Games

Expansion Review: Spore Creepy & Cute Parts Pack

Tired of slapping together creatures with the same old parts from Spore’s original creature creator? EA hopes that the Spore Creepy & Cute Parts Pack will be a shot in the arm that you, the Spore junkie, will crave.


Genres: Simulation, Multimedia
Price: 19.99
Multimedia: Spore Creepy & Cute Parts Pack
Platforms: PC
Number of players: 1
ESRB rating: Teen
Developer: Electronic Arts
US release date: 2008-11-17
Website
Amazon

Tired of slapping together creatures with the same old parts from Spore’s original creature creator? EA hopes that the Spore Creepy & Cute Parts Pack will be a shot in the arm that you, the Spore junkie, will crave. But is it enough?

Judging from the pattern established by other Maxis/EA hits like the Sims franchise, Spore C&C will be the first in a long line of updates. As with The Sims 2, Maxis has confirmed in a press release that they will employ a two-pronged approach to deliver additional building tools (in the form of “stuff packs”) as well as altered gameplay (in the form of “expansion packs”). The first expansion pack, scheduled for spring 2009, will add depth to the Space phase.

This delivery model will hopefully keep the game (and its accompanying online community) fresh and growing. It will also keep the cash flowing into EA’s coffers, and this parts pack in particular feels more like a greedy grab for green than a bona fide attempt to refresh the gameplay. Coming just two months after Spore’s initial release, the parts pack adds 60 new body parts, 12 new paint themes, and 24 “test drive” animations. None of these additions alter the mechanics or difficulty of the gameplay, but are intended to give players more control over the appearance and abilities of their creatures.

I strongly suspect that Spore’s upcoming expansion will be the first in a series of four expansions that will address each of the four phases of the game after cell phase. Many critics of the game (myself included) felt that each phase merely scratched the surface of the genre’s capabilities, and I imagine that the expansions are going to offer Spore fans an opportunity to add complexity to the phases they like best without being obligated to spend money upgrading every part of the multifaceted gameplay. Meanwhile -- and this is pure speculation -- now that a collection of creature parts has been released, expect to see additional stuff packs that expand the vehicle and architecture tool sets as well.

After installing and playing with the Spore C&C for a while, I did feel that the game benefited from the greater variety of parts available. Still, adding a few dozen body parts to the creature creation tools seems like a disappointingly simplistic approach to sparking creativity in the user community. I couldn’t help but think back to a simpler time, when user-created content was an indie thing that required a fairly rigorous set of digital design skills but was completely and absolutely open-ended. It seems to me that since so much of Spore’s concept revolves around a shared, creative community, limiting players’ creativity with a pre-set collection of materials impedes the growth of the fan base. In other words, I think it’s a big, fat, hairy mistake.

Once upon a time, back in the dark ages of 56k dialup modems, there were games that were both fun and hackable. Players would create their own content for their favorite games and upload it to fan sites, sharing among themselves free of charge. Sure, you had to muck around with graphics editors and such, and the results were sometimes comically bad, but back in the early days of The Sims -- and I know I am dating myself by admitting I can remember this -- people just made stuff and shared it. Independent programmers even made simple tools to help other people make stuff, and it was a labor of love.

I mention The Sims specifically because, although there were many other mod-able games at the time, the large, creative community that emerged was an unforeseen consequence of The Sims’ open-endedness that took even Will Wright by surprise. Later, the huge success of the fan community inspired Maxis to create tools like Creature Creator and The Sims 2’s Body Shop, which would theoretically allow more people to create more stuff with less effort.

However, when the grassroots movement was absorbed by the establishment, as it were, Maxis wanted (and needed) to exercise control over user-created content in order to maintain their “T” rating. In other words, bye-bye, nude skins and double-D-cup meshes. By standardizing and controlling the tools, Maxis was able to limit inappropriate content, but they also squelched much of the creative open-endedness that was inherent in the first-generation, third-party tools. Furthermore, they opened the floodgates for the less skilled, less devoted, and less innovative designers to create enormous truckloads of mediocre work. In short, more people are now able to make stuff, but most of it is crap.

