text:
Diana Barrymore
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Guest: Diana Barrymore
Sunday, July 14, 1957
Guest: Diana Barrymore
Sunday, July 14, 1957
|WALLACE: And now to our story. Diana Barrymore was the child of an extraordinary couple, actor John Barrymore and Michael Strange, a society woman turned actress and writer. But after a promising start on Broadway and on Hollywood, Miss Barrymore swapped her birthright for alcoholism, three tempestuous marriages, and professional failure. Now, though, she is attempting a stage comeback following the publication of her controversial autobiography Too Much Too Soon. Diana first of all, I'd like to know why you wrote a book that reveals intimate and sometimes shocking things about yourself, your family and your friends. Time Magazine, back on April 15th, suggests one possible reason for your writing the book. They said, quote: "If a former glamour girl is down about, shaken by the DTs, and degraded by three nightmare marriages plus numerous vulgar affairs, How can she rehabilitate herself? She simply writes a book about it all." What about that, Diana?
|BARRYMORE: Well, Mike, while we were talking a little bit before, you said the first one might be a tough one. Oddly enough, Time Magazine in one respect was quite correct, because in writing the book I got rid of all sorts of inside frustrations that you usually only get rid of on a psychiatrist's couch over a period of many years. I was lucky enough to have Joe Franck as my collaborator who became very much of a father to me during that time. He needed the patience of Job, believe me. And it did something for me that nothing else could have done...
|WALLACE: In other words...
|BARRYMORE: ...to write it out, and admit it all...
|WALLACE: ...to get it down, where you could see it, it was kind of a catharsis and gave you a fresh start.
|BARRYMORE: Exactly. Mentally.
|WALLACE: Well, granted writing the book did help you work things out in your own mind, why having written it, did you publish it for the world to see? When you had revealed so much, and so graphically, the past of your family and friends, you named names, you told some pretty nasty things, about a good number of people. People the whole world knows and...
|BARRYMORE: Maybe they were nasty, but they were true.
|WALLACE: ..and, with you and Mr. Franck, the two of you putting this thing together, did you never come to the spot where you said, "No Gerald, I... maybe we'd better not tell that, it can't do any good." For instance, you said certain things about your father, some pretty awful things about your father. Now, for what reason did you have to be so graphic in telling about certain of your father's activities?
|BARRYMORE: Well, I think that it made people understand him a great deal better, people who... really Mike... who knew him in the later years... understood this tortured man, and what made him behave the way he did, was certain things that Mr. Fowler did not use. I thought I was writing it from the point of view of his daughter, who was, to put it mildly, a little... disappointed at times. After all, you've read the book, and you know that I never saw very much of him. And I guess I expected too much; if I knew him now, it would all be very different. But I wasn't mature, and I was only writing about my reactions at that age.
|WALLACE: Well, actually, the one incident that I have reference to happened when you were quite a mature person and he was a pretty sick man, and an older man. It happened at his house out in Hollywood.
|BARRYMORE: I might have been twenty, Mike, but I wasn't mature.
|WALLACE: Tell me this Diana, you, yourself, said in the book, you said, "Nobody has had more advantages than I" Your father was a great actor, your stepfather Harrison Tweed a distinguished person, your mother Michael Strange, a writer, actress, member of society. With that kind of background, how do you account for your... for your fall, for the drinking, the unhappiness, the immorality?
|BARRYMORE: Well, I'd say the title of the book explains it very much. When you have everything, unless you're a very stable human being or have some stability in your life, in your surrounding life, like your parents for instance, you are very liable to go off half-cocked, which is indeed what I did. I didn't have anybody to tell me what to do. You know, governesses, and maids and butlers and heaven knows what, they can't tell you anything, no one ever did.
|WALLACE: So, in a sense, Too Much Too Soon was a story, of really, Diana Barrymore, in a sense... in a sense anyway, blaming almost everybody else but Diana Barrymore.
|BARRYMORE: No Michael, that is not true. I blame myself. I don't know. I've had very different types of letters, very pro and con. There's practically nothing in the middle, about any of these letters. Half of them have said, "Oh really, who are you blaming, just what you..." Some of the others said they could understand it.
|WALLACE: Well, certainly, you did say that your environment, mother, father, people, society, Hollywood, theater, alcohol, whatever, all had a bad influence on you. Now, part of your environment was...
|BARRYMORE: That could've, should've been good.
|WALLACE: That could've, and should've been good. All right. Part of your environment was so-called, society. You were a debutante here in New York and in Newport. Yet, last week you told our reporter that you would like to be received back into society. Why?
|BARRYMORE: Well, because my mother told me something about eight years ago. She said you'll find that ladies and gentleman wear well. And I thought at that time that that was a snobbish remark, but I see what she meant.
|WALLACE: What's that?
