Yonggary (1999 / 2001)

Yonggary (1999 / 2001)

Dir. Shim Hyung-rae

Alien intervention on Earth causes a 250 million-year-old creature estimated to be around fifty times the size of a Tyrannosaurus to go on a wild city-smashing rampage.

It's a South Korean monster movie with a plot that's objectively no worse than some of Japan's lesser works in the same genre, but the acting is mostly awful and the creature effects are an utter travesty. And even though it's an East Asian production, the spoken language is English, so every face-palm bad one-liner from the militia hit my cringe-meter directly.

Wikipedia reports that the creature scenes were filmed with suit actors but replaced with CGI in post-production. To me, that's like swapping a potentially worthy vinyl record collection for mp3 versions of the same. To carry the analogy further, the cartoonish look of the CGI is the audio equivalent of a 128 kbs encode, at best. It's doubly depressing when you consider that the miniatures (e.g. city buildings and alien space craft) are pretty good.

Nine Inch Nails: Year Zero (2007)

Nine Inch Nails: Year Zero (2007)

Year Zero is dark, like peering through a smoky looking glass. It's also dense and overly-layered, but not always in a beneficial way.

Interestingly, it lacks the introspective musings that NIN usually offer up. Instead, it's a concept album… religious / political nonsense… America…year 2022, etc. Boring.

It's noisy and frustrating; you could argue that so was Broken (1992) and I'd 100% agree with you, but Broken was more focussed and knew when to stop. Whereas Year Zero feels like it goes on too long, dragging me down into a state of sensory ennui.

Yojimbo (1961)

Yojimbo (1961)

Dir. Akira Kurosawa

Toshirô Mifune stars as the titular yojimbo (bodyguard), a rōnin (masterless samurai) who's feeling the economic pinch of the era in Akira Kurosawa's much-imitated jidaigeki.

The character positions himself between two rival bosses, one at each end of a small town, and cautiously but skilfully outmanoeuvres them both. He knows that being in the middle is a dangerous place to be, but it offers him the best possible view of both sides.

One of the film's greatest strengths is its straightforward delivery. For both director and actor actions are more important than words, while the old man that shelters the rōnin (Eijirō Tōno) provides backstory for the viewer, followed by the yojimbo advancing the plot as and when the story needs it.

In contrast, Mifune's role is multifaceted, and yet he somehow makes it seem as effortless as his character's manipulation of the antagonists.

Yakuza Kiwami (2016 / 2017)

Yakuza Kiwami (JP: 2016 / WW: 2017)

Genre: Action/Adventure | Players: 1 | Developer: Ryu Ga Gotoku Studio (SEGA)

Kiwami (meaning 'ultimate' or 'extreme') is an updated, overhauled and expanded PS4 remake of the very first Yakuza game, which was a PS2 exclusive title that received its western release in 2006, a year after its original Japanese release.

With it being the first game done over it'd be natural to assume that it's a perfect jumping on point for new players, but that's not quite the case. It does an okay job at being such, but there's a small number of sub-stories that follow on from occurrences in the previous year's Yakuza 0 (2015), a prequel game set in 1988, seventeen years before Kiwami. So if you want to be clued-in with regards every minor plot thread, you'll need to have played Yakuza 0 first.

The downside to that approach is that Yakuza 0, though set earlier in time, is a more accomplished and varied game. The devs did a tremendous job updating most parts of Kiwami, but lessons learned from and since the original game and its sequels, particularly regarding mission structure but also in storytelling and event timing, mean that for some players Kiwami's ageing game engine may feel dated and clunky by comparison.

Yakuza 0 (2015 / 2017)

Yakuza 0 (JP: 2015 / WW: 2017)

Genre: Action/Adventure | Players: 1 | Developer: Ryu Ga Gotoku Studio (SEGA)

A prequel set in December, 1988, seventeen years before the events of the first game in the long-running Yakuza (Ryū ga Gotoku) series.

It begins with main protagonist Kazuma Kiryu (box art, front right, white suit) on the streets of Kamurocho, Tokyo, having just kicked seven shades of shit out of some guy. But it's not just violence for the sake of it; the act itself is central to the story and to Kiryu's development and decision making, here and in the aforementioned first entry. How a man responds to violence is a measure of his character, and for Kiryu that measure is a large part of what defines him.

The earlier era means Kiryu is younger (and a little more arrogant), but it influences gameplay in other ways, too, such as the technology on offer (e.g. a pager instead of a mobile phone) and the layout of the map. Anyone familiar with the layout of the streets and alleyways of Kamurocho will find it slightly different to how it will look seventeen years hence, with one omission being particularly notable.

The Yellow Wall-Paper (1892)

The Yellow Wall-Paper (1892)

Author: Charlotte Perkins Gilman  |  Page Count: 55

"It is dull enough to confuse the eye in following, pronounced enough to constantly irritate and provoke study, and when you follow the lame uncertain curves for a little distance they suddenly commit suicide—plunge off at outrageous angles, destroy themselves in unheard of contradictions."

If you hear the name Charlotte Perkins Gilman spoken outside of critical circles, then it'll more than likely be in reference to The Yellow Wall-Paper. Her most famous work, it constantly overshadows all the others.

It's a short but deeply engaging first person narrative from a woman who, in the eyes of her physician husband, has fulfilled her main role as wife. Being of the weaker sex means she should quietly do as she's told for her own well-being. Confined to an attic room, with nothing to occupy her sharp intellect, her state of mind slowly deteriorates.

Her husband's cure for her sickness, one that he believes is of her own making, does more harm than good. Left alone she reads, writes and draws comparisons that wouldn't have existed had she been allowed to walk free. The patterned wallpaper is ever-present; its malignant influence is inescapable.