2.27.2013

Aegis Bio – USB 3.0

There are plenty of reasons to own an external hard drive. Whether as a simple backup, to free up space on a full notebook drive, or for data portability between work and home, a portable hard drive is the tool of choice to offload serious data off a system hard drive. Sure, a USB flash drive on a key ring is great for convenience, but when it comes time to move hundreds of gigs of data, a mechanical hard drive can offer capacity like nothing else can.

The downside of putting sensitive data on a hard drive, and taking it out and about is that then the data is vulnerable. While Windows 8 is password protected on bootup by default, there is no such default level of protection on an external drive. Those hundreds of gigs of data, now can be accessed by anyone that finds such a drive forgotten at the local Starbucks. That external drive is now becoming somewhat less attractive.

ROBOT COMBAT LEAGUE

Some people design, build, and operate robots to battle other homemade robots; others sit down at Rock 'em Sock 'em Robots and start flailing away with their fists.  While the early show Battlebots featured the former type of mechanized combat, the Syfy Channel show Robot Combat League definitely skews towards the latter.

Hosted by WWE star Chris Jericho, Robot Combat League is a pretty straightforward mechanical battle.  Twelve two-person teams (usually one athletic person and one scientific person) are given a huge robot designed for walking and punching.  The teams practice with their robot (the scientific person sits and operates the legs, while the more athletic one wears a device on their shoulders and arms that controls the robot's upper torso).  All the teams compete in a Power-Up Challenge, and the best and worst robots then battle -- with the loser going home.  The last team/robot standing wins a trophy and $100,000.
While the idea of human-controlled giant robots slugging it sounds like the ideal playday, that's where the appeal of Robot Combat League begins and ends.  The robots are assigned randomly, which might be a problem except that the robots are apparently only cosmetically different.  We don't know if a particular robot is stronger, faster, or tougher than its counterparts, and the teams don't get to modify their warriors.  As for the combat itself, it almost feels like a parody of boxing: Judges evaluate three two-minute rounds (with 20 minutes in-between rounds for repairs), a "knockout" happens if a robot becomes unresponsive (metal bars keep the robots upright, so no falls happen), and there are sparks and hydraulic fluids everywhere.  But since the robots aren't modified, they just punch and block; there are no saws, flamethrowers, or other distinguishing weapons.
These ultimate remote-controlled toys might make a great attraction in a rich person's arcade, but the Robot Combat League is a disappointing, uncreative mess.  I'll stick with board and card games with robots, or even watch sports with humans, before tuning in to this again.

Overall grade: F
Reviewed by James Lynch

2.15.2013

Shania Twain, GREATEST HITS

Shania Twain was one of the biggest country stars of the late 1990s and early 2000s, scoring hit after hit with up-tempo tunes and slower romantic ballads.  She also proved mildly controversial, as her music seemed to be closer to top-40 pop than the country genre she aspired to -- and that she used sex appeal more than singing to push her music.  Her 2004 Greatest Hits makes the case for both sides of her career.

Greatest Hits goes in reverse chronological order -- from her albums Up!, Come on Over and The Woman in Me -- before adding four new songs.  These are her big radio hits -- no rarities, live tracks, covers, or lesser-known songs here -- and the songs show both her appeal and limits.

Almost all of the songs alternate between female-empowering, basic feel-good pop (from the woman-as-boss "Any Man of Mine" to the just-have-fun "Man!  I Feel like a Woman!") and shamelessly sentimental romance melodies (like "You're Still the One" and "From this Moment On").  The writing is very simple, going for basic rhymes ("I'm not always strong//and sometimes I'm even wrong") and odd metaphors ("you're a fine piece of real estate/ and I'm gonna get me some land").  As for the "Is she country?" question, while some of the songs have a very country feel, most of the songs here are far more pop than Grand Old Opry (with probable influence from her then-producer and husband Mutt Lange, who worked with bands like Def Leppard and Nickleback instead of country acts).

