One of the problems in adapting The Punisher, Marvel's gun-toting vigilante, to the movies was that, once removed from the colourful spandex morality of the comic book page, the character lost his mojo. In a world populated by Spider-Man, Captain America and Mister Fantastic, a guy who just shot criminals to pieces couldn't help but stand out. Transfer him to the big screen, where scowling vengeful vigilantes are ten a penny, and all of sudden he's utterly generic.
The game opens with Deadpool hanging out in his grotty apartment. You get an achievement for standing up, which Deadpool reacts to - which then triggers another achievement because why not? You're free to poke around, finding silly jokes and weird references. Deadpool (voiced by Nolan North) phones Nolan North to make fun of him. He cracks gags about Ryan Reynolds, who played Deadpool (badly) in the Wolverine movie. It's a veritable avalanche of self-referential nonsense, and it's a lot of fun.
The story behind Dead Space takes place hundreds of years in the future, during a time when mankind has exhausted all of the natural resources on Earth. Fortunately, in this dire time, humanity has mastered space travel, and a process known as planet cracking has been developed to combat this drought. A celestial body is split into pieces, and its minerals are strip-mined and melted, returning the byproducts to Earth for consumption. An entire fleet of ships sails the stars performing these tasks, and the crown jewel of this mining fleet is the USG Ishimura, which has performed more planet cracks that any other vessel. However, on a routine mission, the ship cuts off all communication from galactic command, which is somewhat strange. To discover what's going on, a small maintenance crew is quickly dispatched to the Ishimura from a nearby vessel.
Isaac isn't the typical hero that you'd find in most sci-fi games; he doesn't walk into the Ishimura packing a firearm or grenades, nor does he have specialized training. Apart from the first one that Isaac finds on a workbench, all of Isaac's weaponry and items are found via schematics that are scattered across the ship. Only one of them is a true firearm -- the security pulse rifle; the rest of his "guns" are repurposed pieces of mining equipment used for planet cracking. However, Isaac can use his engineering knowledge to make these weapons much more powerful by analyzing their blueprints and rewiring them at workbenches with the use of power nodes. Thanks to these nodes, Isaac can improve their performance in a number of ways, such as carrying more rounds, shortening his reload time, or increasing their damage. This upgrade system even expands to Isaac's space suit, which can be improved to strengthen his suit's armor or his air supply in case he enters a vacuum. He can even use the nodes to augment the stasis or kinesis modules, which can be used to freeze monsters as they charge him or propel items into the creatures, respectively. What's creative about this system is that players won't be able to max out every weapon or every bit of gear that they have in one playthrough; this forces them to choose what they'll specialize in as they go through the ship.
Whether you spend an hour or a day exploring the Ishimura, you'll definitely be struck by the visuals of Dead Space, which are eye-catching for both their detail and their gore factor. The detail placed into Isaac's suit is excellent, particularly as you upgrade it throughout the game, and the same can be said about the weapons themselves, which gain new visual and audio effects when you've maxed out their schematics with power nodes. The holographic implementation within the game is excellently done as well and is quite notable because of how it supplements the gameplay. The fact that you can rotate the camera around Isaac as he watches a video in front of him or that you notice little touches like Isaac's head moving up and down to acknowledge the holographic inventory screen highlights a lot of the great visuals in the game. On top of this, each level truly feels like its own, and whether it's the white walls that denote the medical decks, the poster-filled entertainment and housing levels, or the industrial mining sections, you get an idea of what these futuristic planet cracking ships are like. It's even more striking when you move into zero gravity areas and tumble through different areas, including the starkness of space.
However, all of this visual discussion isn't even counting the disturbing character models of the Necromorphs themselves, which appear to be more and more freakish with each creature that you run into. Whether it's the tentacles and limbs that are placed in unnatural areas or the mutating forms that emerge from errant shots, the Necromorphs are quite unsettling to see, and even more unnerving when they come flying towards you. The same can be said for the gore and dismemberment, which is predominant throughout the game. Whether it's Isaac getting his head bitten off or impaled, or wandering through floors that are stocked with the fallen crewmembers of the Ishimura, the gore is both striking and appropriate to the gameplay. There are two things that I'm not crazy about: first, in the space or zero gravity areas, whenever the space gets depressurized, the pixilated visuals to show air being sucked out of an airlock or room doesn't look great compared to the rest of the game. My second and much more infrequent issue with the graphics is the slight slowdown that can occur, particularly during large explosions.
Hailing from the lost country of New Zealand and raised in the unforgiving Australian outback, the Sniper is a tough and ready crack shot. The Sniper's main role on the battlefield is to pick off important enemy targets from afar using his Sniper Rifle and its ability to deal guaranteed critical hits with a headshot (with some exceptions). He is effective at long range, but weakens with proximity, where he is forced to use his Submachine Gun or his Kukri. As a result, the Sniper tends to perch on higher grounds or in hard-to-see places, where he can easily pin down enemies at chokepoints.
This big-budget odyssey starring Ed Harris, Mary Elizabeth Mastrantonio, and Michael Biehn has since been branded the most difficult film to have shot in cinematic history, one that also helped usher in a new age of digital special effects. Cameron's $70 million epic was just his third major Hollywood movie, following right after the roaring success of 1986's Aliens.
I used a lot of indirect and bounce lighting. One of the problems is that Jim wanted to shoot anamorphic, and I told him that with the film speed of 100 ASA, there's no way we could shoot underwater anamorphic. I showed him a format I'd just used while shooting a movie in Denmark. We didn't call it Super 35 at the time, but that's what it was. Clairmont Camera modified a camera and we shot a test and he said, "Let's do it." That's how Super 35 started in the U.S. That way I could use a spherical lens, which is much faster and you can shoot almost wide open. 2b1af7f3a8