Dungeon Petz (Game Review)

Dungeon Petz box

Dungeon Petz

Vlaada Chvátil’s Dungeon Lords has become one of my favorite games. Admittedly, it’s a long game that puts lots of emphasis on two short battle rounds, so a brief mistake can be devastating. But it’s still very fun, with a hilarious theme, choices that have lots of ramifications, and an action-selection system that stays interesting even after it has become familiar. Now Chvátil has created a new game, Dungeon Petz, set in the same fantasy world. Where Dungeon Lords centered around evil beings building underground lairs, this is about the hard-working imps creating pet shops that raise various monsters.

The art, humorous rulebook (with very clear explanations), and playing time will all be familiar to a Dungeon Lords fan. Both games are also built around worker placement, with a twist that comes from players making simultaneous choices. But that’s where the similarities end. In Dungeon Petz, the choice is in how to group your imp workers at the start of the round. When they’re all sent out to market, the bigger groups will have more “buying power”, and thus get to go first. This lets you decide whether you want to take a few actions before everyone else, or many actions after the other players have taken the good spots, or some mix in between. The goal is to buy baby monsters, set up cages suited to their unique needs, and then earn points by showing or selling them.

A view of two pets and their needs (with one poop cube in play!)

A view of two pets and their needs (with one poop cube in play!)

Of course, there are a lot of different factors to track in the game. The most important is in meeting the needs for each animal. Each one has multiple dots of different colors, with an elegant wheel increasing the total number of dots as the animals “grow” from round to round. After actions are chosen, you must draw cards of matching colors, and assign them to your pets so that each one has the same number and types of “needs” as its figure shows. Those needs, which include eating, playing, pooping, and unstable magical energies, must be met by paying certain resources or having a cage designed for them. (The cards are random, but each color has a different focus, so you can make educated guesses ahead of time.) If needs can’t be met, that pet will be less appealing to customers. Also, there are cubes to mark the amount of poop each pet makes. As with Dungeon Lords, this is a funny game, despite its complex, balanced rules.

In fact, I would say that Dungeon Petz is arguably the better-designed game, as it features scoring opportunities on almost every round (exhibitions and potential customers). Points accumulate gradually, and a single bad round won’t determine everything as it can in Dungeon Lords. I still say that Dungeon Lords is the more fun one, though. It may be difficult to control, but it has the personality to make up for it. And the simultaneous selection in that game is pure genius. Outguessing your opponents can lead to them taking actions that don’t help because they didn’t get other actions they needed. In contrast, Dungeon Petz feels like a much more traditional worker placement game. The initial choices just determine how many actions each player will have, and in what order. After that, everyone takes turns choosing actions, so if you didn’t get everything you wanted, you can immediately readjust your strategy. There’s nothing wrong with that, but the actions don’t feel that interesting. It’s the pet management on your personal board that feels fun, and that is only a portion of the game. Also, each round of Dungeon Petz involves several phases, which are difficult to remember even when looking at the reference card. This can make the game confusing, especially since planning ahead is vital.

It works best with three players. With four, everyone plays fewer rounds to keep the playtime down, which means that the endgame planning has started by the time the game really gets going. This makes a nice alternative to Dungeon Lords (which plays best with four people), but the three-player game does add extra rules to account for a “dummy” player blocking certain actions.

Dungeon Petz isn’t a great game, and it depends a lot on the goodwill generated by Dungeon Lords’ rich, amusing theme. But it still adds to that world, and it is fun if less distinctive. Very importantly, the two games feel related but are still different enough that one person can justify owning both.

Grade: B-

 

Rotworld and its Build-Up (Comic Review)

cover to Swamp Thing #7

Swamp Thing

When I last looked at DC’s current Swamp Thing and Animal Man series, I found them to be fascinating character reboots, with a shared battle against “The Rot” making them even more compelling. Frankenstein, Agent of S.H.A.D.E. didn’t impress me as much, but it had potential. It since joined these other two titles for the “Rotworld” event, under the theory that the unliving Frankenstein is one of the few creatures immune to the death and decay wielded by the enemy.

