Contract J.A.C.K. is billed as a prequel to the super-excellent shooter No One Lives Forever 2. What we really have here is a modest set of stand-alone expansion levels for NOLF 2. It uses the same game engine, graphics and features a new main character but really not much effort was put into the story or game-play. While there are a handful of funny character interactions, mostly this is a linear, run-and-gun shooter. Don’t play this one expecting any of the dialogue or varied game-play that made NOLF 1+2 two of the best PC games ever created. J.A.C.K. is okay, I guess, but would rather play NOLF 3 instead.
For most people, this is Superchunk’s finest moment. When this came out, I didn’t like it and it took several listens before I was able to accept this more mellow offering. I still tend the prefer the more punky On the Mouth. Letting Laura do the cover art must have been some sort of ill conceived breakup stipulation with Mac.
This is the first of several singles comps Superchunk released over the years. Lots of covers and a few alternate versions of songs from the LPs. Also, one of the band’s first forays into horrible cover art.
When I heard that this game featured Michael Biehn as the main voice actor I was intrigued. When I saw that it was an over-the-top homage to eighties science fiction and action movies I had to have it. The game doesn’t disappoint in the nostalgia department. In addition to the neon Tron-style art direction, there is tons of cheesy dialogue, 8-bit cut scenes (including a power rock training montage), and an incredibly cool synthesizer-based soundtrack. In terms of story, the game has nothing to do with FarCry other than it using the same game engine and open-world mechanics. There is a good balance of stealth and good old-fashioned shoot everything gun play. This sells for cheap and is well worth the low price despite its short game length.
Although it can be a toss-up between On the Mouth and Foolish, it think this is my favorite Superchunk record. It has just the right ratio of punkiness in the mix. These songs are for jumping around and spazzing-out but they have just enough maturity and songwriting craft there to escalate them above your typical sophomoric “pop-punk.” I still think “The Question Is How Fast” is their best song ever.
Mindless popcorn fair that manages to be entertaining without getting too annoying. The story and characters are really, REALLY dumb, but at least there was an attempt to put some human interest into it.
This was my introduction to Superchunk so, although I don’t think it’s their best, it still is one of my favorites. The only time I ever saw them live was during the tour for this record. I went to the show because Kevin Seconds’ Drop Acid was opening up. I had no idea who Superchunk was, but I was quickly converted as they bounce around on stage and blew away that opening band which was so forgettable that I forgot I typed their name one sentence ago. Side-note: I remember that it was also the night that Magic Johnson announced that he had AIDS. Surprisingly both Magic and Superchunk are still going strong today.
Superchunk has followed a rather standard indie band trajectory by starting their career with a rough, punky debut before moving on to more produced and tuneful records. This CD is good, but it is not at the level of greatness that subsequent records achieved.
I’ve heard a few interviews with Taleb and he can be very interesting so I tried to give one of his books a try knowing that much of it would probably be over my head. It really wasn’t as dense as I expected. In fact, he uses many easily understandable anecdotes and examples to demonstrate his observations on why we tend to incorrectly confuse random outcomes with successful insights/predictions. Maybe a little too much focus on finance than I really need to hear, but overall an provocative read.
A mediocre crime film from the forties with lots of hammy acting and a thoroughly ridiculous plot involving reviving an executed murderer.
