I’m delighted to review The Seventh Secret, a book whose entire plot can be summarized as, “Hitler LIVED!” on SLP.
Tag: 1980s
Review: The Han Solo Adventures
The Han Solo Adventures
Originally published in three installments from 1979 to 1980, the Han Solo Adventures by Brian Daley were the first books in what would become the Star Wars expanded universe. Star Wars fans tend to love them, and I’m one of them. Without restrictions or a desire to one-up the movies (I’m looking at you, Kevin J. Anderson), the books are a fresh fun romp through the Corporate Sector.
Daley can write everything from prison breaks to starfighter bouts to duelists well, and he does in these books. Every Star Wars fan, science fiction fan, or just fiction fan should read these.
A Thousand Words: M. D. Geist
M. D. Geist
One of the most infamous animes of the 1980s, M. D. Geist was a crudely made original video animation that sank into obscurity. Or it would have if the head of western distributor Central Park Media hadn’t taken a liking to it and pushed it forward. Because of this, there’s been a backlash against the excuse-plot gorefest of a power-armored monster fighting through a sci-fi apocalypse that is M. D. [Most Dangerous] Geist.
That said, it doesn’t deserve to be listed as one of the worst of all time, as it too often is. Like fellow mid-1980s pop culture phenomenon We Built This City by Jefferson Starship, though lacking, there’s a lot worse out there. As cheesy fun it “works”. And that’s often what you need.
Review: The Reckoning
The Reckoning
David Halberstam was one of the most legendary historical writers. In The Reckoning, written at the height of the 1980s auto crunch, he turned his eyes on Ford and Nissan, trying to find what made carmakers on both sides of the Pacific go. Halberstam has a talent for writing. Unfortunately, that very skill makes it uneven.
It does a good job describing formative events like Henry Ford’s family drama and the 1953 labor dispute at Nissan that shaped not only it but the entire Japanese auto industry. It also does well when looking at individual workers caught up in the mess. Although I have to say that it’s very hard to write about the auto industry and not make it interesting. The field is just so inherently complex and full of colorful stories.
So what are the problems? Well, it’s dated for one. This isn’t as bad as it could have been. Yes, it’s a more than a little “JAPAN GOOD”, but certainly not to the excess of some other bubble era publications. After all, this shows the Japanese industry warts and all. It also aptly points out in its study of the South Koreans how the rest of Asia was cracking its knuckles and preparing to charge-which came to pass.
No, the biggest obvious problem is that it’s too “Bruce Springsteen”. Which is to say it has the tone of a wealthy suburbanite who idealizes the blue collar worker’s struggle too much. Its slobberingly positive portrayal of UAW head Walter Reuther is the most obvious part of it, with even sympathetic history works on that man being far more critical and full than Halberstam’s hagiography. This also leads Halberstam to idolize the “Manufacturing Men” over the supposed “bean counters” who nickel and dimed every car to pieces. (Not surprisingly, Robert McNamara in his pre SecDef days is there and scorned).
This leads to the next problem that someone with any kind of interest in the auto industry can see: It’s too centered around the capital-N Narrative of the Good Manufacturing Man being brought down by the Evil White Collar Consultant. The “Manufacturing Men” in both continents could get away with running hog wild simply because their industry was in a boom. Once it busted, they simply had to start penny pinching. After all, the first Japanese car company to close a plant and downsize was… Nissan. All this is combined with something that, for all his research, Halberstam didn’t actually have much familiarity with, and it showed. It’s also catnip for the mostly well-off target audience of the book.
Still, for all its problems this is something I’d definitely recommend.
A Thousand Words: Final Fight
Final Fight
Capcom’s 1989 Final Fight was not the first “beat em up” video game. It wasn’t the first popular game of that type, with Double Dragon taking that two years earlier. But it was an instance where the genre was-dare I say-mastered. With an excuse plot of “save the mayor’s daughter”, ninja Guy, tough thug Cody, and the former wrestling star and mayor himself, Mike Haggar, go off to wallop street goons in a thinly veiled New York City.
An action sports star in political office of that nature has come true twice , with former pro wrestler Jesse Ventura becoming governor of Minnesota and, more recently and relevantly, heavyweight boxing champion Vitali Klitschko becoming mayor of war-torn Kyiv. But I digress. Final Fight either introduced or popularized a lot of beat em up elements, the first being playable characters on a speed-power spectrum from Haggar (slow, strong) to Guy (fast, weaker). The second was the moveset, combining normal attacks, throws, and an all-round attack that costs the player health.
It’s amazing how A: This feels natural and effective, and B: All of this was accomplished with only one attack button. The fighting is fluid and forgiving in ways that a lot of similar games-even those made by Capcom itself-are not. Everything from combinations to attacking enemies by throwing other enemies at them just clicks. The one sour move is the grab attack (where you just hold and beat an enemy), which is both hard to do and of limited use given how many enemies are on screen at once. But everything else fits into its niche near-perfectly.
The graphics are amazing for the time and still look good by pixel art standards over thirty years later. The music a mixed bag, but it has some catchy tunes and it’s a rare instance of an arcade game from that period with actually good sound mixing. Others will often have the music drowned out by the action, which is not the case here.
