Paddington (Film)

Paddington CoverGenre: Children’s Fantasy / Film
Main Creative Team: Paul King (director, writer, story); Hamish McColl (story); David Heyman (producer)
Main Cast: Ben Whishaw; Sally Hawkins; Hugh Bonneville; Madeleine Harris; Samuel Joslin; Julie Walters; Jim Broadbent; Nicole Kidman; Peter Capaldi; Tim Downie; Michael Gambon; Imelda Staunton
First Shown: 28th November, 2014
Available: Amazon.com | Amazon UK

The original Paddington Bear books, by Michael Bond (who has a cameo in the film), began publication in the late 1950s. The film isn’t a retelling of any specific book, but follows the same basic idea. Paddington’s (Ben Whishaw) home in Peru is destroyed, so he stows away on a ship heading for London. Once there, he ends up at Paddington Station, where he meets the Brown family. But things take a sinister turn when a taxidermist (Nicole Kidman) finds out he’s arrived.

I wasn’t sure how funny I’d find the film, as some of the humour stems from Paddington not understanding what’s going on and making mistakes. However, the funny side tended to be that things turned out unexpectedly, rather than Paddington feeling embarrassed or upset. I find the former funny, but the latter makes me uncomfortable. So I was glad it focused on unexpected resolutions.

The interactions between the Browns were great. At the start, there are obviously tensions in the family. Mr Brown (Hugh Bonneville) is very serious and obsessed with trying to shield everyone from risks. Judy (Madeleine Harris) sides with him over Paddington, because she wants the family to appear normal and not be embarrassing. On the other side, there’s Mrs Brown (Sally Hawkins), who is an artist, and Jonathan (Samuel Joslin), who dreams of being an astronaut. The dreamer side of the family want to help Paddington. I liked seeing how the family came together and sorted out their differences.

However, my favourite member of the family was Mrs Bird (Julie Walters), an elderly relative. Her asides, and her practical approach to dealing with Paddington, were very funny. She knows what’s really going on, even if it takes the Browns a little longer to figure it out.

There’s a magical realism feel to the film. Paddington causes some comment, but most people either ignore that he’s a bear or accept it after an initial comment. Things shift around the characters, such as the mural changing in the Brown’s house, the band playing the background music appearing in the scene, and the dolls house in the attic becoming a tiny version of the Brown’s house. This works particularly well due to the film being live action, as it grounds the surreal elements in the real.

One possible issue is whether people will make the connection between a bear in a children’s story and real refugees. I felt this was handled reasonably well, as there are references that reinforce this connection. Paddington has a label around his neck, reminiscent of child evacuees in World War II. This is stated directly in the film by his Aunt Lucy (Imelda Staunton), who hopes it will remind people of their past kindness. Putting this into the story was a nice touch, as it’s something the author of the books said was a direct inspiration for Paddington’s label.

Some of the hostility Paddington faces is based on fears about immigrants. The Brown’s neighbour, Mr Curry (Peter Capaldi), is worried that bears will end up taking over the neighbourhood and keep him awake with their jungle music. The narrative makes it very clear that Mr Curry isn’t a nice person. In contrast, Paddington also meets Mr Gruber (Jim Broadbent), who was a Jewish child refugee. Mr Gruber is warm, kind, and everything Mr Curry isn’t.

Colonialism is tackled in the tradition of snark and sarcasm. The film opens with an old colonial explorer (Tim Downie) on an expedition to Peru. He’s taken only the essentials, which means a trail of baggage including a large clock and a piano. Later, as the bears are learning English from a recording, it announces to them that British people have numerous words for rain, in a parody of the statements made about Inuit people and snow. Peru is referred to as Darkest Peru, as it is in the book, though the repetition of this is taken to an extreme that highlights its ridiculousness. Many of these moments are subtle, but clear in their critique of colonial attitudes.

The choice of villain also reinforces an anti-colonial narrative: she’s a taxidermist working at the Natural History Museum, who wants to return to a time when the best way to deal with a new species was to kill it and mount it as a trophy. She represents the old values, with all the problems that come with them. Her scenes are particularly chilling, because she is so callous about the value of life.

Though I generally liked the film, there were moments I didn’t like. There’s a scene where Mr Brown dresses as a woman as a disguise and a security guard flirts with him. These kinds of scenes rely on the idea that a man dressing as a woman is inherently funny, and that a man flirting with another man is funny. I did like some aspects of how it was handled though. Mr Brown later comments on the clothing being liberating. The disguise represents the first risk he takes to help Paddington, stepping outside of the constrictive life he’s constructed. It’s more unusual to follow up such scenes with a positive framing (it tends to be “never again, because I’m a manly man” rather than “actually, that was fine”).