|BARRYMORE: Well, I'm, certainly, not going to tear down my profession or any profession, but when you have been, so-called, reared as a society girl, something happens to you later on in life when you almost certainly... when you knew the riff-raff that I knew that were not necessarily in the arts in any respect, or... well, in any profession, but I mixed myself up with such monsters that when I've seen some people lately who're... that I knew as a debutante, I found them quite refreshing. It was nice to be back in that class of people for, a while I assure you, but I would never, not only not go back to it, I don't think they would take me back, except for a weekend.
|WALLACE: Well, (LAUGHS) how does that square with what you, yourself, wrote about society in Too Much Too Soon. You wrote, quote, - this is Diana Barrymore - You wrote, "Let's face it, society is pretty vapid, it's a round of emptiness and snobbishness and eternal boredom" And then you graphically described immorality in so-called high society. Is that what you want to get back to Diana?
|BARRYMORE: That book was finished two years ago, Mike. I've changed.
|WALLACE: Has society changed?
|BARRYMORE: So far. The people that I have seen have changed. I was writing about certain young ladies and certain house parties that shocked me, and what made me even say that was the fact that everyone is so willing and eager to put any... you used the word immorality three times...
|WALLACE: Uh-hum.
|BARRYMORE: Actors, people in the public eye. Not necessarily actors, people like yourself, people who the public knows...
|WALLACE: Uh-hum.
|BARRYMORE: If you make one wrong move, you've had it. You know the things you read in the newspaper about Mr. and Mrs...
|WALLACE: Whomever.
|BARRYMORE: Smith or whoever, rather shocking things of husband and wife swapping and various things. Well, I wanted to point out that really it wasn't just people in the theater that were the only... people with a rather stigma attached. It still exists. Far less...
|WALLACE: And, you believe... you believe that it exists in society and yet you express the desire to be accepted by these same people, about whom you write with such bitterness almost.
|BARRYMORE: Well, it was a bitter thing two years ago. I'm a very different person.
|WALLACE: But I still maintain or I still ask, are they...? But let's get ahead to something else...
|BARRYMORE: No, no, all right...
|WALLACE: Well, whatever you want. We can stay here or continue. I think that you'll see where I'm going after a while.
|BARRYMORE: This is like the challenge, when you can't answer, come back. All right.
|WALLACE: Yeah. In addition to your desire to get back into society, I'm told that you'd also like to get back into Hollywood films. Now, in your book you describe Hollywood as a somewhat less than admirable place - excessive drinking, late parties, easy morals again - here we are back again. You say I've mentioned immorality, three times up to now, but in a sense that is the thread that runs through your book. This is Diana Barrymore's complaint about so many of the people, and so many of the situations to which she has been exposed. So, let me ask you two questions about Hollywood.
|BARRYMORE: Yeah.
|WALLACE: First, the Hollywood that you wrote about. Is it really Hollywood, or was that just the part of Hollywood that you associated with?
|BARRYMORE: It was the part that I associated with, I guess. However, in Hollywood, I didn't... I think I mentioned it once... a woman like Elsie Mandle were it couldn't have been chicer and was the top-drawer of Hollywood, but I wanted to see everything and try everything. That's been my trouble.
|WALLACE: Uh-hum. So you think that you probably saw what was not representative of Hollywood?
|BARRYMORE: I am quite sure I did. By that, Mike, when I said that I wanted to go back, I meant... to make a picture of course, I would. When you leave, not under a cloud but when you don't make the grade, your first reaction always is to knock it. Nobody who was really a success out there knocks it, if they got three successful pictures in the can or something. As a rule.
|WALLACE: Let's take a look at a... at your... in other words the reason you want to go back to Hollywood is pure and simple to be a successful motion picture actress and you think that you can handle yourself and stay away from some of the less admirable aspects of Hollywood that you were not able to stay away from?
|BARRYMORE: I hope so.
|WALLACE: Let's take a look at your attitude about another problem of your past. Despite your trouble with drink, you wrote this Diana, at the end of your book. You said, "I finally reached the conclusion about myself and alcohol; I would never be able to give up drinking completely." Now, doctors warned that all alcoholics... any alcoholic, courts disaster if they ever get off the wagon. And I would like to know why you think you are an exception?
|BARRYMORE: That is a misconstrued sentence, that... I mean, it's not. The sentence isn't, but you didn't understand what Gerald and I were trying to get at. At that point I hadn't, I did... before it was finished, this did not come you know, at the actual end of the writing. We discussed the end, as we didn't know what in the name of heaven we were going to do. I wasn't a success, I hadn't opened in a big Broadway show, it was all not hearts and flowers in my life by any means. At the moment, I don't drink, I hope to be able one day, in perhaps in the near future, the very distant future, to be able to drink like a normal human being. And that may never be possible. I don't know.
|WALLACE: With your permission we spoke with Coronel Edward Towns who is the director of the Towns...
|BARRYMORE: Yes.
|WALLACE: ...clinic in New York where you were treated two years ago. And Coronel Towns told us this, he said, "Before Miss Barrymore left us, I told her that she was either an alcoholic or on the borderline. And that if she didn't want to wind up back here, she should steer clear of all alcohol, even beer!"
|BARRYMORE: Yes, he did.
|WALLACE: And you're trying?
