TO (NOT) REVIEW
Firstly, I don’t write reviews. To my mind, there are two types of reviews, one of which is pointless: Socially Aware and Critical reviews
Critical reviews are the most interesting to read/watch/overhear friends talk about because at least the subject matter lies with the piece of art in question.
- Did the plot make sense?
- Did the ending lag?
- Were there any loose ends that didn’t make sense?
- Was there more fluff to the movie than there needed to be?
These are all potent questions and worth discussing so long as the criticism applies to the work as a function of art (the craft it pertains to).
Socially Aware reviews are entirely useless. These reviews seek to explore the public impact of said movie/book/thing. Their aim to act as the barometer for the times that something arrives into the world.
- Does the world need something this dark/stupid/emotional right now?
- Should your children watch something like this? How about the elderly or emotionally disturbed?
- What does it say about the writer/director/producer/actor that they participated in making something like this?
These questions are based on intrigue, upon a feeling, and has nothing to do with the piece of art in question. Also, it’s nearly impossible to gauge how something fairs in the immediate time of release (remember the Roger and Ebert reviews of The Graduate that said Simon and Garfunkel’s original songs for the movie would never hold up?—yeah, stuff like that). These reviews act as a type of social policing for how art ought to be perceived, which defeats the purpose of art in the first place:
Art is meant to be experienced.
In fact, I believe Critical reviews can be just as dangerous to an audience that seeks guidance before experiencing something. There’s something to be said about a culture that has a review/hot-take of some publication or YouTube channel flooding social media feeds right before/during release. We’re willing to put aside curiosity for the sake of certainty, which is so tempting when those that are “experts” have so much to say, and immediately, about something before anyone else might experience it.
I’m not interested in having an opinion before seeing something.
That’s why I don’t write reviews; it isn’t meaningful for me.
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ANYWAY, SO ABOUT THE BATMAN…
I loved this movie! The tone was immediately darker and more grimy than previous film iterations, and I liked the serial killer/noir atmosphere of the movie. I’ve always been a big fan of the Christopher Nolan trilogy, and I couldn’t wait to see how Matt Reeve’s would do things differently. The Riddler was an intriguing foil/mirror to Batman’s mission, and the twists throughout made the film enjoyable even with a 3-hour runtime.
This movie has flaws, but what story doesn’t? What makes The Batman so gripping is that it committed to a darker Gotham City, a place where oppression and corruption has bled onto its citizens as well as the villains and heroes. It’s a visceral world on screen and should not be missed. Even in terms of the protagonist, I can’t speak enough to the achievement of capturing the darkness and the light of a Batman/Bruce Wayne as he sorts through a life spent in pursuit of righting the wrongs of his past and that of the city.
That’s why Batman will always be one of the most enticing heroes: he is the mortal in all of us donning the cape and cowl, attempting to become something bigger than what he could ever be in his own skin. This is a movie about retribution, about inflicting the pains of a scarred life upon those that wish to do the same, but it is also a movie about hope. It’s about stepping into the light and recognizing that we can become more than the shadows, that in spite it all, we can become a beacon.
I didn’t expect such a dark movie to be so hopeful towards the end, especially to see a portrayal of Batman have a true character pivot. A new choice was made, a new Batman exists from this point forward in Matt Reeve’s interpretation.
And I’m excited to see where all of this leads next. Kudos on a great film Matt Reeves and all the filmmakers.
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RAID DAY: “VOW OF THE DISCIPLE” AND THE JOY OF PUZZLE SOLVING
There’s an event in the gaming world unlike any other. After each expansion in Destiny 2, there comes a special mission that requires the teamwork of six people joining up as a fireteam called a Raid. Each Raid has its own rules, a new set of puzzles and mechanics to discover, none of it hinted at or explained to the player. To participate means to use puzzle solving in order to complete each encounter, something that is not easy to do and is, from the past few Raids I’ve watched, an exciting exhibition in teamwork and perseverance.
I haven’t participated in a Contest-Mode Raid (Raid Launch Day) because I’m not a serious player of Destiny 2. I’m a casual player who enjoys Strikes and each Expansion’s Campaign (by the way, The Witch Queen is one of the best campaigns in the game’s history). So, when it comes to Raid Day, I snuggle up to my computer monitor, turn on a few Twitch streams, and watch as each team attempts to complete the Raid.
Teams must use a variety of skills and past knowledge to complete each encounter. Putting together the logic behind symbols, defeating a set order of enemies, and how it all links together in a cohesive story mission is a fascinating process. It often requires a process of elimination, figuring out what works and what doesn’t in order to put aside a current theory or idea that isn’t progressing the encounter.
Watching this really reminds me of the creative process, honestly. Without an idea of what the rules are, you set about to discover them as if in a fog, without knowing anything except that the farther you get, the closer you must be to solving the puzzles within. Novelists often work blind, having an idea of where a story ought to go, but since the length is so massive, it’s nearly impossible to account for each detail before beginning. Eventually, the writer gets lost, and has to improvise or make a series of decisions that, hopefully, progress the plot forward in a way that keeps the intention of the story intact.
“Vow of the Disciple” used a myriad of symbols that needed to be memorized and communicated amongst fireteams, none of which was explained or defined. Allowing the swarming Hive to damage an obelisk, or to act too slowly when searching for a specific Fallen enemy to kill, made the first encounter Wipe. The order of operations is always paramount in a Raid, and to watch teams figure out what progresses encounters and what does not speaks to the creative process in a way that most video games never allow players to access.
It feels like the architect of each Destiny 2 Raid is asking players to discover how to defeat enemies just as he/she figured out how to craft said Raid.
Raids take a long time to decipher, often lasting 7 to 8 hours before the first team completes one to become the coveted World’s First. It’s a frantic race and is also some of the most fun watching gamers play the game they love.
The reception to “Vow of the Disciple” has been unanimously positive. Along with the success of The Witch Queen expansion, Bungie (the developer) is making something truly remarkable in the gaming space.
I’m looking forward to whatever they make next, which, as several job postings have hinted at, means an entirely unknown game in the future. But that’s after the story of Destiny is complete.
One step at a time, Guardian.
Well done, Bungie!
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This week’s new music is the entire The Batman original soundtrack by Michael Giacchino. It’s a masterpiece score and worth relistening to. However, I’ll post some of the more notable tracks below:
- “The Batman” by Michael Giacchino
- “The Riddler” by Michael Giacchino
- “Catwoman” by Michael Giacchino
- “Crossing the Feline” by Michael Giacchino
- “Can’t Fight City Halloween” by Michael Giacchino
- “Sonata in Darkness” by Michael Giacchino
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Wishing everyone as well as you can be. You’re not alone out there,