That's not to say that Greatest Hits isn't enjoyable.  Twain has a good voice, for both sentiment and excitement, and while her songs may often be guilty pleasures, they can still be fun to listen to.  While many will debate how much Shania Twain brought country and pop together -- and whether or not that's a good thing -- Greatest Hits is a pretty good showcase of the music that made Shania Twain such a star performer.

Overall grade: B-
Reviewed by James Lynch

2.05.2013

Marco Glaviano, SIRENS

Back in the 1980s and 1990s, supermodels strode forth upon the Earth like goddesses.  They could cross from one coast to the other in a few strides, adoring fans followed them by the millions, and they could destroy any who displeased them with lightning bolts from their eyes.  Okay, maybe it wasn't exactly like that -- but folks like Cindy Crawford, Paulina Porizkova, Angie Everhart, and others were household names and mainstays on magazine covers and swimsuit calendars.  Photographer Marco Glaviano captured some of the best images of the best models, and his book Sirens (first printed in 1999) is a wonderful collection of his work across these two decades.

Sirens collects a wide selection of Glaviano's work, mainly from beaches and glamour shots.  Chapters are dedicated to specific models (Crawford, Porizkova, Niki Taylor, Amber Smith, Claudia Schiffer, and a new model named Anna Nicole Smith), or themes (Behind Closed Doors, Naked Chicks on the Rocks, Goddesses of the Sand).  Glaviano also offers observations on both the models and themes.
Sirens works both as a collection of beauty and a time capsule.  These photos capture the beauty of some of the most attractive women across two decades, and it's no surprise that Glaviano has done swimsuit calendars, magazine covers, and even the Sports Illustrated Swimsuit Issue.  At the same time, the fashion world doesn't offer a lot of longevity for even its biggest celebrities, and many of the people shown here haven't been active in the fashion world for years; because of that, Sirens functions well as a nostalgic look back at some of the biggest names in beauty from over a decade ago.
Sirens provides plenty of not only beauty, but also the creator's thoughts on that beauty.  The only thing that would have made this book better if it was a coffee-table book, giving these pictures the size they deserve.  That said, Sirens is an astounding look at the best of the beautiful.
Overall grade: A+
Reviewed by James Lynch


WARM BODIES

I've heard plenty of origins for zombie outbreaks -- from the supernatural to the alien -- but I can't say I've ever heard that the cure is love.  Still, this is the premise of Warm Bodies, a comedy that explores young love in the days of flesh-eating undead.
R (Nicholas Hoult) is a zombie.  Not knowing how he died or even what his name is, R shambles around an airport aimlessly, shoulders hunches, pale blue eyes staring blankly.  He collects trinkets and stores them in an airplane, where he listens to old records.  He has "conversations" of a few words with a fellow zombie (played nicely by Rob Corddry), he steers clear of the "bonies" (malevolent skeletons that were zombies but whose flesh all decayed), and he wonders to himself if there's anything more to unlife.

While out on a feeding run, R and his companions ambush some explorers from a walled-off city of humans. During the attack and feeding frenzy, R notices Julie (Teresa Palmer), a young woman, and he decides to keep her safe.  His romantic feelings may stem from his having killed and eaten the brain of her boyfriend Perry (Dave Franco), which let R experience Perry's emotions.  Soon feelings start developing between Julie and R, and changes begin happening to the young zombie -- and other zombies around him.  But Julie's father Grigio (John Malkovich), the leader of the walled city, thinks the only good zombie is one shot in the head; the bonies are also getting agitated.  Will love conquer all?  Will Julie find out that R ate her boyfriend?
Warm Bodies is a nice comic nod to both the current zombie and young romance crazes.  Hoult makes for a sympathetic member of the undead, as his scary appearance and groans are belied by his internal monologue.  (While trying to romance Julie he repeats to himself over and over "Don't be weird.")  Palmer is decent but somewhat generic as the teen with daddy issues who falls for the worst possible boy, and Corddry is terrific as the buddy zombie who also feels loneliness.  Warm Bodies goes for less slapstick humor and more subtlety, and at times this slows the movies down; but this movie is often funny and entertaining.