Final Fight is a classic video game. And it’s a classic for good reason.
Review: Louisiana Firestorm
Black Berets: Louisiana Firestorm
The Black Berets series was a range of now obscure 1980s men’s adventure novels. My first exposure to it was in Louisiana Firestorm, the fifth installment. I found it a sad disappointment. For an action novel series, there really wasn’t that much action, and what there was wasn’t that well written.
These are the perils of a quantity based series that has every book being short. It should come as no surprise that the listed author, “Mike McCray”, was actually two separate people sharing the pen name. One of those people, Michael McDowell, was also someone whose work included screenwriting for the movie Beetlejuice (!). Ultra-cheap thrillers seem to attract the weirdest array of people.
Unfortunately, McDowell’s presence in this series is far more interesting than anything in Louisiana Firestorm itself. You make as many shots as a quickie, throwaway mens adventure series does, and you’re bound to have a lot more misses than hits.
Review: Fire and Maneuver
Fire and Maneuver
The second entry in James Ronsone and Alex Aaronson’s 1981 World War III, Fire and Maneuver continues its predecessor’s excellent work. While it does not bring the most novelty to the subgenre in terms of its structure, in execution it does very well, hopping between viewpoints in a way that’s both smooth and fast. And it actually has an M47 Dragon being able to destroy something in a stretch of logic that works for story reasons.
Jokes about the Cold War’s worst ATGM aside, this is a good entry in a scarce genre. If I had to make one criticism, it’s that long, exact system designations are used a little more often than I found credible. But that’s a tiny nitpick and doesn’t detract from the experience.
A Thousand Words: Mega Man
Mega Man
Mega Man and Street Fighter are two of Capcom’s legendary franchises. Perhaps fittingly, they followed the same pattern: Breaking out with a rightfully praised and successful second installment after a less-than-ideal first one. And in both cases, the way they were clunky were the same: The very basics of what would make them so great were there, but they were incredibly rough around the edges.
Mega Man 1 thus has everything the later games have: Platforming, shooting, and defeating bosses to use their weapons. And in 1987, there wasn’t that much of a comparison. The problem is the second game two years later utterly obliterated it in terms of usability, difficulty, ease of play-everything, basically.
So in Mega Man 1, you have only six Robot Masters compared to the eight of pretty much every later game. But the game is overloaded with the kind of “cheap difficulty” even by the standards of the time. Spikes explain this very good. In later Mega Man games, falling into spikes kills you instantly-but if you were knocked onto them by an enemy and still had your brief recovery frames, then you had a small chance to escape if you jumped right away. Not so here-if you come into contact with spikes, goodbye.
There’s also no real good starting boss/level, and in true 1980s game fashion, the game is unwinnable unless you get a “secret” item in one stage. You could do worse for other vintage platformers, but you could also do a lot better. Like, say, one of the nine direct sequels.
A Thousand Words: Iron Eagle II
Iron Eagle II
The budding Iron Eagle franchise was walloped by two things. The first was actor Jason Gedrick, who played Doug Masters, being occupied with the movie Rooftops, forcing his character to be killed off. Ask Alien fans how they feel about star characters being unceremoniously disposed of. So there was one misstep.
The second was glasnost. “Teaming up with the Soviets against a Middle Eastern petty dictatorship” doesn’t have the same appeal as fighting them. And if Mirages/Kfirs as “MiGs” are questionable, F-4 Phantoms as “MiGs” are downright laughable, being a far better known and far more distinctive shape. The plot is similar to the much later Top Gun: Maverick, in that a vague opponent has a nuclear facility that needs to be blown up, and then things blow up. However, that MacGuffin is common enough that I can believe it as just a legit coincidence.
For all the stumbling, this movie still has explosions, and is cheesy to a degree that makes the first look like a serious art film drama in comparison. Come for the terrible accents, stay for the “BMP” that’s an M113 vismod on the level of the costumes on dogs in The Killer Shrews. It’s not art, but you probably weren’t expecting a movie called Iron Eagle II to be art. It is extremely stupid fun.
Review: Handbook of Military Knowledge For Commanders
Handbook of Military Knowledge For Commanders
One of the biggest treats I’ve read is the translated 1980s Chinese document called the “Handbook of Military Knowledge For Commanders”. Exactly as it implies, the document is a hundreds of pages long and highly deep look into the Cold War’s least advanced and most secretive major army. Because of this, it’s an excellent resource not just for the Cold War PLA, but also many of the client states/units equipped, trained, or even just inspired by it. As well for less-advanced (compared to major powers) armies in general.
A lot of this contains basic stuff that any field manual reader won’t find surprising. The layout, at least of the translated version, leaves something to be desired. And there are a few translation quirks like keeping the romanized Chinese word “Fendui”, instead of just saying “units” or “subunits” (as would be appropriate for the context.) In fact, the document has the worst of both worlds in that it shows “Fendui” but not the original characters, making it confusing for both English and Mandarin native speakers.
Still, this is an excellent study of not just that specific army at that point in time (mid-1980s), but also of many principles applicable to all forces at any time. If you have the time to dig through four hundred pages of field manualese, it’s well worth your while.
Fuldapocalypse Fiction 