Soon, this site will have changed - for the better.

Well, hopefully.

UPDATE: (7:30 ET) I've taken a break from the live blog for now, but fret not! I'll be checking back intermittently. If you just can't wait for the updates, however, or would like to know when I'll be live blogging again, follow my Twitter updates here: http://twitter.com/rwhiting Enjoy the show!

UPDATE: (10:00 ET) I'm up and blogging once again for another 15 minutes! Catch it below while you can!

UPDATE: (11:50 ET) And that's a wrap, folks! Thanks for sticking with me while I battled Igor! Be sure to continue following my updates on Twitter. If I can, I'll be tweeting/blogging the aftermath tomorrow!

UPDATE: (10:11 AM ET) I've been up for a while this morning, but, using the car to charge my laptop battery, I'm once again live-blogging Igor - but this time it's the aftermath! Tune in below!

UPDATE: (4:04 PM ET) The power's back on, and things are rapidly returning to normal here in Bermuda! The island dodged a bullet with Igor, and, as restoration efforts continue, so does the live blog.

UPDATE: (6:17 PM ET) That's it, guys! Thanks for stopping by and joining in on the discussion! Without all your support and readership, I may have felt the blog was worthless! We sincerely got lucky with Igor, and I'm glad I was able to share my experience with you guys, in real time!

And vent I did, sometimes live-blogging my trials in movie-watching. At regular intervals I would tweet my current state of affairs, with updates such as "all's clear... for now," and "what is that?!?" posted as things took place. However, never had I properly formulated and compiled my distaste with movie theaters into one coherent work. Until now, that is.

After yet another trouble-filled experience, I eventually felt the urge to (what else?) write about it, and, after receiving approval, began to compose an article for Fandomania on why I hated movie theaters. Although my words were fueled by the frustration of real-life circumstances, it was not only a fun piece to do but also a successful one, generating a sizable and better-than-expected discussion on the site, with several chiming in and adding their own points to the list.

Here's an excerpt of what I wrote:

The last movie I saw in theaters was Inception. And when I say “last,” I mean it; it may very well be the last movie I will ever see in theaters. Sure, the film was certainly a good one (I mean, who didn’t like it?), and, by the time I hastily made for door as the credits began to roll, I felt satisfied by the flick. Not so much for the rest of the experience, though. Hindered by trouble after trouble and a stream of frustrating moments, the atmosphere itself was not enjoyable. But oh, how I wish this was merely an isolated case; instead, however, it is yet another thing to chalk down on a growing list of reasons why I hate going to the movies.

Needless to say, the post is up in a finalized state on the site now, and you can read and talk about it by clicking here.

In a world of exponential pace, the smaller entities of life can get overlooked. Simple things are overshadowed by modern ingenuity, and we almost never slow down to observe our world's infinitely small yet undeniably significant facets. 

While I do not posses the equipment to accurately view the Earth's most minuscule creations, I do have a camera and the ability to capture a range of visuals around the island I call home.

As evidenced by my near-barren YouTube channel (and, for the record, I am not physically in any of those uploads), I rarely create videos. It's not that I don't like to; on the contrary, they're kinda fun to do every now and again. But they take a looong time. Recording, compiling, cutting, editing, rendering, exporting, encoding -- it's a consuming process, and one that requires a lot of time and a lot of patience. I admire the frequent YouTube content producers who are able to upload sometimes several videos a week! I certainly couldn't reach that quota! 

Anyway, with time, I was able to create something visual for both YouTube and this website. Shot and edited over a period of a week, it took a bit longer to produce than it probably should have, but I wasn't in a rush. Once I had the footage, I edited and pieced it together using Adobe Premiere Pro CS5 and fixed any wonky video with Adobe After Effects CS5 (for example, motion tracking for overly-shaky imagery). Of course, it's not perfect, and there are some instances of erratic footage here and there*. And yes, it does end more abruptly than I'd like, but it's something, and will hopefully make my YouTube channel just a little less barren. 