Should Maxis give more control back to the players and create tools that allow users to generate their own custom body parts? Is it worth having six hundred creatures that look like anthropomorphic genitalia if it means we also get a digital equivalent of the Venus de Milo? For Maxis, the ability to control and regulate content is an important part of their business model, so it’s unlikely that they will be willing to relinquish that. But it certainly would be interesting to see what would emerge if they did.

From genre-busting electronic music to new highs in the ever-evolving R&B scene, from hip-hop and Americana to rock and pop, 2017's music scenes bestowed an embarrassment of riches upon us.


60. White Hills - Stop Mute Defeat (Thrill Jockey)

White Hills epic '80s callback Stop Mute Defeat is a determined march against encroaching imperial darkness; their eyes boring into the shadows for danger but they're aware that blinding lights can kill and distort truth. From "Overlord's" dark stomp casting nets for totalitarian warnings to "Attack Mode", which roars in with the tribal certainty that we can survive the madness if we keep our wits, the record is a true and timely win for Dave W. and Ego Sensation. Martin Bisi and the poster band's mysterious but relevant cool make a great team and deliver one of their least psych yet most mind destroying records to date. Much like the first time you heard Joy Division or early Pigface, for example, you'll experience being startled at first before becoming addicted to the band's unique microcosm of dystopia that is simultaneously corrupting and seducing your ears. - Morgan Y. Evans

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Theatre

​'The Ferryman': Ephemeral Ideas, Eternal Tragedies

The current cast of The Ferryman in London's West End. Photo by Johan Persson. (Courtesy of The Corner Shop)

Staggeringly multi-layered, dangerously fast-paced and rich in characterizations, dialogue and context, Jez Butterworth's new hit about a family during the time of Ireland's the Troubles leaves the audience breathless, sweaty and tearful, in a nightmarish, dry-heaving haze.

"Vanishing. It's a powerful word, that"

Northern Ireland, Rural Derry, 1981, nighttime. The local ringleader of the Irish Republican Army gun-toting comrades ambushes a priest and tells him that the body of one Seamus Carney has been recovered. It is said that the man had spent a full ten years rotting in a bog. The IRA gunslinger, Muldoon, orders the priest to arrange for the Carney family not to utter a word of what had happened to the wretched man.

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9

If The Prince of Nothingwood will popularly be remembered for celebrating the creative spirit of its star Salim Shaheen, it is equally an important communication on Afghanistan, it's culture and its people.

"Now I am just more tired and poor. So no, I haven't changed. I'm just older and more tired," says French radio journalist and documentarian Sonia Kronlund, as she looks back on the experience of making The Prince of Nothingwood (2017).

Joining Salim Shaheen, the most popular and prolific actor-director-producer in Afghanistan on his 111th no budget feature, Kronlund documents the week-long shoot and the events surrounding it. She crafts an insight into a larger than life persona, yet amidst the comedy and theatricality of Shaheen and his troupe of collaborators, she uncovers the heavier tones of the everyday reality of war and patriarchal oppression. If The Prince of Nothingwood will popularly be remembered for celebrating the creative spirit of its star, it is equally an important communication on Afghanistan, it's culture and its people. Alongside the awareness of the country cultivated by mainstream media news outlets, Kronlund's film offers an insight into a country that can humanise the prejudice and xenophobic tendencies of a western perspective towards Afghanistan.

In October of this year at the UK premiere at the BFI London Film Festival, Kronlund spoke with PopMatters about being driven by questions rather than inspiration. She also reflected on the subjective nature of documentary filmmaking, the necessary artistic compromises of filming in Afghanistan, and feeling a satisfaction with imperfections.

Why filmmaking as a means of expression? Was there an inspirational or defining moment?

Not really, no. I have always done documentary. I used to write scripts and TV series but I only make documentaries myself for radio and television. For this story, I figured out after a while that it deserved a bigger ambition and a bigger screen and that's why I don't very much believe in inspiration. To be honest, I made this film because I had to do something. I didn't have a big project where I thought: I want to make this. I went there and I found a little money and at the end the ambition and the inspiration came along the way. But there was not an urgent necessity to make this film. It fits with a lot of things that I'm interested in, like popular culture -- What does art stand for and why do we go to the cinema? What is the purpose? This is a question I'm interested in, but inspiration, not so much.

Has The Prince of Nothingwood provided you with the answers to those questions?