|BARRYMORE: I am. To the best of my ability.
|WALLACE: Uh-hum... all right then. But from what you say, Diana, let's take drink aside. From what you say, and perhaps... perhaps I am laboring from a misconception here, it seems that in a sense you are prepared to go back now to the very things, some of them anyway, that you blame in your book for dragging you to the end of your rope, to the point of an attempted suicide - society, Hollywood, and possibly even drink - what I would like to know is this, what makes you think now that you have the strength, the understanding, the courage to handle these things?
|BARRYMORE: Well, I am glad you asked me that, Mike. There is a very simple answer. I was always alone apart from friends, or husbands or anything else, totally alone, through my own fault, stupidity, I have no idea. And I just met a woman a year ago, called Viola Rubber, who took a chance on hiring me for a new play, to try out. And she has been practically with me, constantly, ever since, because I know I am not strong enough yet alone. I admire people who are. Maybe it'll happen one day, but without this woman, it couldn't have happened. I had somebody. I have someone to cling to, and someone when I get upset and think "Oh boy, if I could only get to the nearest bar I'd call her up."
|WALLACE: So, in other...
|BARRYMORE: ...So sort of, she is like...
|WALLACE: She is your rock for the time being...
|BARRYMORE: Correct.
|WALLACE: ...and she is trying to give you enough strength to go on by yourself eventually.
|BARRYMORE: Yes, and career-wise too, since she is a producer and has produced in London, and we hope to be going over to do a play. If you have someone who believes in you as an artist as well as a human being, you are very lucky.
|WALLACE: Diana, we mentioned a moment ago, that when you hit bottom two years ago, you tried to commit suicide. I'm going to ask you a question now that I'd would like you to think about for a while. I'd like to know, whether you think suicide is ever justified? And we'll get the answer to that question in less than thirty seconds.
|WALLACE: Go. Newspapers carried headlines that you had attempted suicide. You wrote about it in your book too. But in the book, you didn't ever talk very much about your attitude towards suicide. Do you think that it is ever justified?
|BARRYMORE: No, I don't. If I'd thought about it, I don't think I would have tried it. I was about to be... it's all in the book, so I can say it... I was about to be, maybe kicked out of Equity for behaving badly on the stage, and my personal life was in rather bad shape, and I just thought, "Oh, what difference does it make, why wake up!" That's as far as it went. There was no... you know, I didn't think of the day before, the week before, so this is the only way out.
|WALLACE: Uh-hum.
|BARRYMORE: I never even thought of the people I would be hurting...
|WALLACE: But, you tried...
|BARRYMORE: Who probably were very few, and I certainly do not believe it is justified. No.
|WALLACE: You're a Roman Catholic, Diana?
|BARRYMORE: Yes.
|WALLACE: As we know, the Church, your church, considers suicide a sin. Has your religion helped you in any way to find comfort, self-discipline, truly?
|BARRYMORE: I wasn't... ready for it, then. They were ready for me. They wanted me back in the fold. They tried very hard after each divorce. They said, "But you've never been married, and so, you can come back" I think anything that is forced upon you, as my religion was forced on me as a child. - You know, Church every Sunday, prayers at night, which is admirable - but it was done, it seems, in a rather odd way. I mean, Mother didn't take me to Church, the governess did.
|WALLACE: But I think that's probably true of a good many of us: church, prayers, Sunday school, that's all forced upon us.
|BARRYMORE: Yes, but it depends upon the way. I mean, they used to be rather grand about it. I know that my brother and mother, both looked upon the church as... at one point, even made a remark that it was a marvelous show, and the costumes were good. Now, you hear something like that and you think, "Well, is this their attitude toward religion, then why do they make me go? Why do they want me to go?" The convent was so long ago, I don't remember. I go to Church now, but I don't go to mass very often. But I... when I do feel in trouble, I am like anyone, of any religion. They don't even have to go into their own church... just go in, and sit down and be calm, for a while.
|WALLACE: I understand, Diana, that you have said that a home and a family would be the best thing for you, after you complete your professional comeback. You've been married three times. Why do you want to postpone another attempt at marriage? Why are you willing now to go back...?
|BARRYMORE: Well... it couldn't be simpler. I just haven't met anybody I want to marry yet.
|WALLACE: (LAUGHS) But there isn't anything in your mind. - It's a perfectly sensible reason - There is nothing in your mind, that... that makes you say, "No, I've got to do something first, and then I will be ready for the other."
|BARRYMORE: I think it only fair, because the next man I'll marry, I don't want him to think of me the way my other husbands did when they even said Miss Barrymore... I want to be Mrs. Somebody. And I want to forget about being an actress and try being a wife, because I find it very hard to be both, at the same time.
|WALLACE: Tell me this, and I say it to you quite sensibly. Do you think, Diana, that you could make a good parent?
|BARRYMORE: Yes, I do. Don't ask me why, we'll need another program.
|WALLACE: Why? Why...?
|BARRYMORE: Why do I think I'd be a good parent?