Leave a comment either here or on the video's page telling me what you think! 

Oh, and the music is "Battlestar Sonatica" by Bear McCreary. You can find it on the soundtrack for Battlestar Galactica: Season 3! 

*Although I used a tripod for most of the shots, my shaky hand can sometimes take command.

In an effort to keep this site as relevant and as readable as possible, I'll be moving away slightly from lengthy write-ups and into a format that should allow for more frequent and, ultimately, more interesting updates. Now, bear in mind, that doesn't mean that I'm planning to completely abandon my earlier blogging-styles. On the contrary, in fact, these posts may appear at the same regularity as they always have; once a month. Unfortunately, there was a problem with that fashion, and one that led to a site that, as one of my friend's was quick to point out, "lacked fun." I could see why. However, for the longest time, I ignored her comments, unwilling to break away from my essay-like posts. And, thus, issues arose, as these things took a long time to write. Too long, perhaps, and their audience was a limited one at best. Something had to change. I needed to move away from a site that appealed only to my interests and instead to one that, while still reflected my likes, could capture more eyes. 

And so, starting today (maybe tomorrow or this week; I'm not completely sure), new life will begin to grow here, starting with...

PHOTO-BLOGGING: People like things they can see. Seeing colors pop from one's screens can do wonders for an otherwise mellow site. Like mine, to be honest. As you may know, I like to take pictures, and, well, I think it's time to take advantage of my hobby and use it to add a little flare and interest on these pages. Of course, you can check out my Flickr blog "here", and that's normally up-to-date.

RANTS: Sometimes, criticism is deserved, and when something really ticks me off, I'll be sure to rant about it in a humorous fashion here. Don't worry; I'll be sure to keep it balanced. 

NOTEWORTHY LINKS AND FINDS: Here's an envy-worthy feature that Tumblr packs: re-blogging. Instead of taking the time to copy and paste your finds into a new post, you need only hit one button, edit the write-up as necessary, and then post it! It's a simple feature that works, and one that I think other platforms should take notes from. Anyway, I'll make certain to report and compile any cool finds on the Internet here, and, of course, provide brief commentary along with a link. 

MINI-REVIEWS: I think I've finally learnt something: reviews can be accurate and concise. So, yes, I've decided that, rather than spend over 1000 words on one thing, I can assess smaller items in, say, 500 words or less. Look forward to those... 

In addition, I'll be keeping the "photography" section of the site as up-to-date as possible, and maybe even write a blog post for each time I make a change.

Well, there you go. Four ways this site's going to change and boast new and fresh content. Here's hoping for a new era here.

See you soon! 

We all know what I haven't been doing! And, as per our agreement, we won't talk about it. And yes, the title of this post is hopelessly ambiguous, and no, I don't really care that it has little to do with what I'll actually be talking about, and... well, this is getting redundant. But okay, maybe I can touch on the things I had hoped to avoid. You know, time is a bitch, and a frustrating one at that. Originally, when I had started this site, I had wanted to post at least once a week, and, as well, I had wanted there to be a heck of a lot more content to gawk at (word choice?). But time got the better of me, and the place on the Internet I had hoped to call home soon turned into a forgotten realm. In fact, an analogy I often like to attribute to other deserted places on the Internet came true here: I saw a tumbleweed fly by.

Of course, I'd like to change that, and more content is on the way, I promise.

But, anyway, let's get on with things, shall we?

I come to you at a tumultuous time, don't I? Oil spills, deficits, war... There's a lot going on these days. So, understandably, it's hard to find things that are right in this world. Have I been able to get past all that and attempt to enjoy what life does offer? Well, no, not completely, but I've been keeping myself busy enough. Admittedly, I've stayed away from the finger-pointing and blame game that so many politicians have deduced themselves to, and, while it pains me to admit that I'm only an observer to it all, I haven't been able to do much more. Anyway, let's take a routine look at the things I have been doing, playing, watching and reading...