Overall grade: B
Reviewed by James Lynch

2.04.2013

DIXIT

The best games often involve a type of balance, keeping a player from using the same strategy or technique over and over for an easy win.  Dixit, a French game published in the United States by Asmodee Editions, achieves this balance by making itself a visual party game -- with a big twist.

In Dixit, everyone has a hand of six cards.  These cards have colorful, often surreal art that ranges from the whimsical to the scary.  Each round one player is the storyteller, choosing one of their cards in secret and offering a description -- from a single word or sound to several sentences -- to everyone.  The other players choose a card to match that description, and then the cards are all shuffled together and laid out, side to side.  Everyone but the storyteller secretly votes for the card they think best matches the description (but not their own card).
But there's a catch.  If every player or no player votes for the storyteller's card, every player but the storyteller scores two points.  If some players pick the storyteller's card, those players and the storyteller score three points.  And each player scores a point for each player who chose their card.  After scoring is done, everyone draws back to six cards, the player to the storyteller's left becomes the new storyteller, and a new round begins.  When the deck runs out of cards, whoever has the most points wins.

Dixit is an unusual party game.  The unusual feel of the artwork makes this feel different than most U.S. games, and the storyteller faces an unusual challenge: Being too specific is as risky as being too vague.  Dixit is a pretty simple game that's also pretty enjoyable.

Overall grade: B
Reviewed by James Lynch

1.29.2013

KING OF THE NERDS

Several years ago the band the Arrogant Worms sang "It's Great to Be a Nerd," and time has proven them right.  Some of the hottest movies and television shows are based on comic books, video games are one of the hottest forms of entertainment, the Internet is bigger than ever, and science fiction and fantasy are wildly popular.  (Heck, one of the biggest shows on tv is The Big Bang Theory, featuring four uber-nerds.)  So does the reality competition show King of the Nerds salute geek culture or mock it?  More the latter.
Hosted by Curtis Armstrong and Carradine (because they were in the movie Revenge of the Nerds), King of the Nerds brings eleven different types of nerds -- from video game pros to scientists to roleplaying game designers -- together at "Nerdvana."  The players are divided into two teams, and each episode has two contests.  The team that wisn the first contest is immune; then the winning and losing team each select someone on the losing team, and those two compete in a "Nerd Off" to see who goes home.  The last player standing will win a big cash prize -- and sit on the "Throne of Games" as the King of the Nerds.
King of the Nerds did a good job by selecting "professional" nerds to play: The players almost all make a living in their hobbies, rather than n just having obsessive pasttimes.  Unfortunately, the players do come off as awkward and socially inept.  And in addition to the usual reality tv show tricks (dramatic cuts just before a commercial, people talking trash and plotting to the camera), there's a sense of randomness here: In the first episode one team "lost" when a person said they seemed weaker, and no one knows what will be involved in the "Nerd Off" when selecting folks to compete in it. And many of the show's geeky elements seem designed for the audience to laugh at the players rather than with them.
There are a lot of terrific elements in different types of "nerd culture," but King of the Nerds goes for the silly side rather than the cooler side.  It's a shame.

Overall grade: D
Reviewed by James Lynch

FOR A GOOD TIME, CALL... dvd

 I don't know what sort of impact internet porn has had on the phone sex industry, but the latter is the basis for the movie For a Good Time, Call...  This movie is a mix of The Odd Couple and dirty talk, with a strong "chick flick" feel mixed in.

The setup of For a Good Time, Call... is pretty simple.  Lauren Powell (Lauren Miller) is a serious, somewhat boring woman who loses her publishing job at the same time her boyfriend breaks up with her and kicks her out of their apartment.  Katie Steele (Ari Graynor) is a free spirit with multiple jobs whose Manhattan apartment just stopped being rent controlled, so she needs a roommate.  Jesse (Justin Long), their mutual flamboyant gay friend, sees a great solution: have Lauren and Katie move in together!  Unfortunately, the two had a very awkward run-in at college ten years before, so between that and their different temperments life in the apartment is quite tense.

