, we’re going to be looking at a more unique application of VR.  So here’s a review of the Playstation VR… as an optikinetic treatment method.

Video games for your health is apparently a thing.  We brushed on it a couple months back when we covered Duet, at a point where I had been prescribed video games as treatment.  Some time back, the gods grew jealous of my majestic achievements and physical perfection and afflicted me with an inner ear condition that causes another inner ear condition that in turn messes up with a whole bunch of other things.  Let me drop some science on you for a bit, here.  Your brain gets its sense of balance and positioning from three areas; your inner ear, your vision, and muscles, particularly those in your neck and spine.  When your inner ear stops working so well, your body compensates by over-emphasizing the other two.  Which sounds resilient, but it’s problematic.  It gets really weird when looking down as you’re descending stairs makes you feel like you’re Spider-manning up a wall, or walking through a crowd makes you feel like you’re spinning.

One of the ways of treating that visual motion hypersensitivity is to essentially overstimulate the part where the brain thinks you’re moving because of what it’s seeing, while you’re not in fact moving.  Kind of force the body to recalibrate its overreliance on visual info to determine balance and sense of motion.  The traditional at home exercises for that are to watch videos like this, which, if you clicked that link, you might notice is boring as hell.  Hence why I’d been prescribed video games.  Going through the likes of Fotonica, Duet, and Super Hexagon, both has enough visual activity to trigger that sense of movement, while also not feeling like you’re just sitting there wasting time.  But what if you could take that to the next dimension.  My physical therapist has been trying and failing to get a VR headset and proper apps for quite some time to help treat this.  The problem with doing those videos or games on a screen is that only part of your vision will be moving like that, so your brain has plenty of the wrong anchor points to go “hey, this isn’t really moving”.  I mean, that’s what you want your brain to say, but you want your brain to say that because it can tell you’re not actually moving, not because you can see a wall.  VR, though, that’s all encompassing.  So you can have everything in your vision tell you that you’re moving while you’re actually not.  Get you that optikinetics on steroids.  And, thanks to a friend for whom I’m not sure I’ve done enough to deserve this kindness, I’ve got a Playstation VR to be working through this with.

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I have to say, I’m not super experienced in VR overall, so I’m not the most educated as far as how the Playstation VR compares with other headsets.  Hardware-wise, being based on the Playstation 4, rather than the PC and coming it at a lower price point makes it significantly more accessible to me, personally, than other sets.  That should be the most important consideration for any producer, really, “how likely is Aether to get this in his sexy hands?”  It does seem to be missing a few features that come standard with other sets, as well, including a few odd omissions.  It doesn’t really have an automatic feature to measure your eye position in relation to each other, and its automatic ‘take-a-picture-of-your-face’ get’s the measurements between your eyes way wrong.  The picture was noticeably clearer once I figured out how to adjust that manually, which is really non-intuitive and required a user-made guide to get through.  The Playstation VR will play VR videos through Youtube easily enough, once you have the app, but if you’re trying to get VR videos through any other source, it takes a lot of jumping through hoops to get it working, and it won’t reach up to 1080p, so the resolution is lacking.  A lot of the videos I was trying to get working on it required me to extensively re-process them to get the right formats, codecs, and limited resolutions going.  So as far as the traditional VR videos of bike riding that are usually recommended to help with this condition, it was either go to Youtube or spend an inordinate amount of time getting other sources working, which was a little problematic for those times when I was feeling picky.

But the Playstation is a gaming machine, so how about the games that help with this?  Yeah, as you can probably imagine, that’s where I’ve been spending most of my time.  What’s useful about the Playstation VR, at least, is that it’s been easy to find a lot of discussion about the difficulty of various games and apps, so I can be informed as I’m planning out what I want to play to deal with this condition.  At least one list of game recommendations I’ve come across was helpful enough to have them organized into beginner, intermediate, and advanced VR levels, based on how physically difficult it is to get adjusted to the motion in those games.  Glad to know they’re difficult for people with perfectly functioning inner ears as well.