I recognise that Paddington being called Paddington is unavoidable given the source, but it does still make me wince that he gets named because his name is deemed unpronounceable. That’s always been the part of the story that doesn’t sit well with me.

Paddington is a light-hearted family film with genuinely funny moments. I enjoyed seeing the Brown family come together and loved the visual style. The topic of refugees and immigration is as relevant now as ever, and the film presents this in a positive way. I would note some of the taxidermy scenes could be frightening for younger viewers. No animals are harmed, but the intentions are clear, and there are previously stuffed animals on show.

Everybody’s Gone to the Rapture

Game LogoDeveloper: The Chinese Room
First Release: 11th August, 2015
Version Played: PlayStation 4
Available: PS Store US | PS Store UK | Steam

Everyone has disappeared in a small village in Shropshire. All that remains are the things they left behind and a mysterious light.

This is an exploration game, where the story of the apocalypse is uncovered by searching around for scenes. These act out what went on before and during the event. The people are made from light, showing it’s a memory of what’s happened, not something happening in real time. Each area is named for a person, and finding all their important scenes unlocks the finale to their story.

Though it’s a story about strange events, it focuses much more on the human side. It’s about how people in the village cope with what’s going on. It’s about their relationships and history. Tying it all together is the story of Kate and Stephen, the scientists working at the local observatory. Kate is African American, a woman with a doctorate, and kept her last name after marriage. All things that don’t go down well in an insular village. Stephen, her husband, is a local lad. He doesn’t really understand the issues Kate is facing.

I enjoyed the way the story unfolded, from finding the first blood-stained tissues to the final revelations. There are some answers, but there’s also a lot left open to interpretation.

The village is a great setting for the game. The beautiful countryside is a strong contrast to the horrors. There’s a feeling of isolation from walking around the empty houses and streets. It’s also a little surreal due to the way time moves around the player. Each area is at a different time of day, so the sun swings around quickly at the transitions. Then it waits until the player moves on. I felt as though the light was trying to explain what happened, though why remains a mystery, as the character controlled by the player is never revealed.

A farm field in the game

Image Caption: An open gate leads into a field of golden wheat, ready for harvest. Trees surround the field. A barn and a windmill are in the distance.

Accessibility is a problem, due to the terrible save system. There’s no manual save. The autosave only happens at points where the player has to tilt the controller to see a scene. Nothing else makes the save happen, including story scenes that happen when close by (the majority of them), listening to radios, and finding collectibles. As there are a limited number of tilt scenes, this means it’s very easy to lose progress. My first two goes at the game, I didn’t get very far before I had to stop due to motion sickness. My next attempt, I avoided activating the tilt story scenes. Instead, I kept a list, and only backtracked to them when I needed to stop. Being able to save frequently is really important for people who need to keep playtimes short.

There is a decent density of things to find for the size of area. There are also quick routes to previous areas if required. However, the game does have collectibles and players may need to search for missed scenes. Which means the lack of a proper run to backtrack is an issue. There is sort of a run, as holding one button down will eventually increase the speed, but it doesn’t help much. Restricting players to walking speed only really works when there’s no need to go backwards. I probably felt this more because of the need to backtrack to saves all the time (often whilst feeling sick, so getting there quickly would have made it a lot more comfortable).

I realise developers do these things because they think it helps immersion and makes the experience more magical. So to be clear, this does not make me feel immersed and does not improve my gaming experience. Nothing kills the mood more than having to keep lists of where I can save and hoping I can get there before I vomit on my PlayStation.

In terms of story and setting, it’s an interesting game. It relies on creating a chilling atmosphere, rather than jump scares and the like. There’s some blood and dead animals, but it doesn’t go heavily into gore. It’s likely to appeal to anyone who likes that quiet horror feel. I only wish some of the technical aspects, such as running and the save system, had been as carefully done. It feels like the way someone who doesn’t play games might design those features, which isn’t very practical for actually playing.

The Rowanwood Curse – Elizabeth O’Connell

The Rowanwood Curse CoverSeries: Hal Bishop Mysteries, #1
First Published: 23rd January, 2016
Genre: Historical Fantasy / Novel
Available: Amazon.com | Amazon UK

Jem is the apprentice of his magician brother Hal, and is bored of the dull routine work they’ve been taking on. Then Hal is called to break a curse on Sir Jasper Pryce’s daughter. In order to break it, Hal must figure out who cast the curse and why.

The story is told by Jem as he aids Hal. It has a very Sherlock Holmes vibe, being set in a similar era with the companion of the genius sleuth as the one writing the story. That said, the relationship dynamics are different, as they’re brothers. As well as the case at hand, it explores some of the circumstances around their father’s death. Hal initially tries to keep those things from Jem, but does start to share before the end. It looks like that mystery will continue to be developed as the series progresses.