PHOTOGRAPHY/PLACES

NEW YORK

You know what? Rather than talk aimlessly about a place you probably already know about, I'm just gonna post a few photos, dammit.

The Fairmont Plaza Hotel is one hellishly expensive place to stay. And no, it wasn't my residence.

The steps at Apple's iconic 5th avenue store. It's rather underwhelming in person.

ENTERTAINMENT

TELEVISION

Yes, 24 is over, having concluded with a bittersweet finale on the 24th of May. Interestingly, while I dreaded it weeks before it aired, by the end of the final countdown I felt satisfied with the conclusion. I wasn't wishing for more, and, for the first time perhaps, I had come to terms with the ending of my favorite show of all time. Now... bring on the movie!

As far as TV goes, I have a ton to keep me busy, even with 24 gone from my screen. When I was in New York, I managed to get my hands on quite a few shows I had been yearning to watch for some time...

Breaking Bad: Ironically, I've heard that nothing bad about this show. The story of a a science teacher turned meth-pusher, Breaking Bad has been called the best show on television by numerous sources and I just can't wait to start watching. How had I missed this one until now?!

ROME: Recommended by my brother, this drama was apparently yet another fine show for HBO, and a pitch-perfect representation of Rome during some troubling times.

LOST: Yes, I should be shot. I've yet to watch this show and, well, I'm gonna get right to it. Please don't hurt me. Of course, I'm expecting good things from one of the most hyped dramas of all time. It'll be a long, fun and head-scratching ride, I'm certain.

GAMING

Not much here, to be honest. Aside from Battlefield: Bad Company 2 and Red Dead Redemption, there's been little time for me to dive into any of the other triple-A titles available. Honestly, though, it's been a stellar year for gaming, and I, along with others, are in the process of doing a write-up for some of 2010's greatest so far for Fandomania. Look for it in the coming week!

Anyway, from what little I've played of them, both Battlefield and Red Dead are impressive titles, though completely different. While one is a fast-paced shooter and the other is an open-world Western, they each have their own selling-points that make them, for the most part, winners. Granted, I've taken issue with a few things in each, especially with Red Dead's startlingly slow pace at the beginning. However, once you get past the boring introduction, things take off from there.

BOOKS

As well, I haven't been doing much reading due to time limitations, and, aside from magazines, the following have been collecting dust, awaiting me to finally pick them up:

Steven Erikson's Gardens of the Moon

W.E.B. Griffin's The Hostage

George Orwell's 1984 (what? It's a classic... that I've never read!)

Rest assured, they'll be finished.

Okay, then! Enough to fill a post. You can judge me aaaaaalll you want, but, even though I take a while, I make sure my blog posts are of some length, right? Wait - I think I'm giving myself a tad bit too much credit. Back to the drawing board, then, eh?

Where am I going with all this?

While the post title, admittedly, is lame (shameless self-promotion...), the news I have is hopefully not. Now...

Okay. Show of hands, please. Who here has heard of the site Fandomania? Anyone? Right, I don't care if you raised your hand or not. I'll just talk.

Fandomania is definitely a site of many things, and such a trait is apparent even from their own description:

"Fandomania is a blog about pop culture, covering news, reviews, and opinions on everything from TV shows to video games to toys and comics, and a whole lot of stuff in between."

A comprehensive source for all things entertainment, Fandomania is never at a shortage for content, and their pieces, written by an assortment of contributers, are always fun to read.

Now... if I can only think back to how I found their site. Oh, right! Unsurprisingly, it was over 24, and, if I remember correctly, I was searching for reviews of a recent episode. Sure enough, through a quick search of Twitter's archives, I managed to find a link to Maggie Van Ostrand's weekly review for 24.  I read on, and, after bookmarking the site, returned each week for not only her always-funny accounts of the week's 24, but also the rest of the site's content. There was, needless to say, some really great stuff on there. 