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As I’ve been exploring the system for the past couple of weeks, there seems to be a bit of a spectrum as far as the impact games will have on me goes, that doesn’t completely match up with the rankings most people seem to give them.  At the gentlest end are games where they move you by fading in and out your view, rather than simulating walking, only move your POV when you move your head or otherwise under you control, and that you don’t need a lot of rapid head movement.  Final Fantasy XV: Monsters of the Deep and Moss are pretty solid examples there.  They’ve been useful for when I’m already stirred up by the time I’ve set aside to do my exercises, or otherwise want something light to get myself adjusted.  There’s a bit of disorientation with these games, but otherwise they don’t really hit me hard.  Up a level from there are games where they intermittently have some sort of movement of your viewpoint, but otherwise have long periods where its relatively stationary.  Astro Bot Rescue mission and the Into the Deep experience in Playstation VR Worlds come to mind here, where you’ll be moved as you progress through it, and there’s a lot that moves within your view, but you do spend a significant amount of time with your viewpoint simply being stationary.  This would be where I’d recommend spending the majority of your time first starting out, if there happens to be anyone else out there using VR as a treatment method for visual motion hypersensitivity or, as I’ve heard similar principles apply, concussions.

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A step up from there would be the games with more constant movement, a lot of visual things going on, but you’re in a vehicle or otherwise separated from your playable character, such as in Battlezone or Rez Infinite.  For whatever reason, the visual motion has more of an impact when you’re in a first person perspective walking than when you’re driving.  So logically, the most advanced games would be the ones where you’re walking in a first person perspective.  Skyrim’s where I’ve been spending most of my time at this level.  Playing through an epic length game at the 20 minutes per day I’ve been able to bear it.  This is also where the goal of treatment is to be able to handle, as this will be more where it’s having an effect.  I wasn’t able to dive right into Skyrim, however, had to move myself up through the earlier levels in sequence.

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Special mention goes to Scavenger’s Odyssey of Playstation VR Worlds, as well, which will absolutely kill me by rotating the view over and over again over the course of the game.  So, rotation is killer.  That might be a level above Skyrim I haven’t reached yet.  So to may be Resident Evil VII, which came in the pack my friend got me but I just haven’t been brave enough to get into yet.  Even people with functioning inner ears claim this game is guaranteed nausea for them.  I would guess it’s missing a lot of the VR friendly features Skyrim has, such as dimming the periphereal vision when you’re moving quickly and snapping your turn rather than a smooth motion when you use the controller to turn.  So there’s still more to explore if I find Skyrim ever starts to get too easy for me.

On the plus side, games like Rez, Skyrim, and Battlezone have you aiming with precision by moving your head.  Which exercises the fine motor control of your neck.  Which helps with the muscular issues your body can develop as a typical reaction to this condition.  So it’s not just the motion VR can help with.

Of course, even at the advanced level, there’s things you can do to make it easier on yourself.  Strafing is misery.  Moving faster is harder than moving slower.  Limit the amount of stairs you walk on.  Things like that.  This isn’t like working out, where you can push yourself to your limits and end up better off for it.  Here, if you go too hard, you’re actually undoing progress, getting your systems maladjusted to the visual information.  So it’s important to know your limits, and know either when you need to switch to a less aggressive movement or stop or take a break entirely.

As for how effective it is, that’s going to matter most in the long term, and time will tell for that.  In the short term, though, I have noticed my symptoms impacting me less since I started using the Playstation VR for my at home treatment exercises.  It’s not a complete cure, or anywhere close to it, and this is a condition that has a lot of ups and downs, so it could easily be just coincidentally corresponding with an up time, but I have to say, I’ve seen results from it so far.  And that makes me happy.

Even if I can’t play as much Skyrim as I want.

Project G-Mothra vs. Godzilla (1964)

Alternate Title: The start of the shared universe

So, you know how the Marvel Cinematic Universe is kind of a thing?  Notable in that all the stories impact each other, and the characters intersect much in the same way they do in comics?  Toho’s announced that, starting whenever they start making these movies in sequence again, they’re wanting to use a similar model for Godzilla films.  Which is a little strange to me.  Because they totally did that already.  40-some years before the Marvel films started having Agent Coulson hanging around.

So, there was a big gap in between the second and third Godzilla films.  Of like seven years or so.  But Toho wasn’t done with giant monsters in that meanwhile.  In fact, they made a whole bunch of kaiju films after Godzilla gave that genre a jump start.  And King Kong vs. Godzilla, being the most successful film in the Godzilla franchise, it made a buck or two.  And Mr. Toho, he thought to himself, “I sure like having dollars.  Maybe I should make another movie so I can get another dollar.”  But how do you follow up on a clash of two of cinema’s greatest titans, crossing over from disparate universes?  Well, you just do it again.  Except you go back into one of the worlds you already own, so you don’t have to pay those crazy huge King Kong licensing fees.  And wouldn’t you know it, you just had a really successful and well-received movie just a few years before.  Maybe you could cross that over with your marquee guy.