Things change when Lauren thinks she overhears Katie with a boyfriend -- and it turns out to be Katie's work as a phone sex operator.  Lauren is disgusted at first ("I'm better than better than phone sex") but soon sets up Katie to go into business for herself.  And when their first new employee doesn't work out (to put it mildly), Lauren decided to work the phone lines as well.

Sexuality provides plenty of material for comedy; unfortunately, it doesn't here.  For a Good Time, Call... is both predictable and unamusing.  There are the "funny" set pieces, such as Lauren's parents popping in unexpectedly, goofy callers (including several celebrity cameos), a romantic subplot between Katie and a caller, a training montage for Katie, and former enemies turning into best friends.  But there's little humor here -- simply talking dirty and showing sex toys is no substitute for good writing -- and the acting is pretty bad.  (Ari Grayor feels like a budget version of Kate Hudson.)  DVD extras are pretty sparse as well.  For a good time, skip For a Good Time, Call...
Overall grade: F
Reviewed by James Lynch

1.25.2013

GAME CHANGE dvd


For better or worse, it's almost impossible to think about politics today without thinking about Sarah Palin.  The HBO movie Game Change, adapted from the book of the same name, takes a behind-the-scenes look at the selection, rise, and problems of this influential woman.

Game Change begins in 2008, when John McCain (Ed Harris) has just won his party's nomination for president.  Unfortunately, he trails Barack Obama by wide margins in the polls.  Campaign Manager Steve Schmit (Woody Harrelson) thinks Obama's success is a matter of style over substance and, in the era of YouTube, they need something different than another white male vice president selection to win.

Schmit's search leads him to Sarah Palin (Julianne Moore), a relatively unknown Alaska governor.  At first, she seems perfect: She's a religious, pro-life, pro-gun woman whose core beliefs will energize the Republican base.  She does a great job connecting with people on the campaign trail, her introduction at the Republican National Convention is akin to that of a rock star, and she raises massive amounts of money for the party.


Unfortunately, the quick vetting Palin recieved missed many of her problems.  She shows an amazing ignorance of politics, both domestic (not knowing what the Fed is) and foreign (not knowing Britain's politics are handled by the Prime Minister, not the Queen).  She's unprepared for the harshness of a national campaign, she's more concerned with her poll numbers in Alaska than nationally, and when she seems to outshine McCain she ignores any advice or suggestions from her campaign staff.


Much of these behind-the-scenes details about the 2008 campaign were already known -- from the original book to reports during the campaign -- so there's little that's surprising or a revelation in Game Change.  This is a pity, given the amazing quality of the acting here.  Moore doesn't just look exactly like Palin, but also brings forth her strengths and weaknesses.  With her performance, it's easy to understand both Palin's rapid popularity and the concerns she raised by anyone who got beneath the surface.  Ed Harris does a fine job making McCain the more pragmatic and experienced politician, while Woody Harrelson shines as the campaign expert becoming more and more exasperated trying to handle the vice-president pick with far more baggage than anyone expected.

The most meta scene in Game Change is when Moore-as-Palin lies in a hotel room, watching bitterly as Tina Fey-as-Palin makes fun of her on Saturday Night LiveGame Change won't end the debates over Palin -- liberals will hail it as revealing truths, conservatives will damn it as a partisan attack -- but it is an entertaining behind-the-scenes look at the campaign -- and the person who changed politics.

(The dvd includes two too-brief features where newsmen and political strategists describe the tremendous difficulties of being in a presidential campaign.)

Overall grade: B+
Reviewed by James Lynch

1.19.2013

MAMA

It's not easy raising kids; apparently, it's harder when a homicidal spirit has raised them for several years in the wilderness.  This is the basis for Mama, a horror movie with a few nice touches and a lot of cliches.