|WALLACE: Yes, yes, why?
|BARRYMORE: Well, it isn't the love of children. There's plenty of people who love children who are impossible parents. But I think I could... through my own mistakes, the mistakes of my parents, the mistakes of other couples that I know with kids, and the way they live and the way they treat their children. Everything in life you learn every day, and I think that I would be a good mother.
|WALLACE: As we...
|BARRYMORE: Skirting the issue in a way, but that's a fantastic question, Mike.
|WALLACE: Yes, yes. For two or three minutes that we have left... As we have time now, I would like, quick capsule opinions of some of the following anyway: Fame.
|BARRYMORE: Unhappiness.
|WALLACE: Your father, John Barrymore.
|BARRYMORE: There is only one word. I can't in one capsule thing, it was too late. Too late for him, too late for me.
|WALLACE: Alcoholics Anonymous.
|BARRYMORE: It didn't work for me.
|WALLACE: You, I dare say, have friends for whom it has worked?
|BARRYMORE: Indeed I have.
|WALLACE: You tried...
|BARRYMORE: Whom it has, and whom it hasn't.
|WALLACE: Psychoanalysis.
|BARRYMORE: Stupidity.
|WALLACE: Why?
|BARRYMORE: It didn't help me.
|WALLACE: You really tried?
|BARRYMORE: I really tried. It just... (CLEARS THROAT) maybe if I had stayed for a long, long, long time, it didn't get me thinking about anything I didn't want to think of. I just thought I wasn't getting anywhere. The psychiatrist didn't, but... I did.
|WALLACE: The Social Register.
|BARRYMORE: Too small a book.
|WALLACE: One last question Diana. One of the so-called American Dreams is to be born into a famous family with money, go to the best schools, to become a Hollywood actress, and you have had every bit of that. But for those who have been less fortunate, perhaps than yourself...
|BARRYMORE: You say less, I say more.
|WALLACE: Well, has there been anything really enviable about your life?
|BARRYMORE: No. Not so far.
|WALLACE: Nothing at all?
|BARRYMORE: I wouldn't say so. Would you?
|WALLACE: What makes you happy, Diana? What do you like to do? What...
|BARRYMORE: Cook. And you'll never believe it. The only way you will is, please come to dinner.
|WALLACE: May I bring my wife?
|BARRYMORE: You certainly may.
|WALLACE: Tell me this...
|BARRYMORE: Oh!
|WALLACE: (CHUCKLES) Now, now truly, you say cook.
|BARRYMORE: Yes.
|WALLACE: There is nothing else that...
|BARRYMORE: ...The hausfrau, you see. No, because, more of me, is a woman with a kitchen, than someone with a curtain going up and down.
|WALLACE: And yet you are going back into the theater; you can find your happiness in domesticity evidently.
|BARRYMORE: Yes.
|WALLACE: And yet, you are willing to go back into the break-neck competitive business of theater. You're going to... you're going to make yourself available to all of the potential trouble that you made yourself available to before.
|BARRYMORE: Yes, because I think I have learnt Mike. I hope I have.
Start of film
Interview too late
Digitization credits
The Mike Wallace Interview:
Diana Barrymore
The Diana Barrymore interview was digitized by the Harry Ransom Humanities Research Center and Quinn Stewart, School of Information, University of Texas and indexed by New Media UFM Guatemala in March 2007.
Project coordinated by: Steve Wilson (HRHRC), Quinn Stewart (School of Information, University of Texas) and Grete Pasch (UFM). Rich media players and software tools by GLIFOS. Hosting and technical support provided by Shane Williams, David Wilson, and the School of Information IT Lab.
Made possible by a grant from the Institute for Museum and Library Services.


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Articles with keyword "National Humanities Medalists"
Winners of the 1998 National Medal for the Humanities
This year's recipients of the National Medal for the Humanities: Stephen Ambrose, E. L. Doctorow, Diana Eck, Nancye Brown Gaj, Henry Louis Gates, Jr., Vartan Gregorian, Ramón Eduardo Ruiz, Arthur Schlesinger, Jr., and Garry Wills
National Council on the Humanities: Seven New Members Named
Linda Lee Aaker, Edward L Ayers, Ira Berlin, Pedro G. Castillo, Evelyn Edson, Peggy Whitman Prenshaw, and Theodore Striggles.
Changing the Channel
Medalist Brian Lamb talks with NEH Chairman Bruce Cole about the early years of C-SPAN.
Helen Vendler: The Poem Unfolded
A poet writes about the critic's talent for listening closely.
Extraordinary Lives
A group who saved Western art from Nazi looting and a California farmer who redefined ancient warfare are included in the latest list of National Humanities Medalists.

subset: commoncrawl


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I finally surpassed $1000 net sales today. It's been a frustrating time. I always feel like no one is buying and yet when I look at the statement, each month is better than the month before. Interesting psychology! I'm going to get back to work in the studio and produce more content!