A few weeks ago, I saw that Fandomania was searching for new writers. The terms were simple: submit an application and a sample of your writing. I did so, and, within 24 hours, their managing editor had replied back, announcing that he would be happy to take me on as a contributor to the site.  And to think that, the night before, I had wondered if I would be wasting my time!

And, well, I now write for them on a regular basis. So... if you're interested in the world of entertainment, television, music and videogames, you can head on over to Fandomania.com, check their stuff out and support the site! And yes, I will be posting to there quite a bit more frequently than I do my own blog, although I won't forget about here!

Oh, and be sure to listen to their weekly podcast for some awesome commentary on television, gaming and more! 

I’m not entirely sure how I got into watching The Boondocks. Indeed, there must have been some moment that compelled me to become an avid viewer, desperately waiting for my fix of Robert, Ruckus and even A Pimp Named Slickback. And what a long wait it was. See, before Sunday’s premiere, I had never seen an episode of The Boondocks on TV. No, it must have been because I jumped in on the craze quite late, sometime after the second season had finished airing, I think. Regardless, I opted to purchase the first two seasons on DVD, and watch the episodes back-to-back in maybe three sittings. It was, like most good shows, addicting. Funny, smart, and, most importantly, bold, I had increased respect for not only its creator, Aaron McGruder, but also the whole crew behind it.

And then I saw the series’ degree of inconsistency. Some episodes were fantastic, toying with ironic humor in ways that few cartoons could. Aaron McGruder had, at these moments, almost perfectly evolved the show from its comic book beginnings into a spectacular television show that, in many ways, was autobiographical in nature. But, at other times, the episodes simply fell flat, unfunny and uninspired, leading many to wrongly assess The Boondocks as nothing more than a patchwork of crude stereotypes. That couldn’t be further from the truth.

Regardless of some its strong outside-perceptions, The Boondocks was still a hit with both critics and viewers, spawning several a YouTube phenomenon. And thus, as its second season drew to a close, fans were eager for more. Unfortunately, “more” took quite a long time to come – over two years, in fact. Even with Mr. McGruder’s 140-character “explanations” on Twitter, I’m still not entirely sure what took so damn long. But, finally, The Boondocks is back, but is it, as the clichéd term goes, better than ever? No, not exactly, but, if the premiere was any indication, it’s still is the same show we know and love, minor problems included.

Upon hearing that The Boondocks’ third season would premier with an episode centered on the election of Barack Obama, I was kind of skeptical. On one hand, I realized the potential the show had with such subject matter. In fact, throughout much of the 2008 election season, I had wondered what The Boondocks’ take on the event would be. But then, as the gap between seasons two and three became even larger, the opportunity to place a relevant spin on the election was quickly slipping away.

My concerns need not have been so strong, though. Irony alone saved the show from appearing late to the party. In the end, I rather enjoyed the show’s take on 2008’s historic election season and, to be honest, they handled its presentation even better than I had expected.

The story, in essence, is told through a German-produced documentary, recounting the election of Barack Obama and those of Woodcrest’s attempts to either help or hinder his chances of reaching office. While not the most original method of exposition, the show handles the format fairly well, even if the narrator is a bit of an annoyance. The film-style allows for large gaps of time in between segments, and, as such, the show jumps from one date to the next rather freely, pushing closer and closer to Inauguration Day. Along the way, some of the show’s characters demonstrate their role in Woodcrest’s rather far-fetched connection to the Obama campaign by way of short interviews. Each, save for perhaps Huey, express the stereotypical views of some of 2008's stranger members, albeit it in a humorous and (mostly) exaggerated manner. There’s Riley, who seems to think that a black president will translate to zero homework and give him the liberty to “act the fool” (see: those who thought they would be exempt from taxes with Obama as commander in chief). There’s Robert, an alleged civil rights activist who claims that he paved the way for Obama’s election, even if he knows little of his actual policies. There’s Tom Dubois, an active campaigner almost in love with him, and his wife, who practically is in love with him (even though her husband is somewhat like Obama). Thugnificent has a pretty large role in the premiere as well, even though, five minutes into the episode, he didn’t even know who Obama was. Upon research, however, Thugnificent decides that, since Obama is popular, his acceptance of the candidate into his image will only make him even more popular. Thus, by the end of the episode, not only does the rapper don tighter clothes and a new tagline, but also a false appearance based merely on hopes of furthering his fame as a celebrity (he even joins will.i.am in the hilarious song “Dick Riding Obama”). There’s also Uncle Ruckus, who, predictably enough, is an extreme right-winger and absolutely livid at the thought of a black man and his “monkey family” in the same building that Truman called home.