Mama begins promisingly enough with something different from most horror: current events.  During the stock market crash of 2007, Jeffrey (Nikolaj Costas-Waldau) cracked up, killing his bosses and wife and taking his daughters -- three-year-old Victoria, one-year-old Lily -- on a terrifying car ride on an icy road.  They crash, wander to an abandoned cabin, and Jeffrey is going to kill his kids; before he can, though, he's killed by a floating, dark spirit -- who then gives the girls food.

Jump ahead five years, and the searchers paid for by Jeffrey's brother Lucas (also played by Costas-Waldau) have found the cabin and the girls.  Victoria (Megan Charpentier) remembers a bit of society, while Lily (Isabelle Nelisse) only remembers a few words and clings to her older sister.  Lucas and his punk-rock girlfriend Annabel (Jessica Chastain so much better in Zero Dark Thirty) take in the girls.  To keep their Aunt Jean (Kate Moffat) from taking the girls, psychiatrist Dr. Dreyfuss (Daniel Kash) arranges for a house where the family can live, and where he can interview and study the kids.

But the girls didn't come back alone.  Victoria and Lily both mention "Mama" as keeping them safe in the woods and at their new home.  Dreyfuss first thinks "Mama" is a part of Victoria's psyche, but he soon gets investigates a story of a 19th-century mental patient Victoria shouldn't know about but does.  Strange things start happening around the new house, and when Lucas is injured Annabelle becomes the surrogate mother.  And then the killing starts...

Mama works best early on, and the little kids hide and scutter about like animals as they readjust to human lives.  There are nice glimpses of something unusual going on, as the strangeness seems to happen out of the corner of the filmgoer's eye.  Unfortunately, too soon the movie becomes a series of loud noises and sudden camera close-ups, plus a fairly routine cgi critter.  The movie doesn't seem to have any consistency to its own rules (the monster kills people, or injures them, or puts them to sleep, almost at random) and the terrific feral kids are soon reduced to shrieking.  Mama starts strong, but it could have used more of its woodland element and subtle side and less of the rampaging monster.

Overall grade: C
Reviewed by James Lynch

1.15.2013

Intel Core i3-3217U

Intel comes out with new processors at a fairly predictable pace.  The latest are the so called "Ivy Bridge" parts, which are the die shrink to the 22 nm lithography process.  This latest chip is known for its more robust integrated graphics, HD 4000 in the faster form.  I recently was looking for benchmarks on the Core i3-3217U chip, and could find little written specific to this processor.  It seems that the faster chips get more of the attention, while the more pedestrian gear is quietly launched.

1.14.2013

ZERO DARK THIRTY

It can be tough to tell a story where everyone knows the end, but the movie Zero Dark Thirty manages to turn the hunt for Osama bin Laden into an engaging procedural of an international manhunt.
A year or two after the 9/11 attacks, CIA operative Maya (Jessica Chastain) arrives from Washington to Pakistan to hunt down every lead in order to find and kill bin Laden.  She's paired with Dan (Jason Clarke), a CIA operative who introduces her to the harsh necessities of physical and psychological torture of terrorist prisoners.  Maya soon becomes convinced that the key is finding Abu Ahmed (Tusharr Mehra), who she believes is the courier working directly with bin Laden.  There are plenty of obstacles, though, from her boss Joseph Bradley (Kyle Chandler) wanting her to focus more on domestic terrorism cells, to the terrorists attacks involving Maya and her team.  But she bounces around the Middle East -- mostly in Pakistan and Afghanistan -- putting together the clues and evidence that leads to the inevitable Navy Seal raid on what is now a familiar compound...
Zero Dark Thirty has become infamous for mixing fact and fiction and coming up with the conclusion that the U.S. torture of prisoners was key in getting bin Laden -- and that's an undeniable part of the movie.  Maya's initial abhorrence at seeing the way prisoners are treated soon becomes forgotten in her quest to piece together information -- what the prisoners lie about, as well as what they reveal -- and find her courier.  Indeed, characters acknowledge that they'll be taken to task for torture but they never feel any regret or remorse over doing what they felt was necessary.    
But Zero Dark Thirty is a work of fiction, and it's a credit to the movie that it feels so much like a factual account.  Director Kathryn Bigelow (who looked at the addictive nature of war in The Hurt Locker) takes us into a place where Maya's whole world is the unrelenting pursuit of what she believes is her biggest lead.  When a higher-up asks what else she's done for the CIA and she says "Nothing.  I've done nothing else," it's not an exaggeration: We know nothing about her family, friends, or life at all before her quest.  Her whole life -- from friends to world outlook -- is the hunt; even when Dan leaves to try and life a somewhat normal life, she can't think of anything but staying behind.  This world isn't glamorous (sources betray their cause for money, while coverage of real-life terrorist attacks remind us of the continual danger) but it all leads up to the final raid -- which is somehow ironic, given that all the street planning and moral sacrificed led to a clean, high-tech assault.  Jessica Chastain is terrific as the woman of absolute determination; there are a variety of actors making brief appearances (from James Gandolfini, to Mark Duplass to John Barrowman), but for all the teamwork, deals, and betrayals, it's Maya who is at the center of everything.