All series continued, if not improved upon, the high level of talent shown in the first few months, but “Rotworld” itself was disappointing. After a lot of fun character-building and horrific moments, the heroes suddenly found themselves in a future where The Rot had already won. It quickly fell into the pattern of alternate universe stories that are all too common in superhero comics: In a world that doesn’t have to last, lots of major characters can be killed off, minor ones can rise to prominence, villains can switch sides, and so on. These stories are fun the first few times you see them, but it doesn’t take long before they feel repetitive, and there’s never any question that everything will be undone by the end. The theme of plant- and animal-themed powers fighting against death did allow for more cool ideas than these events usually have, but on the other hand, the powers of The Rot meant that it was mainly just pictures of grotesque, corrupted heroes killing each other. After a year of exciting build-up, “Rotworld” went on for a couple months too long to stay interesting.

cover to Animal Man #17

Animal Man

It’s a shame, because Animal Man had been getting much better up to that point. The main problem with the first several issues was Travel Foreman’s art, which kept pulling me out of the story. The excellent Steve Pugh stepped in, though, and he improved it immensely: Deeper colors, less drastic differences in shading, and slightly more dynamic framing managed to make the art great without ever feeling like a break in continuity from Foreman’s style. Jeff Lemire’s writing stayed consistent throughout, but it sure seemed a lot better once the art wasn’t distracting me. Before Rotworld began, I’d reached a point where I was enjoying Animal Man a lot more than Swamp Thing every month.

Swamp Thing stayed good, too, but was less surprising than Animal Man once the new status quo was explained. As I noted in my second look at Batman, Scott Snyder’s writing skills lie in making formulaic stories interesting, rather than cutting new ground. So the middle act, about darkness rising, felt a little more like a straightforward than Animal Man’s family drama, though it never stopped being enjoyable. And my only real complaint is that Yanick Paquette remained unable to keep up with a monthly schedule.

However, Swamp Thing ended strongly. Issue #18 had been planned as the conclusion to Snyder and Paquette’s run, and while I’m sad to see them go, they did tell a good story. It’s rare to see in comics, but the conclusion felt like the logical outcome of everything that had happened so far. This is especially good to see after an alternate-world event, since usually those just result in one or two arbitrary changes, usually tragedies to make the event feel “serious”. Animal Man fell into that trap, but Swamp Thing came out feeling like a classic. Issue #18 is beautiful, satisfying, and makes me feel invested in the new status quo even though I had previously been unsure about following the new creators.

cover to Frankenstein: Agent of S.H.A.D.E. #11

Frankenstein: Agent of S.H.A.D.E.

Frankenstein, Agent of S.H.A.D.E. was an unexpected addition to the event. The early issues didn’t have anything to do with the battle against The Rot, but Jeff Lemire was writing both this and Animal Man. However, this crossed over with his big storyline after he handed writing duties over to Matt Kindt! Kindt was a great choice for this, though. I had been disappointed by Lemire’s story, and thought that it was trying too hard to be a weird Hellboy-type title without any actual spark. Just as Pugh was able to make Animal Man reach its potential with subtle changes, though, Kindt worked magic here. In his hand, the weird world felt like more of a backdrop, and the focus shifted to Frankenstein’s own longing for peace and purpose. The series never sold well, and it ended with issue #16. Over the course of a few months, I went from getting bored with this title to being sad to see it end.

I seem to have written mainly negative comic reviews so far this year, so I’m happy to say that all of these inter-related titles are worth reading. (And, with only a couple exceptions, they managed to keep themselves understandable even if you only weren’t reading them all.) The half-year spent in “Rotworld” definitely drags them down, and I can’t recommend them as highly as I would have at their peak. But Swamp Thing created a new classic story for the character. Animal Man fared much more poorly in the crossover, but it’s difficult to compare a still-ongoing series to a complete one. It did show that the team of Lemire and Pugh can do great things, and I’m actually more excited about its potential than I was in the early days. Finally, Frankenstein may have been cancelled, but it turned itself into something to mourn just in time.