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- Bronx Banter - http://www.bronxbanterblog.com -
Get You Too Far
Posted By Alex Belth On January 8, 2011 @ 10:05 am In 1970s,Arts and Culture,Beat of the Day,Bronx Banter,Pop,Soul | Comments Disabled
Soul Singer.. [1].
Article printed from Bronx Banter: http://www.bronxbanterblog.com
URL to article: http://www.bronxbanterblog.com/2011/01/08/get-you-too-far/
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[1] Soul Singer..: http://nymag.com/arts/popmusic/features/70260/
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The Darkness II
Review by LeQuack147
"Embrace the Darkness Jackie..."
The Darkness was a "good, but not great" kind of game. The story was excellent, but the gameplay wasn't always up to par. The sequel does a great job of addressing the flaws of the previous title, but does make a couple mistakes of its own. Overall, however, it is a massive improvement.
Storyline- You think they'd learn by now, don't mess with Jackie.
A couple years after the first game, things are going well for Jackie Estacado. He's learned to suppress the Darkness, he's head of the Franchetti crime family. Then this secret organization called the Brotherhood decides to ruin all that. Their goal is to convince Jackie to give up the Darkness, so they can use it to screw over the world even further. They don't seem very bright though. They threaten what little Jackie has left, which is what Jackie's Uncle Paulie tried in the first game. Seeing as we're on the sequel, you can guess how well that went. Funny thing being, Jackie doesn't even want the Darkness. If they'd asked nicely to begin with, in a way that didn't scream "We are an evil organization bent on ruining everyone's day, including yours," he probably would have handed it over. Meanwhile, the Darkness is back to using Jackie's girl-friend, Jenny, to manipulate him. This is pretty impressive considering she died, in the first game, because of the Darkness. All the same, Jackie's convinced that working with the monster inside will help her, and it's not like anyone will complain if this group is eliminated. Still, it's a good story, and watching Jackie and the Darkness clash is always fun.
There's a few characters, mostly Jackie's fellow gang members. Only two or three of them get any attention, but you can always walk around Jackie's base of operations to hear them chatting. They generally do more talking than Jackie does, explaining the next mission and what it entails. The conversation mechanics from the first game are still there, but as before, there's not all that much you can do with them. It's more an extra accessory than a main feature. It's also good to see more characters on the supernatural side of things, such as the expert on all things magical, Johnny Powell.
Along with the campaign, there's a side mode called Vendettas. It's a multi-player mode where you control part of a separate team going after the Brotherhood for their own reasons, but being directed by Vinnie, Jackie's right hand man. Considering it's even shorter than the main game, I was surprised that they put just as much work in here. The squad consists of stereotypical characters, like a Scottish brawler, and a Voodoo Priest. Still, their interactions feel genuine, such as when they're thanking whoever just helped them up, or they're celebrating a successful job back at the poker table that serves as the staging area. It also means more screen time for supporting characters like Johny Powell, which is good.
My only major complaint on the story is that it's a little short. I've heard "six hours" thrown around, I think it took me a little longer. Granted, this isn't all bad, it keeps the plot advancing. But considering how much work they put into this game's story mode, I wish it had lasted a little longer.
Sound- Bang, slash, gurgle.
First thing: Bad voice acting would have killed this game. You wouldn't be able to play with a straight face if, say, Jackie was voiced by Bozo the Clown. This game takes itself very seriously, and a bad performance from one of the VA's would have made it impossible for a player to do the same. But they did a great job, and that has added to the experience immensely.
Take Johnny Powell for example. He's knows everything about the Darkness, and the new faction pursuing Jackie, but he's just a little bit off. He's neurotic, and jumpy, and tends to get side-tracked when he's explaining something, especially with the pronunciation. Basically, he's what I imagine I'd sound like, if I was explaining supernatural beings to a jaded mafia hit-man. He even summarizes the last game for anyone who didn't play it. It was also a nice touch to have him explaining all the relics you pick up over the course of the game. It wasn't needed, but they did it anyway. Hell, they didn't even need to give us relics that actually had back-story. His narratives are informative while his personality keeps them entertaining.
Another example is Jackie's Darkling. The Darklings in the first game were voiced too, but they weren't nearly as memorable, as the dialogue was split between 4 of them, and thus whatever humor was brought with them was spread rather thin. This new Darkling has a concrete personality, not just random remarks as he assists your attack.
Now if only they'd put the same care into the weapons. The guns sound pretty much the same, which is frustrating. At least the execution attacks sound as good as they look.
Graphics- A new style for a new game.
An interesting new change is the graphical style. The first game had mostly realistic graphics, barring, of course, the manifestations of the Darkness. This new stuff is cell-shaded, which maybe be a problem if you preferred the style from the last game. I'd say it still looks good, new style or not. The executions are suitably gory and painful looking, and the guns are nicely detailed. The game is almost-exclusively urban environments, but this is no surprise. While they may not be all that varied, these areas are equally detailed.