Zero Dark Thirty has stirred up controversy and discussion -- which is something a good movie does -- but even those who disagree with its methods will be hard pressed not to feel gripped by its unrelenting realism and pursuit of America's most wanted villain.

Overall grade: A-
Reviewed by James Lynch

1.09.2013

John W. Campbell, WHO GOES THERE?

Ah, the terrors of the antarctic and the paranoid.  John W. Campbell's novella Who Goes There?  is a classic mix of suspense and science fiction that has inspired two movies (and one prequel) and stands up pretty well today.

Who Goes There? is about the accidental discovery of the ultimate infiltrator.  A variety of scientists are working at an isolated research station in Antarctica when they stumble upon an amazing discovery: an alien creature, and its spaceship, frozen in the ice.  The scientists accidentally destroy the ship trying to remove it from the ice, but they do manage to get the frozen creature -- an evil-looking thing with three red eyes, blue skin, and tendrils for hair -- back to their camp.  After debate, the biologist Blair gets to thaw part of it out in order to perform tests on it.

Unfortunately, the next day the scientists find that the creature has escaped from its icy prison and was in the process of killing and duplicating one of the dogs when the scientists found it.  The scientists conclude that the Thing can copy its prey both physically and mentally -- and it may have already replaced one or more of the scientists.  Blair had to be locked away from the others because in his paranoia he might have tried to kill them -- but is he really paranoid if some of the humans aren't really humans, but the Thing waiting to replace them?  It's up to the other scientists to create a test to determine who's human, before the copies can conquer the remaining humans -- and leave the base to absorb and copy more and more people...

Who Goes There?  was first published in 1938, and it's easy to see how the fears it inspires remain timeless: eliminate the alien factor, and you have the question of how good, intelligent people behave when they can't trust one another and can't leave the place they are.  The dialogue can be a little stiff and the scientific "proof" of telepathy certainly feels dated, but otherwise Who Goes There? is quite comelling and suspenseful.

This edition of Who Goes There?  also includes an introduction from William F. Nolan, along with Nolan's unused screen treatment of the original novella.

Overall grade: A-
Reviewed by James Lynch

1.07.2013

Peter David --update

Peter David is a self-proclaimed "Writer of Stuff," and that's certainly true: He's written comic books, television episodes, screenplays, movie novelizations, original novels, franchise novels, and a weekly column called "But I Digress."  Several of his writings have been reviewed here.

Unfortunately, at the end of 2012 Peter David had a terrible stroke.  Updates on his condition and recovery are being posted on his website (currently updated by his wife Kathleen) and everyone is hoping for his recovery.