Swamp Thing (based on issues #7-18, 0, and an Annual): B+

Animal Man (based on issues #7-18, 0, and an Annual): B-

Frankenstein, Agent of S.H.A.D.E. (based on issues #6-16 and 0): B-

 

Gentleman Jesse & His Men – Gentleman Jesse & His Men (Music Review)

Gentlemen Jesse & His Men cover

Gentlemen Jesse & His Men – Gentlemen Jesse & His Men

Jesse Smith, aka Gentleman Jesse, sings simple, slightly tinny garage rock. It almost takes a conscious effort today to create a sloppy DIY sound, and like many of bands who make that choice, he is actually influenced by classic pop sounds. As much Brian Wilson as The Ramones, Gentlemen Jesse & His Men filled their self-titled album with catchy, hook-filled songs. The themes are unchallenging: love (“All I Need Tonight (Is You)”), hate (“If I Can See You (You’re Too Close)”), and slacking off (“The Rest Of My Days”), and the song structures aren’t very complex either. But these songs are pure, energetic, and have a naive charm. At their best, these fuzzy-sounding tracks are great examples of alternative pop.

The constant energy level gets a little dull, though, and Smith’s slightly flat performance doesn’t help when things start to drag. While some songs have an authentic air, others feel like Smith is faking an upbeat attitude because he isn’t sure how else to perform. The most ironic example of this is “I Get So Excited”, which features Smith failing at any hint of true enthusiasm as he plods through a chorus about how excited he is. That song comes right at the two-thirds mark, and it definitely feels like the tipping point between fun pop and a boring exercise. At less than 35 minutes, the album still feels way too long.

Every time I start playing Gentlemen Jesse & His Men, I wonder why I had been disappointed by it in the past. It’s unoriginal, but offers exactly the sort of simple, familiar thrill that should be a staple in any music collection. I remember before long, though, when I find myself bored before the short playthrough is over. I’ll put it aside and repeat that cycle a while later. It’s never satisfying, but there are enough good songs for me not to regret it either.

Grade: C+

 

Might & Magic: Clash of Heroes (iPhone Game Review)

Might & Magic battleThe first thing you’ll see when starting Might & Magic: Clash of Heroes is a warning that quitting the game at the wrong time will corrupt all saved game data. That’s just not an acceptable flaw for an iPhone game to have, and it’s the first sign that this Nintendo DS port may not have been planned very carefully.

I bought Clash of Heroes because, after trying 10000000 and DungeonRaid, I was curious to see another cross between an RPG and a Match 3 puzzler. This game also rewards planning and puzzle solving, but it’s much more of a traditional turn-based RPG than those other two. Not only does it include normal JRPG elements (including exploration, a verbose but half-hearted story, and unnecessary mini-puzzles), but higher-level characters will crush weaker ones no matter how well or poorly each side plays the Match 3 game.

Judged by RPG terms, the battle system is very clever. Your hero leads units of three different colors that go in a grid formation. If you create three matching ones in a column, they will attack up that column, destroying opposing units and hopefully reaching the far end to damage their leader. If you match three in a row, they turn into a defensive wall to block attacks. Combos give you extra actions, and proper positioning can “fuse” and “link” attacks to make them stronger. There are also larger “Elite” and “Champion” units, which become especially powerful if normal units are lined up behind them.

A boss battle

A boss battle

It’s fun, especially since the campaign comes up with a lot of clever twists on the basic system. Some battles require you to attack targets in specific columns, maybe also in a certain order, or planning ahead as they move around. Bosses have unique patterns and attacks, and you can plan ahead by swapping around the units and magical artifact you’ll take into battle. Plus, as this is a Might & Magic game, you know that there will be several different factions, each with units that have their own special ability. If you take the time to get familiar with all of them, you’ll find a lot of depth behind the simple, logical battle system.

Will you take that time, though? Probably not. This game just doesn’t feel designed for an iPhone screen. Everything on the battlefield is very tiny, and it’s easy to make uncorrectable mistakes. (It’s sort of a mixed blessing that the opponent AI is so bad, because they messed up even more often than I did.) When not in a battle, I had more trouble tapping hotspots than I ever have in any game before. Perhaps this would be more playable on an iPad, but it was sold as one usable on iPhones, and that’s how I’m considering it.

