Saturday, August 13, 2016

The Peanuts Movie


The Peanuts comic strip, by Charles Schulz, ran in American papers for about 50 years.  Its characters are known and loved by many: Charlie Brown, his dog Snoopy, Lucy, Linus, Pigpen, Peppermint Patty, Schroeder . . . the list could go on.  Over the years, a few TV specials were also made, to good reviews.  Last year, The Peanuts Movie was released.  Here, a new girl moves into town.  Charlie Brown, the forever failure, has a crush on her . . . so how can he approach her?  He needs to be a 'winner' to have a chance, and so (with the help of Snoopy) he comes up with several ideas.  When all goes wrong, though . . . are his efforts for naught?

Comic strips don't always translate well to the big screen, and I admit being skeptical about this venture.  This was a CG, 90-minute production . . . could it hold up?  In a word, yes.  The animation is modern yet true to the original.  The themes, characters, and humor are similarly well-done and accurately reflective of the role the comic strip played over the years.  It was funny, heart-warming, and instructive.  Overall, I was surprised and pleased.  I'm not sure kids (unfamiliar with the original strip or TV specials) would appreciate it as much, but for adults, this is a good film.  I was most impressed with the theme, summarized in the next (spoiler-containing) paragraph.

Charlie Brown, at the end of the film (and his rope), finds that the new girl is interested in being his summer pen-pal.  He's shocked, having spent the whole film (and school year) trying to impress her through accomplishment and success.  But the girl isn't looking for success . . . she admires him for who he is.  He may not succeed, but he's compassionate, honest, brave, funny, and sweet.  It's those qualities she recognizes are the true measure of a person- a lesson we could do well to learn.

Rating: A

Wednesday, August 10, 2016

Star Wars: Rebellion

image from here
Today, I look at Fantasy Flight's Star Wars: Rebellion.

Overview
Rebellion is a game with asymmetric victory conditions.  You play either as the Empire (goal: find and destroy the Rebel base) or the Rebellion (goal: keep the base hidden and earn 'reputation' points to end the game sooner).  The game is played over rounds (with three phases in each), with a time marker (starting at 1) indicating which round is current and advancing after a round's completion.  The Rebel's reputation marker starts at 14 (on the same track as the time marker) and can be moved down the track (towards 1) based on reputation points earned.  The game ends when one of two things happen:
- Imperial victory: the Empire finds and destroys the Rebel base.
- Rebel victory: the time marker is co-located with the reputation marker.

Each side has leaders which can be deployed each round to complete missions (drawn from a mission card deck) or move combat units (built over time and deployed to systems).

Whenever the Empire puts ground units in a system, the Rebel player must indicate whether or not the Rebel base is there.  If it's not, the Empire gets that much closer to learning where it is- and the noose tightens.  If it is, then the race is on to protect, move, or destroy the Rebel base.

Simplified Gameplay
Each round consists of three phases:

Assignment phase:
Each player, in alternating fashion, chooses a mission card from their hand to attempt that round.  They place the mission card face-down and 1-2 leaders (with appropriate abilities matching the mission needs) on top of it.  You can play as many mission cards each round as you wish (if you have the leaders to attempt them).  You may want to keep some leaders in reserve, though, to be used for movement or in combat.

Command phase
Players take turns revealing and attempting missions or placing leaders in systems to 'activate' them (this is required to be able to move units into that system).

Successful missions or activations may result in a number of things.  Some examples:
- It's a mechanism for both sides to claim systems (either through subjugation or loyalty), extending influence and granting resources to build units in future rounds.
- If Rebel and Imperial forces end up in the same system, space or ground combat occurs (combat is simple but will not be covered here), which helps the victor erode the loser's unit strength and galactic sphere of control.
- Sabotage, capturing leaders, flipping loyalty of systems . . . so many things can be done through successful missions to change the playing field.

Refresh phase
Players retrieve all leaders (placed on the board in the Command phase) and draw new mission cards.  The Imperial player draws probe cards (each reveal a system where the Rebel base is not located) and the Rebel player draws an objective card (which allows him to earn reputation points if certain conditions are met).  The time marker is advanced, units under construction are advanced or deployed, and the next round begins.
Game in progress; image from here
Review
This is a good game.  It captures the feel of the original trilogy- fans of both Star Wars and gaming will be thrilled.  Fantasy Flight achieves a good balance between simplicity and depth- players can do almost anything (space/ground combat, intel missions, capture leaders, etc.), but the rules are simple to pick up.  Impressive . . . most impressive.  The only downside?  The game will take 3-4 hours to complete.