In the meantime, anyone wanting to help Peter David can buy any of his books from Crazy 8 Press (the publishing imprint Mr. David co-created) or through online sites or bookstores.  It will help him with his upcoming medical bills (and doesn't hurt him as an author, either!).

And please keep a good thought for Peter David and his family.

Written by James Lynch

P.S.  Since the post, Peter David has been improving day by day, and today he was cleared to go to rehab.  Woot!

1.02.2013

PANDEMIC

Remember when it seemed that everyone in the world was constantly washing their hands with Purell and worried about bird flu?  Well, add three diseases, have them appear and spread through the world an alarming rate, and you have Pandemic.  This cooperative game from Z-Man Games has 2-4 players working together to cure these diseases before they ravage the globe.
Pandemic is played on a board reminiscent of Risk, where major cities are connected by lines and wrap around from one side to the other.  Four diseases -- represented by yellow, red, blue, and black wooden cubes -- are breaking out and spreading through the world.  At the star of the game, three cities have three cubes, three cities have two cubes, and three cities have one cube each.  These cities are picked from cards the Infection Card pile, and their cards go in the Infection Discard Pile.  (This will become significant shortly.)

The players all select a random role, get a number of Player Cards (usually a location on the board, though sometimes a useful Special Event card) based on the number of players, and place their pawns at the Research Station in Atlanta.  On each player's turn they can perform four actions: move from one city to a connected one; discard a card from their hand to move to that city; discard the card of their current city to move anyplace on the board; discard the card of their current city to build a Research Station there; move from Research Station to another one; discard five cards with the same color to cure that disease; treat a disease in their city by removing a cube from that city; or giving another player in the same city the card for that city.  Each role has a unique benefit; for example, the Medic can remove all the cubes from a city with one action, while the Scientist only needs four cards of the same color to find a cure.  If all four diseases have been cured, the players win!  If not...

After a player takes their actions, they draw two cards from the Player Draw Pile, then act as the Infector, drawing a number of cards from the Infection Draw Pile equal to the Infection Rate (which starts at 2 and can go up to 4), putting a cube in each city and putting the cards in the Infection Discard Pile.  And if a player ever has more than seven cards, they have to immediately discard down to seven.

Then there are Epidemics and Outbreaks.  The Player Draw Pile has a number of Epidemic cards (four in an easy game, six in a normal game, eight in a hard game) that make things much, much tougher.  When an Epidemic is drawn, the Infection Rate counter goes up, then the bottom card of the Infection Draw Pile is drawn and that city gets three cubes.  Then all the cards in the Infection Discard Pile get shuffled together (including the card just drawn) and put on top of the Infection Draw Pile.  This makes an Outbreak much more likely.

Any time a city would have four cubes, it has an Outbreak.  This means every city connected to that city gets a disease cube of that color from the stockpile; and if one of those cities has three cubes, it has an Outbreak, spreading a cube from the storkpile to each adjacent city (though a city can only have one Outbreak per turn).  In addition, each Outbreak moves the marker down on the Outbreak Indicator.

There are three ways to lose, and all are very possibe.  If you ever need to draw cubes of a certain color but no more are available (usually to Outbreaks), the players lose.  If the Outbreak Indicator reaches eight, the players lose.  And if the Player Draw Pile runs out of cards, they lose.


Pandemic is a very challenging, tense, and thoughtful game.  If players focus solely on finding cures, the diseases can spread and make the number of cubes run out.  If players spend their turns getting rid of the cubes on the board, they won't find the cures they need to win.  The cards played to move around the board are same ones needed to cure the diseases, and they don't return to play once used, so card usage is critical.  (The seven-card hand limit is also a problem, as you discard cards someone else might have needed.)  And the game ending when the Player Draw Pile runs out puts a very real ticking clock in front of all the players.  Pandemic is a fun challenge for the players to work together and figure out how to win, while watching out for the multiple ways they can suddenly lose.  It's possible to think victory is assured and then find things take a turn for the much worse, and no matter how often it's played there is no one clear path to victory.

Overall grade: A-
Reviewed by James Lynch