It has, and I hope it helps people to think about this question. It tells you that there is an urgent need to make images, to make films, even during war,and even if you don't have the money. And even if the films are not very good, they will find somebody who will like them. So something is going to happen, and I think that's very touching. I don't like Shaheen's films, I hardly watched them -- I paid somebody to watch them. But I'm very moved by all these people that do like his films, and it makes you think about the value of art and the purpose of why we make cinema. I used to study aesthetics in London, so it was one of the questions I had and while the film is lighter than this, that's what was in mind.

The film uses Shaheen as a doorway, beginning as a story about one man which becomes a story about Afghanistan, its people and culture.

Yeah, but it's not so much about Afghanistan and it's not my purpose is to say things about the country. There's one guy like him in Iran who makes cowboy movies in the Iranian desert and there's also a guy like that in Tunisia. I mean you have this person with an urgent need to film whatever they have under their hand and since it's war, then it tells you something about the war. But it's not so much interested in him.

There was a lot of editing, 148 hours that you haven't seen [laughs]. Making a documentary is really telling a story and I don't have any idea of objectivity -- it is my point of view on Shaheen. Some people say to me that they would like to show his films, that they really want to see his films, and I say: "You don't see how much I have edited. I show you the very nice parts of his films." People think he's a great filmmaker and that's the story I wanted to tell -- but I could have told another story.

To my mind, objectivity is a human construct, a falsity that does not exist.

Except mathematics maybe, and sometimes physics.

The purist opinion of documentary as objective is therein built on a faulty premise. From the subjective choices of the filmmakers that bleed into the film to the subjectivity of the subjects, it's not purely objective. Hence, it calls into question the traditional dividing line of the objectivity of documentary and the subjectivity of narrative fiction.

Totally! It's the editing, and why you chose this guy, how you film it and what you show, or what you don't show. It's not only subjectivity, it's storytelling. Not many people ask me about this, they take it for granted that it's the real Shaheen. But I'm not lying, I'm not saying things that aren't true, but I am telling a story, a fictional story out of what I filmed. I took scenes that happened one day and I put them with another story that happened three months later and that's why we had seven months of editing with three editors. So it was a lot of work.

One of the striking aspects of the film are the light and comedic moments offset by a darker and heavier sensibility, which include moments when, for example, Shaheen talks about arranged marriages.

We made 70rough cuts and there was one version we tested and you couldn't believe you were in Afghanistan. People would say: "Oh this is too funny. You don't see Afghanistan, it's just a bunch of crazy guys." I then said: "Let's put in a little more darkness." You then have to strike a balance and to me, if it's not perfect, I'm happy.

Shooting the film in a dangerous and volatile part of the world, was the approach that once you had enough footage you then looked to shaping the film in the edit?

It's not when you feel you have enough, it's finding a balance between security and artistic concerns. That's it. You have a plan and you have an agenda. There are things you want to do, but it has to be balanced with security concerns. The real story I was going to tell about Shaheen I found in the editing room and in the end, I only kept five days of the shoot. The whole film takes place in Bamyan (Province), nothing in Kabul, although I had weeks and weeks of footage there that I had to take away.

There's a moment when Shaheen asks if you are scared, which sees him verbalise our silent recognition of your boldness and courage to bring this story to the screen.

It's very difficult and it's not like you are walking in the street and there's a bomb. This is not what's difficult. The difficulty is to cope with your fear and to have rules and to follow or to not follow those rules. There are many foreign people that never go out at all in Kabul -- it is forbidden. You have British diplomats who do not even drive their car from the airport to the embassy -- they will take an helicopter that costs £2,000 each way. Then you have foreign people who walk in the street without a scarf -- these girls get kidnapped.

In between these you have Shaheen, who is telling me all the time that I'm too scared, because it's a man's value to be brave and he's a brave guy, there's no question about that. He was in an attack two weeks ago. There was a bomb in a Shia Mosque and he helped to carry out the bodies. So there's no kidding about the fact that he's a brave guy and he has to be because he's been fighting to make his films. But you are in the middle of this and I'm not a brave person at all and I don't think being brave is a very important question. It is, but I'm not brave, I'm very scared and so in the middle of all of this stress it's enough just to manage to not go crazy, or to not drink too much [laughs].

Salim Shaheen and Sonia Kronlund (courtesy of Pyramide Films)

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