Might & Magic dialogEven with a bigger screen, there would be other problems. The fights don’t become interesting until you gain a few levels and earn enough units to fill the battlefield. You need to wait for frequent load screens. Worst of all, the gameplay is slow, with the “minutes played” counter on the save screen feeling less like an interesting fact and more like a note about how much time you’ve wasted. Once your units are ready to attack, they take a certain number of rounds to charge up. This is important to the strategy, since you may use that time to set up combos, and your opponent may try to prepare with walls or by setting up a faster attack in the same column. However, it means that you may still have a few rounds left to play after the outcome of the battle becomes obvious. And the rounds play slowly. With the animations of each unit charging up or fighting and the slow-paced opponent moves, you’ll often need to tap your screen to keep it from falling asleep between the time you end one round and begin the next! That feels way too passive. By the higher levels (which you get to quickly, since the game is a series of campaigns), the no-risk battles against minions can easily take eight to ten minutes, and a battle featuring defense and healing abilities could feasibly take half an hour! They never feel meaty enough to justify that time.

The pick-up battles outside the campaign can be more fun, with evenly-matched high-level fighters and no distracting plot. It still suffers from a too-small screen that will guarantee mistakes, though, and you need to play through the campaign to unlock everything. After more than thirteen hours, I’m apparently halfway through, but I have no motivation to keep going. There are a lot of great ideas that make me want to like Clash of Heroes, but the flaws usually dominate.

Grade: C-

 

Oz the Great and Powerful (Movie Review)

Oz the Great and Powerful promo poster

Oz the Great and Powerful

Oz the Great and Powerful is a slight, by-the-numbers movie that you can expect to enjoy while watching and then forget about within a week. The plot sticks to broad brushstrokes that the audience is already expected to know by heart: An egotistical circus magician gets sucked into a land where magic is real and picks up a couple cute animated sidekicks. He tries to continue as a con man, claiming to know real magic, until he’s forced to become a hero after all. It also helps that this is based on another movie the audience already knows, so there’s no need to confuse anyone with new ideas. (In fact, this Disney movie cannot be legally associated with Warner Bros.’ classic The Wizard of Oz, but they push the boundary frequently with likenesses to that movie’s icons.)

Oz coasts along on slick CGI that is enjoyable but never notable, and photogenic actors who fit smoothly into their two-dimensional characters. Sam Raimi directed this, but his flair for low-budget surprises is completely lost in the safe big-budget atmosphere. There are a good number of laughs and clever tricks, and it finds an inoffensive way to appeal to our modern deconstructionist takes on fairy tales. (Despite that, the good and pure rubes that Oz meets sound more like a cynical person’s idea of a guileless one, rather than like true innocents.) The only real surprise, though, is how predictably it plays out. The movie contains a single clever twist, but rather than playing up any uncertainty about the new information we get, the movie proceeds as if it were proven. Even the citizens of Oz immediately seem to switch loyalties after this private four-person conversation occurs, because why should the audience have to remember that not everyone knows the same things? For all its efforts at a modern, self-aware twist on a classic, Oz subscribes to a clear-cut view of good and evil that even most fairy tales would consider unsubtle.

For all its inadequacies, this movie mainly works as a light popcorn flick suited to today’s formulas. One thing keeps me from giving it a half-hearted recommendation, though: Its portrayal of female characters is especially bad. I normally don’t talk about this too much, and just agree from time to time that, yes, as The Bechdel Test demonstrates, most movies still have a subtext that women only matter for their relationships with men. Here, though, that’s not subtext so much as a starting assumption. The only things that define the female characters here are whether they’re Fairy Tale Good or Fairy Tale Evil, and what their feelings are for the title character. It’s never questioned that the competent woman who drags Oz along to his destiny will gratefully fall in love with him when given the chance, because why should she hold out for an equal? And when we learn the backstory of the Wicked Witch, I found it to be tragic and a little disturbing. She’s driven entirely by vindictiveness over a man who shouldn’t matter that much, and tricked into that by someone who is manipulating her to the dark side. Even when she finds out that she was tricked, she sticks to evilness and jealousy, because she literally gives up her agency and cannot make another decision.