One problem is telling where the what sections are lit and which bulbs are lighting them. As a darkness-fueled abomination, lights are very dangerous, and I couldn't always tell a light was there until my powers were already snuffed out. When this happened in the middle of a major gunfight, bad things resulted. Not just because I now lack the ability to heal or summon bladed tendrils, but also because it's akin to being repeatedly hit by flash-bangs. So, of course, there are enemies with giant flashlights later in the game, and they are annoying. They did help me get more in-character though, by the end of the game I wanted to disembowel every single one of them.
Another complaint I have is with the irons. Thanks to the new graphical style, iron-sights don't work that well because of the bloom. It's kind of funny, but the big blue dot from the last game would be preferable here. Not a big deal for close combat, but a few sections have guys ducking behind cover at a distance, and you need some precision.
Gameplay- Everything is going to die, the game.
The game is more linear than it's predecessor. I'm not sure what I think of this. The actual missions of the first game were linear too, but they were connected by a series of streets and subway stations. Between the NPC's and the side-quests, it felt like a real city, full of people taking care of their own business as you took care of yours. I miss that. They also took out the little payphones you could use to call the numbers you found while on missions. It was a small, humorous mechanic to toy with in-between murdering everyone who looked at you funny.
This game is centered around killing. You can be quick, you can be flashy, but the levels will always end up covered in gore. Killing nets you points to put towards improving Jackie's abilities and giving him new ones. The gameplay feels a little like Bulletstorm, in that the fastest kills aren't the most rewarding. While the combat doesn't always flow perfectly, it has been streamlined from the first game. Jackie now has the option to run, a major improvement from his lethargic pace in the last game. Instead of swapping between Darkness powers as necessary, they're all mapped to their own buttons. 1 for slashing, 1 for grabbing, 1 for super-charging your guns, you get the idea. Instead of cycling through your weapons, you can choose using the D-pad. This means less actual weapons on your person, but seeing as it allows you to smoothly transition from your shotgun to your pistol to having a pistol in each hand, I'd say it's worth it. Also, you don't have to waste time re-summoning dead Darklings anymore. Jackie's new Darkling will reincarnate himself shortly after each death, and he's much more active and than his predecessors. He rarely kills targets outright, but he does render them vulnerable to your own attacks. He also hovers around your current goal when the fighting stops, which, combined with the "remind me what I'm doing" button, made sure I was never wandering an area looking for how to proceed.
The big new feature in this game is the execution system. The first game had a similar thing, where attacking with a gun at punching range gave a cool kill animation. They basically expanded this concept, but now it only uses the Darkness for the attacks. Executions grant you the most points, as well as granting an extra bonus. There is a good number of execution attacks, but seeing as you'll be using them all the time, they'll lose their luster eventually. The execution attacks work well, surprisingly. Normally, having a long, drawn-out killing sequence is a death sentence when the room is full of enemies, but this game keeps you invincible while the animation is going. I'll admit, you may end up abusing it to avoid major attacks, like I did, but it's preferable to the alternative. Once you've got the full load of execution attacks, you can use your enemies to heal, replenish your ammo and powers, or give you a bullet-proof shield.
One of my favorite things about this game is that your abilities don't slow the pace down, the accelerate it further. The Gun Channeling and Swarm abilities let you plow through smaller groups of enemies which would otherwise force you to take cover. The ability to quickly grab a heart or a pistol or a shield stops you from losing momentum in a pitched fight. You even get an ability to speed up the loading of the next round on the pump action shotguns. You wouldn't get away with trying to clear a room in 1 continuous charge in, say, Call of Duty's single-player, but it works here, and better yet, it's fun.
The system isn't perfect though. The ammo supplies of the guns here are lacking, and I kept dropping my gun accidentally, because "Switch with gun on floor" and "Eat heart" are mapped to the same button. Dual-wielding isn't all that practical, partially because of the limited ammo, and can be a pain to do correctly when you've got a semi-auto gun in one hand and a fully automatic one in the other. Also, the Darkness shields tend to drop through the floor if you put them down for more than a couple seconds, which you'll end up doing to grab more hearts and ammo. I can't tell if it's a glitch, but it's certainly not helpful.
The boss fights were ok. Most of them were just bullet-sponges, but they were a lot more mobile than most bosses I've fought. Of course, they usually accomplished this through teleport spam, so that might get on your nerves. They're also nice enough to throw standard enemies at you. Combine this fact with what I said about the execution system, and you avoid those annoying "out of health, out of ammo" situations.
The combat in Vendettas is a little bit different. Each character gets only a small sub-section of Jackie's abilities, and executions are simplified to only give health. They each also get their own upgrade trees, though most of them are just ones from Jackie's tree applied to their power. One part of the upgrade tree works around auras, encouraging players to stick together in exchange for stat boosts.
Each of the four characters is built towards a certain style. Inugami can replicate the demon arm attacks with his sword, and is built for charging the enemy with it. Shoshanna is meant more for medium range with her gun channeling and darkness-powered shotgun. They're all fairly sturdy, and can pick each other up when their health runs out.