You can visit the official website here for rules and more information, or watch a live review here.

Rating: A

Monday, August 8, 2016

Suicide Squad


The third offering in the DC extended universe, Suicide Squad, was released a few days ago.  It begins shortly after Batman vs. Superman's ending.  The world has accepted that powerful beings- called 'meta-humans'- live among us.  And, as is typical with humanity, we seek to control the situation.  Amanda Waller has an idea in this vein . . . what if the 'worst of the worst' can be persuaded to do the government's bidding?  To that end, she finds leverage over a band of 'super-criminals' and unleashes them to protect the populace from a grave menace.  But can bad guys ever be trusted?

This movie was panned- I knew that going in- and I see why.  It was poorly executed.  The plot development was abysmal, the character development uneven,* and the story confusing.  It kept changing gears- this movie just didn't know what it was supposed to be.  It oscillated between 'fun' (in the vein of Deadpool or Guardians of the Galaxy), epic action/suspense, and even detoured briefly into philosophical discussion.  Good movies can blend these well; this movie did not.  There was potential there, certainly- and a choice few scenes, characters, or lines showed what could have been- but nothing was developed adequately, and the result was a mystifying mess.

The two themes touched on that I would have loved to see explored more here:
- Control.  We yearn to control that which is greater than us, and the DC extended universe has focused on this so far.  Here, control is attempted through leverage and threats.  Is that effective?  The ultimate motivation is relationship and love, which is touched on but not developed.
- Redemption.  "Inside we're ugly," says one of the baddies in the philosophical aside.  Another confesses horrific crimes and talks of redemption.  An excellent topic, yet under-explored and thus robbed of its potency.

There were some fun cameos, it clearly links to past and future movies, and there were glimpses of promise.  But in the end, this one can be avoided unless they release an extended cut with 30-60 minutes of additional development.

Rating: C-

*Amanda Waller, Harley Quinn, Deadpool, and Diablo had some character development- and each held tremendous (but unrealized) promise.  Killer Croc, Kitana, and Captain Boomerang could have been left out entirely with no loss.  Enchantress was in the middle, and perhaps the most mystifying.

Sunday, August 7, 2016

The Risk of Ranking

image from  here

Our society yearns for quantifiable, verifiable, non-biased ways to measure things.  And, of course, we want to measure so we can compare- so we can rank.  We do it with schools, hospitals, cars, neighborhoods, you name it- we want to measure something about it, compare it with other like things, and produce lists or rankings to help us make decisions.  Is this a good idea?

I've been thinking a lot about metrics and measurements lately.  Last year, I studied the topic through three books (reviewed here, here, and here) and a decent number of articles.  I learned the basics of how to measure.  It was a good experience, but I couldn't escape the 'danger' sense in my mind.

We can take numbers too far, and we see what happens when we do so.  An obvious example is schools.  Today we measure the quality of a school based (in part) on standardized test scores.  And guess what's happened: teachers are teaching students how to take standardized tests to the exclusion of much else.  Schools look good on paper but fail in their primary mission.  Why?  Because there's more to it than numbers.

The Necessity of Judgment

When we measure for the purpose of ranking, we're trying to use quantitative measures to make qualitative judgments.  We're trying to take ourselves out of the equation- to remove our interpretation or bias.  Seems like a good idea, but that's impossible: we cannot escape our judgment.

In this scientific age, measurements and numbers are upheld as supreme and unassailable.  "Numbers don't lie," we're told.  Science is king.  Here's the challenge: data always requires interpretation.  Facts, on their own, don't say much (this is described in more detail in The Soul of Science, reviewed here).  As an example, look at politicians.  Politicians throw out numbers and statistics all the time to back their positions . . . and it's easy for people on both sides of an issue to find data to back up their arguments.  But, of course, those on the other side of the argument will [often rightly] point out what they believe are flaws or caveats that render the data misleading and conclusions invalid.  In other words, people can look at the same data and, using their judgment, interpret it differently.  It's a fact of life: we cannot escape our judgment.

So, measurements have multiple interpretations.  And, even what we choose to measure is a bias; what we choose to ignore the same.  We can make many measurements, looking at something from different perspectives, to try to overcome some of this . . . but each measurement must be weighted appropriately with respect with the others, which (again) is a judgment call.  The bottom line: we cannot escape our judgment.