I’ve discussed those concerns with a few other people, but they didn’t mind it at all. I think that is just because we already know the Wicked Witch is evil, so this is just interpreted as required backstory rather than something happening to a real character. And they’re right that the movie is too cartoonish to take its characters seriously. But it’s not really a good sign when a movie is saved by the fact that no one will care much about what happens in it.

Grade: C

 

Jo Walton – Among Others (Book Review)

Among Others cover

Jo Walton – Among Others

Jo Walton’s Among Others is a fantasy story about someone who loves science fiction and fantasy literature. New books are the most exciting thing in fifteen-year-old Morwenna Phelps’ life, and often the only reason she keeps going when she feels all alone in the world. It’s a clever trick for the book, given that it’s aimed at an audience who probably felt the same way. Of course, the audience didn’t have real fairies and magic to compete with their reading attention, but Among Others manages to thread that needle very well. The fairies in Morwenna’s life don’t work at all like the ones in books, and she prefers the stories to her reality. If your fifteen-year-old self could identify with that, you’ll find this to be a sensitive character portrayal.

The story is told through Morwenna’s journal, and it frequently pays more attention to the books she’s reading than the events going on around her. If you’ve ever read Walton’s posts at Tor.com, this will feel very familiar to you. Walton blogs specifically about the novels she is currently re-reading, and has a new one to discuss every few days despite also reading plenty of new books. Her character here has the same speed and enthusiasm, as well as also being born in Wales in 1964. The book gained an interesting subtext when I realized that I couldn’t tell where autobiography ended and fiction began.

Morwenna’s voracious reading may be a bit too much, though. I also read a lot at her age, with a focus on the classic SF from this novel’s setting, but not nearly to the extent that Morwenna does. I did at least know of all the authors mentioned, but many of the references were lost on me. And since she applies the lessons and ideas of her favorite books to the world around her, it’s important to be able to keep up. While I identified strongly with the broad strokes of her character, the details often made her seem as distant from me as a character who didn’t read at all. (Don’t even bother with this if you aren’t familiar with Heinlein. It also helps to know Le Guin’s Lathe of Heaven, but you can get away with just reading the Wikipedia page.)

Fortunately, Morwenna is a good character throughout. She is sympathetic, she grows, and the tension between real fairies and science fiction stories makes a perfect metaphor for a geek coming of age. (Other characters are also well-drawn, and seem to be three dimensional even when Morwenna is too self-absorbed to notice. However, they tend to come into focus and then fade away when her social situation changes. It feels realistic for a teenage diary, though it means we don’t see any real story arcs other than hers.) Among Others is a tender story about both youth and genre literature. And surprisingly, that makes it completely unique withn genre literature.

Grade: B

 

Are We Entering a Post-Webcomics Era?

I’m becoming a little wary of writing about how the webcomics industry is changing, because every time I look back on those articles six months later, they seem so obvious that I’m a little embarrassed to have written them. But I want to respond to a blog post from Monday written by John Allison (of the excellent Bad Machinery).

Titled “Post webcomics“, Allison explains his worry that we’re leaving the era in which webcomics like his could succeed. His take is that online comics of the past decade used a dedicated website to create an identity and maintain loyal readers. Now that most people experience the internet through social media services instead of individual websites, that relationship between artist and audience is lost. Instead, sites like Tumblr let many more people distribute comics, but everything goes into a single messy feed that doesn’t promote loyalty. Allison’s concern is that it’s becoming easier to get people to click a Thumbs Up button, but harder to find anyone who will stick around to give you money.