My biggest complaint with Vendettas is that it feels spread a bit too thin. Your characters only get 1 execution animation apiece (and as with Jackie, you'll be performing them all the time). There are less elite enemies than in single-player, which means most of your enemies are cannon fodder, and there's just not enough of them to be challenging when you're playing with a full team. That also means there isn't much essence to go around, so upgrading your character of choice is time-consuming unless you play some missions solo.
Replay value-
They do have new game plus, better yet, they let you start on any chapter when you use it, so you can jump right to your favorite part of the game with a full load of abilities after finishing. Or at least a decent number of them, seeing as I still had the top layer of all the upgrade trees to finish even after beating the game once. Vendettas is short but worth a couple play-throughs, especially if you've got someone you know to play it with.
Final Recommendation- It's a fun game with a fast pace and a good variety of attacks. The story may not be the longest, but it's certainly one of the most well-made I've seen in a while. Give it a try.
Reviewer's Rating: 4.0 - Great
Originally Posted: 02/16/12
Game Release: The Darkness II (US, 02/07/12)
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Women's Golf
Windy City Collegiate Classic
Tue., Oct 1
All day
All day
Chicago, IL
Northmoor Country Club
Northmoor Country Club
Chicago, IL
Watch Info
Not Available
Not Available
Not Available on App
Not Available on App
Not Available on App
More: Windy City Collegiate Classic - Women's Golf
A Season of Firsts
The Stanford women's golf team produced a record-breaking season in 2016-17, advancing to the final four of the NCAA Championships for the third consecutive year.
Golfers Honored
Three members of the Stanford women's golf team earned All-Pac-12 first team honors, the conference announced Wednesday.
Lee Nominated For Honda Award
Freshman Andrea Lee has been selected one of four nominees for the Honda Sport Award for Golf, it was announced was Thursday.
Great Run
Stanford's quest to reach the finals of the NCAA Women's Golf Championships for the third straight year came up short Wednesday at chilly and overcast Rich Harvest Farms.
Unfinished Business
The top-ranked Stanford women's golf team is a point away from playing for the national championship for the third consecutive year.
Lee Named Nation's Top Frosh
Andrea Lee of Stanford earned two prestigious honors Tuesday at the NCAA Championships at Rich Harvest Farm.


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In her heyday she was an international sex symbol who starred in a series of hit films including The Girl in the Bikini.
Nowadays, however, Brigitte Bardot has an altogether more sombre public image.
The former actress and model, who turns 73 tomorrow, was wearing a dark business suit while in her home city of Paris to visit French president Nicolas Sarkozy today.
The star was happy to relinquish her status as sex bomb in 1974 and focus on issues closer to her heart
Rather than strutting provocatively as she did during a hugely successful screen career, she was on crutches because of a nagging hip complaint.
Gone was the trademark pout and cascading blonde locks, to be replaced by sagging jowls covered in heavy make-up and a wiry, unkempt patch of greying hair.
At 73, Brigitte Bardot, the greying goddess
Current Status: Blessed (1)
Seeded on Fri Sep 28, 2007 12:28 PM
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If you are facing a re-inspection, or just have some queries about your ongoing accreditation, then our Practice Standards Workshops could be for you.
A PSS inspector will be there to answer any of your questions and queries. The sessions will be held from 1-5pm at Bowburn Hall hotel.
For more information, or to book a slot, please contact Fiona Harcourt on email@example.com or 020 7202 0773.
Evening debate
On the same day and at the same venue as the workshops, we will be hosting an evening Question Time-style forum, giving members of the practice team the opportunity to pose their questions to members of the Officer team and Veterinary Nurses Council. The evening starts at 6.30pm with a buffet supper, and the meeting will begin at 7.15pm.
Invites have gone out to those within reasonable travelling distance but all are very welcome. So we can make sure we lay on the right amount of food and drink, please let Fiona know if you are coming, on the details above.
The Practice Standard (May 2013)


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McDowell County Resident Guilty of State Tax Charges
Date: Nov. 23, 2009
Raleigh - A McDowell county resident pleaded guilty on Sept. 9 in McDowell County District Court on of failure to pay state income tax.
Ralph L. Childers of 221 California Ave. Apt. 1, Marion, was sentenced to 90 days. The jail time was suspended to 60 months supervised probation. He was ordered to pay restitution of $13,345.24 and file all North Carolina tax returns on time.
The charges against Childers are the result of efforts by the N.C. Department of Revenue collections office in Hickory.
Phone (919) 733-6354
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Blinding gusts of snow whitewash the scenery. Visibility could only be worse if there were absolutely no light source. Movement catches your eye. Is it just a trick played by the snow, or something much worse? You trudge onwards, desperate to make it to a source of warmth before you freeze to death. Out of the corner of your eye, you don't so much as see the movement from before as sense it. Fear washes over you, and you stop moving altogether, waiting to see if you can catch the movement again. After waiting – unknowingly holding your breath – for longer than you should have, you take off again.