This is a world where magic was the major push in the industrial revolution. Spirits and elementals are bound into machines to make them function. Industrial magic is treated as a science, with formal teaching and rigid thinking about how it works. The result is local folktales and magical teachings are dismissed as superstition. Local wise women aren’t considered true magical practitioners, unlike the learned gentlemen who’ve studied it at academic institutions. I liked the handling of this aspect of the world, as it mirrors the real systematic bias against local knowledge. It’s also clear the bias is wrong. Hal realises there’s a lot the magical institutions don’t know, and the local yarbwoman has valuable information for the case.

It’s an interesting mystery, weaving in folklore with family secrets. The focus on understanding the curse is a twist on usual murder mystery formats.

I wasn’t comfortable with the handing of disability. All examples of mental illness are people who’ve been affected by magic. They’re possessed, cursed, or otherwise been driven mad by magic. It would have been nice to see a contrast to this, rather than having magically induced mental illness as the only sort that existed. There’s also a heavy layer of pity towards the idea of being disabled, and Jem is upset that people will think him an invalid for having to take medication (for his magic sensitivity). Sir Jasper is blind in one eye, but as that aspect is barely there, it’s not really a counterpoint to the idea that disability is the end, and caused by magic.

Overall, it was an entertaining story, and sets up some bigger mysteries for the future. It will appeal to people who like crossovers between mystery and historical fantasy.

[A copy of this book was received from the author for review purposes]

The Secret Life of Daisy Fitzjohn – Tania Unsworth

Daisy Fitzjohn CoverAlternate Titles: Brightwood
First Published: 10th March, 2016
Genre: Middle Grade / Novel
Available: Amazon.com | Amazon UK

Daisy has never left her home in Brightwood Hall. She lives a comfortable life with her mother, surrounded by the history of her family. Until her mother disappears, and a man appears at the house.

The fact that Daisy has never left Brightwood Hall already hints that something odd is going on. That something is her mother experiencing a trauma as a child. She hoards supplies and other items, to the point of filling up the rooms in the manor house with storage shelves. She only leaves to get supplies, and doesn’t want Daisy going out at all. That fear of losing things has been enabled by the family’s wealth. She’s never really had to face her trauma, because it’s very easy to shut the world out living in a manor house. It’s easy to hoard when you have so much space.

I liked that the story did address these things. Daisy comes to realise how much her mum’s life has been influenced by those past events. And how this has trickled down to Daisy’s life.

Daisy is a fun protagonist. She holds conversations with the animals and artwork. This includes statues, topiary bushes and portraits of her ancestors. Whether this is entirely imaginary is up for debate. They certainly help her come to a decision about what to do when the man arrives.

I enjoyed the writing style and pacing of the book. There are elements of mystery, about who the man is and why he’s there. There’s some action, as Daisy acts out her plans. I wish I could end the review there, because there are a lot of things about the book I really like. I was promised an adventure set in a manor house, and it delivered on that.

The problem was The Crazy. Daisy has been told that The Crazy runs in the family. It means a person is vile and has most likely murdered people. This made me wince the first time it was introduced, but I gave some benefit of the doubt that it would be addressed later. It wasn’t. The best Daisy gets to is maybe people would call her mum crazy, but she’s not properly crazy as she’s not violent. Daisy doesn’t realise, at any level, that The Crazy is upper class entitlement, rather than a health condition. If you feel you’re better than anyone else and entitled to things, you’re not going to care who you hurt to get it… those other people aren’t really people, after all. This is an entirely sane, if unpleasant, response to privilege. What really struck me is it was a small part of the story, which could have been changed in ten minutes of editing. A few reworded sentences and a new name for The Crazy would have made all the difference. All it would have taken was considering how it might impact a non-neurotypical reader.

The result was though I generally enjoyed the book, I was cringing at those moments when The Crazy came up. They pulled me out of the story. Crazy often looks more like Daisy’s mum. Crazy often looks more like me. It doesn’t make someone a murderer.

[A copy of this book was received from the publisher for review purposes]

The Order: 1886

The Order: 1886 Cover

Developer: Ready At Dawn
First Release: 20th February, 2015
Version Played: PS4
Length: Medium

The Order: 1886 is a steampunk game set in London. The Order is a group of knights, named for the original knights of the round table, who prolong their lives by drinking blackwater from the grail. Their mission is to fight the half-breeds (such as the lycans… werewolves by another name).

Though the game has some shooter and stealth elements, it’s mainly about the story. That makes it a good place to start when discussing the game, as this is likely to make or break whether someone enjoys it.

Story

The story follows Sir Galahad, starting with the prologue where he’s being held prisoner by the Order, and flashing back to what led to this. In the flashback, a lot of things are happening in London. The poor are rebelling against oppression. A killer (Jack the Ripper) is targeting prostitutes. The patients of a mental asylum have broken out, and there’s suspicion of a lycan connection. The knights have a lot to deal with, but not everything is as it seems.