And finally, there’s Huey, unable to fit into any of these peg holes. In more ways than one, Huey is Aaron McGruder, or at least the bearer of his political tendencies. When asked his views on Obama, Huey responds with an impartial “eh.” That’s after, of course, he takes the time to admit he’s no longer a domestic terrorist. “I’m retired.”

Huey doesn’t see Obama as a problem, but neither does he consider the man a solution to the ills of the United States. The fact that an African-American made it to the Oval office does nothing to excite him, and Huey’s not going to celebrate Obama simply because he can identify with his skin color. He’s merely another politician with an agenda and a couple of policies. Whereas all others understand Obama as a revolutionary, Huey knows that, in the end, these thoughts are simply irrational. And, because of his feelings, Huey is labeled and discriminated, and, resultantly, he feels even more out of place. To onlookers, he’s the same as Uncle Ruckus: a hater.

Towards the end of the episode, things shifts gears to the current day, and nearly all views on Barack have changed; people are disappointed that, really, everything’s still the same. Huey, as it seems, had the foresight, and was willing to accept that Obama may not be all that he was hyped up to be. Change, in Huey’s eyes, is not something that can come instantly, and is rather the result of a conscious and consistent effort, not one man. And, as predicted, life went on virtually unchanged with Obama in power.

So, with all that analysis, the season three premiere must have been fantastic, right? Well, not entirely. Sure, while the documentary lens granted some advantages and creative freedom, the character interactions didn’t seem personal enough, especially considering we’ve been without them for two years now. And, as well, some plot devices came off a bit silly, though these quips didn’t dramatically hurt the premiere. At the heart of almost every episode of The Boondocks, there’s a lesson to learn, and, though some are more pointed than others, each teaching finds subtle ways to reveal itself. Season three’s debut, on the other hand, was a little more deliberate with its meaning, though, in some ways, that was perhaps its biggest asset. 

RATING FOR THE BOONDOCKS-SEASON 3: It's a Black President, Huey Freeman (OUT OF 10)

Note: This week’s post will be shorter than the last 1,000 word+ epistle. Granted, it wasn’t that long, but I do want to write content that people will actually read. And, on the Internet, what people read is usually in a concise format. Anyway, without further introduction…

Contrary to what you may assume by my post title, television is not in ruins. Rather, it is entering a state of transition. Indeed, come May, mid-season shows will end. It’s just a matter of which ones are ending for good and those that are merely taking a break, only to return in 2011 with another season. Right now, however, let’s forget those shows that have been renewed; they will be discussed later. Really, what’s important, are the programs that will conclude indefinitely, a few marking the end of an era for TV.

If you follow me on Twitter (and *sarcasm,* who doesn’t?), you may have an idea of which series I’m talking about. Yes, 24 is one of them, and Lost is the other. Two phenomenal dramas that have had excellent runs and hoards of critical praise, and, save for notable exceptions from each series, both were consistent in quality throughout their eight- and six-season timespan. And, for any show, regardless of its genre, that’s an impressive amount of time to be on television. With such highly-competitive slots these days, most series will be lucky to move beyond eight episodes, let alone eight-seasons.