I want artists to get paid for their work, and I sympathize with Allison’s concerns. However, I don’t think it’s really getting harder to succeed. It’s not like the webcomics industry has ever been a safe, static one, and I’m sure Allison (who has moved confidently between three major comics now) understands this. Yes, the trend towards social media sites is a challenge, but the movement towards social media itself is an opportunity. By definition, social media gives you the chance to create the fanbase and identity that Allison wants his website to provide. The recent explosion of webcomics Kickstarter projects is evidence that fanbases are still willing to support creators. In fact, Kickstarter is a brand new way for webcomics creators to make money. We also seem to be getting closer to iPhone apps that provide a small, regular revenue stream for creators. And as sites like ShiftyLook show, webcomics have become so popular that companies are willing to fund them for their own marketing purposes.

That last point is my key takeaway. Not because I think that corporate sponsorship is the wave of the future, but because webcomics have become that popular. I remember in the heyday of John Allison’s alleged “webcomics era”, when Joey Manley posted his predictions for the year 2007. Chief among them, that popular comics would become ever more entrenched and that no new ones would challenge their popularity. That seemed self-evident at the time… but 2007 turned out to be the year of XKCD. Since then, we’ve seen the rise of Homestuck, Saturday Morning Breakfast Cereal, Axe Cop, and many others. (Not to mention juggernauts like Dresden Codak, which existed before then but hadn’t yet become popular.) Name your ten favorite webcomics, and I’ll bet you that Manley’s prediction predated half of them. The webcomics world is a much more diverse, vibrant place now than it was at the end of 2006, and a lot more money seems to be changing hands as well.

If I were going to summarize the difference between making webcomics now and making them in the last decade, it wouldn’t be in terms of websites vs. Tumblr streams. Instead, I think the difference is that webcomics readers used to be a small, dedicated scene, and now they’re basically the world. In 2006, your webcomic could only be successful if virtually everyone in the community was aware of you. Today, there is no “community”, because “people who browse the web for entertainment” describes pretty much the whole developed world. You could be virtually unknown in the wider world and still have thousands of true fans willing to support you. That requires a different way of approaching things, but it’s not necessarily bad.

Yes, Allison is right that 99% of the audience is just going to glance at comics as they stream by. But if the audience itself has increased one thousand-fold, then the 1% who are active represent a huge increase overall. It’s always been true that most webcomics will fail to find an audience, and that most people at comic conventions won’t appreciate Bad Machinery. Allison has seen that before, and I think his current worries come just from seeing a different angle on it. It seems to me that the webcomics industry is healthier now than it’s ever been.

Board Game Capsule Reviews: Fillers

My board game reviews have rarely looked at any “fillers”. These are the simple ten-to-twenty minute games you might play as friends start to trickle in for game night, or when you’ve finished your longer game and are waiting for another group to finish theirs. Almost by definition, fillers are rarely as satisfying and replayable as the longer, more complex games. Even so, there is an art to making good ones. Here are reviews of four fillers I’ve gotten in the past couple years.

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Robin Sloan – Mr. Penumbra’s 24-Hour Bookstore (Book Review)

“There are plenty of people who, you know — people who still like the smell of books.”

“The smell!” Penumbra repeats. “You know you are finished when people start talking about the smell.”

Mr. Penumbra's 24-Hour Bookstore cover

Robin Sloan – Mr. Penumbra’s 24-Hour Bookstore

The tension between physical and digital books is a big topic today, and so it’s unsurprising to find a novel based around that. Mr. Penumbra’s 24-Hour Bookstore strikes an admirable balance, appreciative of the past while also celebrating the future. Its characters generally don’t see this divide in black-and-white terms, either. There’s the mysterious old bookstore owner, for example, who is actually fascinated by the promise of new technology. Also, people on both “sides” share many things in common. But this nuanced look at technology and cultural changes is overshadowed by a plot about a puzzle-solving secret society, and the series of missions that the narrator must go through to learn the truth.