Boom! A necromorph bursts out of the snow, blades slashing at you in a fury that would make angry girlfriends jealous. Gut instinct pulls up your weapon, a modified plasma cutter, and you fire straight into its gut. The necromorph keeps coming, not even registering the damage. In a frenzied moment of clarity you realize that you need to shoot the limbs. With some less-than-precise shooting, you manage to sever the necromorph's legs from its grotesque body. And then it disappears into the snow. With caution, you once again head for your objective, knowing that you're being hunted by something far worse than man. The game is afoot.
Visceral Games shocked the survival horror genre to its core with the release of its hyper-violent, utterly terrifying first entry to the Dead Space series in 2008. The debut introduced us to Isaac Clarke, who stumbled through the remains of the USG Ishimura, struggling at every turn to survive the horrifying onslaught of formerly human monstrosities and escape the cramped environment that begged to become his tomb. The second game in the series greatly expanded on the astonishing foundation of the first, setting the stage on the Sprawl, a massive space station built into a shard of Saturn's moon Titan. Unbeknownst to Isaac, he'd been "contracted" by EarthGov to recreate a Marker, the purpose of which was to stop the energy crisis on Earth and effectively save the planet. Oh, how wrong they were.
Dead Space 3 opens with an introductory cutscene that summarizes the events of the first two entries while tying in the current events of mankind, as well as introducing us to Isaac once again, an effective approach for filling in newcomers to the series and refreshing the details for long time players. Once the game takes on the perspective of Isaac, who is living on the New Horizons Lunar Colony located on the moon, the player is rapidly thrown through the hoops. Unitologists, led by Jacob Danik, are committing terrorist acts against Marker Test Labs to spread the necromorph infection, with their latest target being on New Horizons Lunar Colony. Nearly everything on the moon wants Isaac dead.
It doesn't take long for Isaac and his new crew, including the co-op available partner John Carver, to find their way across the galaxy at the planet of Tau Volantis, believed to be the very source of the necromorph outbreak. In a truly spectacular sequence, the player finds themselves hurtling through the atmosphere towards the planet in an all-too-outdated shuttle.
To keep it simple, what makes the Dead Space series so poignant is that Visceral Games knows what works with the series, but isn't afraid to innovate on their own formula. With Dead Space 3, taking the fight into not only a more open environment, but managing to keep the environments claustrophobic, is a bold new step into survival horror. When outside, you never know where the necromorphs are going to strike from since there aren't any vents to anticipate the attacks. This is offset by all of the moments that are expected of the franchise, and there are tons of instances where you feel safe, that nothing could touch you in the small room you're in, only to find out just how startlingly wrong you were.
One of the most innovative features is the new drop in/drop out co-op. This adds an entirely new element to not just the gameplay, but to the story as well. When an additional player is present the combat difficulty scales up, yet there is also the added bonus of co-op only missions. These missions play towards revealing both how John Carver is dealing with the loss of his family and how the Markers are tampering with his mind. When playing through as Carver, the player has visions that Isaac doesn't, which tend towards the player yelling at their buddy "are you seeing this?!" None of these moments are integral to the overall story, but they add a nice incentive to play through with a friend.
A staple of the Dead Space franchise is the crafting bench, which is where Isaac is able to upgrade his equipment. In Dead Space 3, this takes on a whole new meaning. As the player finds loot and spare parts, they are able to craft entire weapons of their own design, a first for the series. By the end of my first run-through, I was fairly dead set on my acid-round spewing carbine with line cutter under-barrel. The options seem limitless, and each and every take on a weapon is rewarding in its own way. If the player doesn't want to spend the time searching for loot, there's a micro-transaction screen where they can purchase a variety of packs and weapons, though finding the equipment on your own in-game isn't much of a challenge. This is made even easier with the use of the scavenger bot, which spends its time finding spare loot for the player when used.
As with any game series, adjustments to the controls and options available to the player change with time. In the case at hand, the main control addition is the ability to combat roll. This feels like a natural extension to Isaac's abilities instead of a cop out to allow players the option to avoid being hit. Too many times in the first two games I found that I was cornered and had no way to escape the situation without taking massive amounts of damage. This adds a new tactical advantage to combat, as well as the new option to crouch behind low cover.
Overall, Dead Space 3 is the perfect balance of action and horror. As a series grows, the story situations evolve and oftentimes have to grow with them to compensate, as well as for the benefit of creating new and exciting scenarios for players to experience. While this is true for Dead Space 3, and was a large criticism for Dead Space 2, they feel organic to the story and don't overpower the shock value within the rest of the game. All the way up to the explosive ending, Dead Space 3 carries the core values of the game series and expands upon them in unique and highly entertaining ways, as well as offering a wide variety of new game+ options that empower the game with extensive amounts of replay value.
If you've set Dead Space 3 aside, there's no time like the present to get the living bajeezus scared out of you.


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text: Select an amount below. Gift certificates may be redeemed via mail, phone, online, or in-store. They expire two years from issue date, but may be renewed annually by request at no extra charge. We will send you the certificate via 1st class mail. At time of redemption, during check out, the recipient enters the gift certificate code, and the face value will be credited. Contact us if you desire a different amount not shown.