But it’s what these two shows brought to the television medium that was so significant; not just their substantial (and well-earned) airtime. They, in effect, raised standards for network television, demonstrating that channels other than HBO could sustain deep, story driven shows. The stale “case-of-the-week” format was scrapped in favor of a more engrossing story pattern that welcomed episodes that served solely to develop characters rather than the plot. And thus, greater connections were formed between the figures on-screen, and the families watching at home.  These characters mattered more because they were imperfect and, much like we do, had a history. A lesson wasn’t learned one week and then quickly forgotten in subsequent outings. Instead, choices mattered, and one had to deal with their action’s outcomes in future episodes of the season or series. In effect, a reward/punishment scenario could be created, one that thanked long-time viewers for tuning in each week, or scolded skippers with plot confusion. There was simply more incentive to start from the series’ beginning rather than jumping in on a work in progress. With more and more shows following in these early 2000’s debuts, serialized dramas flourished, and demonstrated their success in captivating audiences.

Other elements were reinvented, too, namely the impact of cliffhangers and how they came to be expected from gritty dramas. 24, in 2001, found itself pioneering these final moments on network TV, shockers that begged you to tune in next week, eager to see the implications of one single event. Granted, after a few episodes, viewers soon knew that after the final split-screen was shown, the scenes that followed could very well be the most significant event of the entire 43-minute show. But, especially in the earlier seasons, they never ceased to shock and leave an audience longing for continuation. As expected, viewers would speculate, whether alone or with friends, the possibilities for next week, strengthening the impact of the show even as it was off-air.

And these shows, film-like in the budget and scale, soon became made-for-DVD, sometimes surpassing sales of their studio-made counterparts. Audiences, unnervingly opposed to commercials and week-long waits to progress in the show's timeline, would simply (and ironically) look for the show to finish its run and then pick it up on DVD, watching it in its entirety in a couple of sittings. Some, including myself, still claim this to be the single best way to watch a serialized show. 

Now that two of the decade’s greatest shows have come to a close, what does that exactly mean for TV? Well, not as much as you’d think. Fandom aside, Lost and 24’s departure is not detrimental to the landscape of late-night dramas. In fact, they more than served their purpose, laying the much-needed groundwork for future shows to follow. Their contributions to the entertainment world are wholly visible, and, as such, never will be forgotten. Just as Lost and 24 did, new shows will come along and rework the formula, spawning intricate, innovative and complex devices that will beg for attention and acclaim.

And I just can’t wait. 

I had always been interested in Heavy Rain’s concept, and, as such, really and truly looked forward to its release. Its theme had always seemed fresh and original, and something that could, if executed properly, propel the adventure genre in an exciting new direction. Point-and-click adventure series of old had always been so static, with a decidedly linear chain of progression that made the player feel ‘stuck’ on a pre-determined path. Interestingly enough, however, it was via these straightforward means that some of the more compelling narratives were created. As the stories' weaved themselves slowly into their climax, things never became overly complex, and, as a result, the writers were always in control.

Heavy Rain, as bold as it is, attempted to kill this chain of command, instead placing the players in control of each scene and giving them freedom over almost every action – shaving and taking a piss included. But these movements were never fixed or mapped to a specific button. In a move away from accepted game conventions (press X to…), each and every interactive piece in the world could, in effect, be manipulated by any interface on your controller. Suddenly, your right analog stick no longer solely controlled the camera; it flipped eggs, turned on lights, dodged incoming bullets and moved your car out of the way of fast moving traffic. And, although it didn’t take long to notice patterns in HR’s own tendencies, the control scheme was well-implemented for the most part. While some criticized Heavy Rain for its interactivity, labeling it as more of a movie than an actual game, I stood on the other side of the fence. In fact, the sheer multitude and variety of behaviors granted to the character and, in turn, the player, made the whole experience more tangible. The world no longer became accessible by mere button-mashing, instead shaped by my timing and ability to respond to changeable circumstances. Indeed, a puppet show is perhaps the best analogy for a game such as Heavy Rain. In much the same way that strings affect the movement of marionettes, the speed and fashion that the controller is manipulated reflects the way in which the game’s characters respond.  My controller represented the strings to the puppets of Heavy Rain’s plotline, and I alone was responsible for its concluding moments. It’s just too bad that the finale is so poorly crafted on the developer’s part.