An Example

Here's a silly example for you: How much do I read in a given year?  I've been keeping track of this for a few years.  Here's the initial data:

2013: 81 books (23,314 pages)
2014: 84 books (20,734 pages)
2015: 85 books (20,509 pages)
2016: 33 books (7,998 pages)

This, on its own, looks like helpful information, but means almost nothing- especially when comparing how much I read vs. someone else.  Why?  Because this data says nothing about the size of the pages, words per page, presence of illustrations, complexity of the words, or readability of a work.  Am I reading Dickens or Dr. Suess?  In-depth historical treatises or graphic novels?  War and Peace or Harry Potter?  And how much did I remember, or how was my comprehension?  Some years, I read more than 20 graphic novels- hardly the same as chopping through one Tolstoy work.  My point: the data needs interpretation, and many questions are impossible to quantitatively capture.  Thus, it's hard- or impossible- to accurately rank me along other bibliophiles.  Even saying "John reads a lot" is based on the knowledge (or assumption) that most in our culture don't read that much (as articles like this report).

Conclusion

So what's the point?  Am I saying we shouldn't measure anything?  No.  There is a place for numbers; I'm just saying that measurements are not where the story ends.  They complement and aid, but do not replace, discernment.  They help provide insight but do NOT provide the whole story.  We cannot escape our own judgment in the matter, and we must therefore be open to hearing a variety of perspectives to increase the probability that we'll correctly interpret the data presented to us.  As Douglas Hubbard says, "measurements inform uncertain decisions," but they do not, and cannot, make the decisions obvious.  They can't remove 'us' from the equation.  Paraphrasing Martin Klubeck, metrics are nothing more than indicators.  They provide insight but not truth; they should inform but not drive decisions.  The right response to any measurement is investigation- look at why and how it was measured, and realize all the while that we cannot escape the human element.  We all need discernment in addition to measurement . . . numbers alone do not satisfy.

Wednesday, August 3, 2016

Ocean's Eleven


Can it be 15 years since Ocean's Eleven came out?  A remake of the 1960 film of the same name, it follows Daniel Ocean and his ten companions as they seek to pull of the biggest heist in history- robbing $160 million from three vaults in Las Vegas.  To do so, they'll need a talented team pulling cons within cons within cons . . . but with several setbacks and suspicions about the motive, condition, or capability of certain teammates, can they pull it off?

This is a great movie.  Great cast, fun music, good humor, tight suspense, compelling characters, unexpected plot twists . . . there's a lot to enjoy about this film.  The only drawback is when you stop and think that you're pulling all movie for people to successfully steal.  Yes, they're stealing from an absolute jerk, and they're doing so in an innovative and fun way . . . but does that legitimize crime?

Rating: A

Monday, August 1, 2016

That Thing You Do!


It was released 20 years ago, but the comedy That Thing You Do! has aged well.  It traces the meteoric rise (and fall) of "The Wonders," a fictional band whose 1964 hit took the band from playing local gigs in Erie PA to the top of the music world in just months.  The band disintegrated shortly thereafter, as members let competing interests dominate and divide them.

This is a good film.  The music is excellent, and it's a fun comedic glimpse into life in the '60s as well as a cautionary tale about the consequences of fast fame.  It's worth your time.

Rating: A

Saturday, July 30, 2016

The Brothers Karamazov (Fyodor Dostoyevsky)


I close out July with the strangest thing that's ever happened to me book-wise.  I was 20% into Dostoyevsky's The Brothers Karamazov.  This is a tale of a despicable father and his four sons (by two marriages and an affair).  Each son has a very different personality, but the whole family has significant issues (save perhaps the third son Alyosha).  Dostoyevsky uses the flawed but unique characters as a vehicle for discussing theology and other matters.  Like other Dostoyevsky literature, I was enjoying the presentation of man's depravity but bewildered by the nature of character's exchanges in the novel (do people in Russia really talk like this?  If so, you'd think every Russian beset with insanity).  I was slogging through it with mixed feelings when I noticed something odd.

In most books, page 237 comes after page 236.  Here, 236 was proceeded by 589; see below picture if you doubt me.  It incremented correctly from 589 for about 60 pages (until page 652), then went back to page 301 and was correct until the end.  I thought it was just a number error- that the book was complete, just some pages were labeled incorrectly.  But no- it really is the text from page 589.  I know because pages 589-652 are repeated later in the book (in their proper place).  In short, the book's page numbers are as follows: page 1-236, 589-652, 301-897.  Pages 237-300 are omitted entirely, and 589-652 are repeated.


So, with mixed feelings I put down the book, and I mean that in the permanent sense.  'Tis destined for the recycling.  I do want to read the rest some day (I'll have to start from scratch, I'm sure)- it's holds enough promise to warrant a second attempt.  But the library has only a different translation, and I have other books on the docket.  Till next time, Dostoyevsky.  Till next time.

Rating (anticipated): B