By now everyone has come to accept that EA’s remix of the old SimCity franchise, titled SIMCITY, is a complete disaster. It was almost certainly the final nail in John Riccitiello’s career. From lies to just baffling game mechanics, the throbbing, pulsating slime creature that was rolled out on release date should simply be forgotten by this point, scrubbed out of history like some ex-lackey in a Soviet photo (Societies? Who?). But the hole in each of us which SIMCITY sought to fill still remains, and there is little on the market to fill it. There are many pretenders to the throne; CitiesXL, Anno 2070, Tropico 4, Stronghold, and the upcoming Banished, but few offer the same quality of mayoral management, the bar set floating at skyscraper heights. No, only the Sim series can restore the dignity and honor of the city-building genre it itself has dashed. We need to jump start the series, send some real live current coursing through its dead bones, and do to SimCity what Alpha Centauri did to Civilization– take it to the next level, show us some place new, and pump up the self-awareness, all fit into a package indiscernible from its predecessors. The powers that be can do all of this and more in one elegant solution: SimSprawl.
get it b/c he s both man AND machine , a manmachine get itg eT IT
If science-fiction movies have been having a rough summer, then the new Robocop is looking like the caboose on the same doomed track. For whatever reason only deduced on the higher levels of corporate financing, the rehash radiation has seeped into the television graves of Paul Verhoeven reruns and lurched them zombie-like back onto the stage in some grotesque vaudeville display. The first such undead offering was Total Recall, a film so deadpan and generic it could host its own late night tv show, and soon we’ll have another Starship Troopers to mirror our modern times all over our face. I’d swear there’s some grand conspiracy, fueled by a distant and shadowy cinema oligarch, determined to wipe out the Verhoeven name from history and satellite programming. The new Robocop looks like it has the same techno-cgi gloss that befell its Colin Farell-led cousin, albeit copy and pasted inbetween more modern urban environments. It’s still early to say if scenes like “lets go with black” are played straight or part of the deeper lampoon (the militarized step-out shot gives high hopes), or whether the film can overcome a simple love-beats-all wrap up it looks like it’s gunning for. What is apparent is all the producer quotas they apparently had to fill. Modern Hot Topic Tech? Check. Dark Knight Enough? Check. Catchphrase? Definitely. Something For The Parents? You betcha (hahaha).
In the interest of actual content, this would be a good time to check out why the original Robocop was such a feat for its time. Although I’ve seen it many times, I can’t call myself an uber-fan like the guy who made a rap out of the whole thing. But two posts from a certain cinema message board by Robocop nerds Geekboy and Jay Dub highlight different noteworthy bits and make you appreciate some of the detail better than I could. These were originally posted about a year ago and recreated here in full. They’re a long read but definitely worth it.