To call Heavy Rain’s final moments sloppy is an understatement. In fact, they’re pretty atrocious, and are a testament to the degree of failure that can sometimes arise when one writes as they go. But, in most cases, there’s nothing wrong with that developmental method. When I toy with my own ideas and attempt fiction, there’s no way I would even consider planning the entire framework of a story beforehand. While I’ll have a rudimentary mind map and the fundamentals for the plot in my head, I'll never actually write down my stories’ intricacies as a reference for the future. I’ll just sit down at my computer and… well, write. But, that’s me, and, obviously, I’m nothing of an author. My writing is for pleasure and personal use. Or of course for the amusement of online readers (you can laugh at it if you want. Go on...). David Cage’s Heavy Rain, on the other hand, is for a much larger audience, and, as such, for profit. Therefore, it is to be taken seriously, as a considered piece of work and, in some ways, a piece of art and modern literature. Upon finishing the game, I’m about to laugh at what I just wrote. Heavy Rain’s tacked-together and ill-contrived plotline has no right to be taken seriously. At all. And here’s why (only vague spoilers follow; there are no direct mentions to any events that occur in the game).

At the heart of Heavy Rain’s cliché story is a murder mystery. At its simplest, the game is a dark adaptation of Clue, and the premise is very much the same: uncover the true identity of a serial killer. And just like the Parker Brother’s board game, the murderer is not an unknown figure. As a matter of fact, you play as them for part of the experience. It’s in this predictable device where much of the story’s problems and gaps in logic are seen. To make it even worse, the story sets itself up for its horrendous pitfalls. You see, if you press the left shoulder button, you can hear each playable character's thoughts, and, depending on the situation they are placed in, their musings will change accordingly. Yes, even the killer has hearable thoughts. But, wouldn’t that spoil the surprise from the very first moments? No, not really, because the shady character, who is supposedly searching for leads on the murderer (who, of course, is themself), always references the killer as “the killer” and not them personally. So, in a way, the murderer’s thoughts are all in third-person. Why would anyone be so impersonal in their own mind, a place where secrets are safe to the beholder? And, in addition, why are you even able to listen to the any character’s thoughts in the first place?!? Such logic boggles the mind.

Unfortunately, the confusion doesn’t end there. Detectives are able to piece together absurd evidence, characters apparently have trusting relationships with people they’ve never met before, the police are able to show up to the sites of suspected murders with zero leads, parents of their murdered children don’t hand over glaring evidence to cops, the main character somehow wakes up with origami figures in his hand after blackouts (which would indicate that the killer somehow has a copy of his medical history and knows exactly when and where he collapses), and, as far as the feds are concerned, no suspicious act is suspicious enough for even a slight investigation. And I’ve only scratched the surface of the game’s stupidity.

But perhaps what maddened me most about Heavy Rain’s plotline was its potential. The environment, likeable characters and atmosphere all had me engrossed. Yes, a developed story would have suited HR’s setting wonderfully, but, instead, the gritty locale was handed a shoddy and quite embarrassing screenplay. The visible holes up until the ultimate reveal are forgivable, but the chapters that follow are not. The twist, although shocking, doesn’t make a lick of sense, and is almost humorous in its absurdity, coherence and plausibility. David Cage was way off on this one.

Some consider Heavy Rain a breakthrough in interactive storytelling, and such a claim is, in many ways, an insult to the hundreds of other well-written experiences. Sure, maybe they don’t feature the ending shocker that Heavy Rain has become so well known for, but they do showcase one characteristic that it will never have: sense.

And hell, I’d take sense over stupidity any day.