Anyone expecting a more common action game narrative of defeating the big bad and saving the day is likely to be disappointed, as it’s not that sort of story. It’s more about Galahad’s personal journey, as he discovers things aren’t as black and white as he assumed, and has to decide where he stands.

One thing I look for in steampunk is how colonial themes are tackled. Some stories are prone to glorifying the British Empire and all it did. The Order doesn’t. Some of the characters certainly think that way, but it’s clear to the player that the poor join the rebellion out of desperation for how they’re treated. The authorities are doing little about the murdered women, and something odd was going down at the asylum.

The supernatural elements are shown as taking advantage of the British Empire’s expansion, rather than being responsible for it. A subtle difference, but an important one, as blaming it all on magic is a common way for stories to avoid addressing history.

In terms of inclusion, there are two Indian women who are important to the story. However, I would have liked to see a wider racial mix among the inhabitants of Whitechapel. At this point in history (and there’s no suggestion that the game version is any different) people moved to London from all parts of the Empire. Few would make it into the upper classes (such as the knights), but the poor workers would be more diverse.

The biggest issue with the story was not developing some of the characters and subplots. The collectables would have been a good way to introduce more information about the things going on at the asylum and hospital. The knights visit a brothel, which makes sense as prostitutes are being targeted by Jack the Ripper. But they don’t actually talk to anyone to find out more about that, which seems like a wasted opportunity. These things could have been fleshed out without giving away everything. And in turn, a little more story in the subplots would have given more space to develop the characters.

Overall though, I enjoyed the story. It was the gameplay where my reaction was more lukewarm.

Gameplay

The shooter parts of the game were solid. It’s cover-based shooting, with a variety of weapons. There are a number of fun science weapons, designed by Tesla (though I would have liked more time to explode things with these). I also liked the tools, such as the lockpicking, morse code sender and circuit breaker. These could have been used more, such as having some puzzles that required them, but the basic mechanism for how they worked was fine. If this was all the gameplay, it would have been fun.

Unfortunately, the game also had quick time events. These can be fiddly for someone like me, as my coordination isn’t the best, and reacting quickly to onscreen prompts is difficult. I could at least retry the cutscenes with quick time events, so I got there eventually. The stopping point was the stealth takedowns. Rather than sneaking up and hitting the takedown key, it has rings around the button prompt. Only at the precise moment the rings hit the prompt, and the buttons highlights, can the takedown be performed successfully. Failure means total failure, as Galahad forgets how to fight if they turn around to face him. Which meant I failed as often as I succeeded. This was hard enough when I had to perform two takedowns in a row. But a later chapter with multiple takedowns was extremely difficult, and not in a fun challenging way. I thought I wouldn’t be able to complete the game due to that chapter. I can’t imagine why any developer would think it was fun to fail, and fail, and fail, and fail, for hours on end. So my assumption is they didn’t consider that quick time events can be a problem for people (I’d note that using an easy difficulty only seems to change the gun fights, not the reaction time for quick time events).

Subtitles

The subtitles had some issues. They were a little small for a start. Fine on the big screen I’m using, but I feel for anyone using them on a smaller screen.

I often got no subtitles for a conversation happening next to me, but at the same time I got subtitles for a conversation happened elsewhere. I would have also liked non-translated subtitles to go with dialogue in other languages (this was especially strange when the French character used the odd French word in mostly English dialogue, and the subtitles translated it… I wanted to know what he actually said).

The game was pretty free of bugs, though I did find one with the subtitles. I picked up a newspaper while a conversation was happening, and the subtitles got stuck on the screen.

It does feel like they needed a tester who uses subtitles regularly.

Graphics and Polish

The game’s graphics are as good as the promotion promised them to be. It sets a high bar for photorealistic games. Outside of my subtitle bug, I didn’t find anything else amiss. There was no getting stuck on geometry, trophies failing to award, save file corruption or other issues of that nature. It was clearly polished to a high standard.

As someone who likes collectables, I would have liked them to have more additional lore in them. I also would have liked a collectables log, so I could track them. The basic system for collectibles is really nice (Galahad can pick them up and look them over), so the potential is there.

No game is perfect, but this one certainly gives the feel of hitting what the developers set out to do.

Conclusions

The Order: 1886 is a beautiful game, with an interesting setting and storyline. It will appeal to steampunk fans, with its airships, Tesla devices and other trappings. For someone who is good at quick time events, it will be a quick play with easy trophies. However, I don’t recommend it for anyone who struggles with quick time events, as the chapters with multiple stealth takedowns will be frustratingly difficult.

I’m on the fence about whether I’d get another game in the series. The stealth takedowns were the least fun I’ve had in a game for a long while, and I’m not sure the story is going to be enough to sign up for that.