When he isn’t caught up in his especially arbitrary Dan Brown pastiche, author Robin Sloan manages to pass for Neal Stephenson-lite. He has a firm understanding of modern technology and culture, and that permeates the book in a way that seems real but will also make this feel dated in three years. However, Sloan doesn’t mind adding obviously false details to make the plot work, which clashes with the realism. Overall, it seems best to think of this as a parable about our time, but the points are still a little unclear. For example, at the start of the book, narrator Clay Jannon is a techie facing long-term unemployment in today’s economy. But Sloan also wants to comment on today’s new media and commercial opportunities, so every supporting character he introduces is successful and fulfilled in their unique, quirky job. To accept the story, you need to appreciate both that jobs are nearly impossible to find and also that everyone is defining their own successful niche, and the novel never does anything to address this contrast.

Despite the nuanced view on books-versus-technology, characters aren’t very fleshed out. Effectively, they are plot tools just as surely as the made up technologies, books, and even subcultures that all turn out to be just what Clay needs to overcome challenges. In fact, Clay seems especially one-dimensional. For the most part, he just reacts to events around him, and the only hint of character development we get early on is that he is so eager to keep a job that he goes along with the mysterious events happening at the bookstore. But later, he turns out to be dedicated to open source software and free information, so every time he is entrusted with information he immediately tells someone else about it. This sudden willfulness surprised me, and I kept expecting him to get in trouble for betraying other peoples’ confidences. It turns out not to matter, though. Everything that Sloan writes is in service to the plot of the book and its mysteries, so basically, once the reader has learned something, why should anyone bother hiding it from the rest of the characters any more? (Similarly, even fleeting characters who shouldn’t even know about the mystery are presumed to be really interested in its outcome at the end.)

Mr. Penumbra is a cute book (if a little too confident in how charming its modern setting is), and it almost succeeds as a light, turn-your-brain-off-and-ignore-the-coincidences, mystery. This worked sometimes, but I had trouble letting go. The problem is that the novel’s hook is supposed to be about something, with a lot of tantalizing glimpses of the way technology is changing our culture. But since I kept rolling my eyes at the plot and characters, it wasn’t possible for those ideas to go anywhere. This book would have been more enjoyable if it hadn’t tried, and failed, to address serious themes.

Grade: C

 

Eels – Wonderful, Glorious (Music Review)

Wonderful, Glorious cover

Eels – Wonderful, Glorious

Eels’ confessional lyrics are a welcome relief from the ironic detachment and guarded personalities of today. The band has even been given credit for inspiring the emo scene, but frontman E always stayed oblivious to the trends around him. His consistency through two decades of changing styles probably explains why the band is still around, but it does get repetitive at times. With their three-album “trilogy” in 2009 and 2010, I found myself losing interest very suddenly. But after taking a few more years off, I’m relieved to be enjoying their new album. I can’t say for sure whether Wonderful, Glorious is truly better, or if I just needed to ignore a couple albums so that they would sound fresh again, but I’m happy either way.

Wonderful, Glorious is still not one of the band’s stronger albums. Eels have seemed less musically adventurous since drummer Butch’s departure in 2003, and this one finds them consistently in their “nerdy white guy blues” mode. It’s comfortable, though, and it seems to encourage the most direct lyrics yet. If anything, E crosses into the territory of corny clichés, with songs like “You’re My Friend” and “Stick Together”. (Sample lines: “Yeah, you’re my friend/ Coming through again and again/ Your good will I never will betray”, and “It’s very clear we make a winning team/ We gotta stick together”.) E’s confident lack of coolness comes through for him, though, and he makes even those lines (ok, almost all lines except those) work. Despite playing it safe musically, it appears that this first theme-less album since 2005 freed E to write natural-sounding lyrics again. And as silly as those quotes may sound, long-term fans will appreciate the fact that he finally seems happy and comfortable with his life.

That matters. At this point, checking in with E is one of the main reasons to buy an Eels album. It’s sort of like keeping up with your favorite blog: You don’t expect the author to surprise you with innovations all the time, but it’s still worthwhile to keep up with their life. (Admittedly, buying an album is different than reading a blog. But this way, you get music, too!) Wonderful, Glorious features both the every-day moments and the mundane life changes. (“Bombs Away”, for example, is about the decision to be louder and more assertive.) As long as they don’t appear very frequently, I could keep enjoying Eels albums like this for a long time.

Grade: B