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And that’s how we ended up with Mothra vs. Godzilla, a sequel to both 1961’s Mothra and 1962’s King Kong vs. Godzilla.  And in so doing, Tojo tied all their Kaiju films of the era together into one continuous universe.  You start seeing monsters cross over in each others films, Godzilla himself gets a few recurring enemies that started in other movies, and you’ll even get a few films centered not on individual monsters but the people living within them, such as Destroy All Monsters, which we’ll be getting to in a few of these posts.

This is also regarded as one of the best movies of the Showa era, thus proving this was a concept with some real mileage.  So no wonder they’d get some mileage out of it.

Note that this is not Godzilla vs. Mothra.  That is a very different movie.  Yes, the Godzilla franchise sucks at titles.  Kind of an easy way of remembering it is that this move was made when Godzilla was undisputedly the bad guy.  So Mothra, the heroine, gets top billing.  As opposed to Godzilla vs Mothra, which was made when Godzilla was only sometimes the bad guy, so you could still cheer for him.  So he gets top billing then.  See, simple.

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Project G-King Kong vs. Godzilla (1962)

More memorable title: The Godzilla movie with bloody King Kong in it! OR The one with all the Japanese people in brownface.

So, let’s go back in time a bit.  1962.  Godzilla had one good movie, and one film that was kind of there, and largely wasn’t really a known property.  He hadn’t been seen in theaters for years.  King Kong, though, King Kong was the big time.  Household name.  Was already a classic movie monster.  And the writer behind King Kong had a new project he was wanting to move forward with.  The original plan was to do a King Kong vs. Frankenstein film, but the cost for that was prohibitive, so the producer on the project reached out to Toho, who had been having success with the giant monster movies, Godzilla and otherwise.  Toho was celebrating its 30th anniversary with a whole bunch of high profile films, and wanted to give Godzilla a comeback, so they slipped Godzilla in there, brought back the team behind the original, and the rest is history.

Well, sort of.  The original Godzilla movie had started an America cinematic tradition of buying up the writes to Japanese movies on the cheap, filling them with large helpings of cheese, and bringing them over with a rather lackluster localization job, kind of creating a perception that Japanese movies were cheap tawdry affair because that’s how American artistes greased them up.  The producers behind this film didn’t want that, and so they took it a bit more seriously, but kind of in the wrong way.  Godzilla vs. King Kong itself is a decidedly more silly movie than the previous two affairs.  It stars King Kong, at the time a much more prominent figure, in the primary role, and seems to be designed more as a good, entertaining popcorn muncher than as the thoughtful horror pieces of the past.  Ishiro Honda still wrapped in his usual work of making the monster movies more meaningful by having the film be a satire on the Japanese TV comedy scene of the time.  That apparently wasn’t going to fly with the American version, and the producer there cut a lot of the satire scenes out, replacing them with transition scenes of some boring as stale milk schmucks in a newsroom talking about all the cool action that just happened, and interspersing it really weirdly into the film.  It ruins the film’s momentum in a really weird way to have all these kickass scenes with Godzilla destroying stuff IN COLOR for the first time, then to interrupt them in the middle with Mr. Whitebread saying something like “Our news satellite tells us that Godzilla has just destroyed a train, and is now heading for Tokyo.”  It’s galling.  And guess which version of the movie seems to be the only surviving copy.  Even the Criterion Collection… uhhh… collection, with as much work as the company did in making things as true to the originals as possible, still only manages the US recut.  They do foreshadow plenty of things and explain some plot stuff that otherwise would come out of nowhere, so it’s not like they’re without merit, these scenes are just really boring.  And some of the explanations in the US version don’t exactly match up with the overall canon of the series.  So as we go through the synopsis, imagine that that’s repeatedly going on.

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Anyways, do you remember the end of the previous film?  Japanese military crushed Godzilla in an avalanche on an island covered in ice.  Except screw you, it wasn’t an island, it was an iceberg, and now it’s in the arctic.  A US military submarine is up there for some reason doing something and also has a bunch of civilians on board for reasons that are never really explained.  It looks like there’s an iceberg there that’s glowing with intense radiation.   As the military does in most films in which they’re not the protagonists, they proceeded to cock everything up and somehow accidentally rammed the iceberg.  This releases the beast, who does what all the giant monsters do and goes to destroy something Japanese.  Meanwhile, you run into the offices of what is ostensibly a pharmaceutical company but throughout the movie they’re only ever concerned about their TV show so who even knows.  Their show sucks and they want to make it not suck so the company president, who looks like he’d be named Nigel if he was born in any other country, decides to go get a giant monster to do something for his show because nothing could possibly go wrong with that idea.

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