Chaplin-A-Thon To Save The Fox

posted by Patrick Crowley on November 6, 2004 at 7:51 am

FULLERON, CA — The latest news from the Fullerton Historic Theatre Foundation…


In an effort to call attention to the precarious situation that our historic Fox Fullerton Theatre is in, Charlie Chaplin (professional impersonator and Fox supporter Ruben Girard) will attempt to break the world record for Charlie Chaplin impersonation by staying in character for 24 continuous hours at the Fox Theatre.

Charlie will be under the Fox Fullerton marquee from 12 noon Friday afternoon until 12 noon Saturday. We hope to also have the marquee “re-lit” all night. Charlie does not speak, but he will be happy to wave & acknowledge your pledges with a tip of his hat. He will break his silence only once, at noon Saturday, for an important announcement.

The event will be submitted to the Guinness Book of World Records. This is a great time to come by and show your support. It will be quite a scene! Bring the kids! Bring cameras! Bring pledges!

We need people to stay up all night with Charlie in shifts; please RSVP to do this.


Due to our critical situation, we are extending the deadline for donations through this Sunday. Our office is open 9-5 on Friday, and there will be volunteers at the Fox from 10 till sunset all weekend. If you need to reach us outside of these hours, we will be checking our phone for messages- please be patient; the phone rings about 8 times before it answers! We will be in touch as soon as possible.

Fullerton Historic Theatre Foundation
Mailing address: PO Box 6753 Fullerton, CA 92834
New, Expanded Office Hours: Monday-Friday 9am-5pm
Physical address (no mail, please!):
131 W. Commonwealth Ave.,
betw. Harbor and Malden, directly across from Steamer's
Phone(714) 607-0884
Fax (714) 870-5123


Comments (1)

Anna23 on April 24, 2018 at 4:24 am

By releasing Outlast in 2013, until then the little-known team of Red Barrels has influenced the horror genre. The reason for this was a simple, but elegant formula, on which you have a defenseless hero with a camera instead of weapons, drowning in the darkness of the location and invulnerable enemies – from these guys, we just run and hide. Yes, blood, more blood … Like nothing weird, but with decent graphics and success with the public, Outlast began to dictate fashion. From the unfortunate, as in Daylight , plagiarism to cautious citation in Resident Evil 7and in the host of clones made on the knee – the creative work of Canadian developers is everywhere. Let’s see if the second part could outshine the original.

Operator Blake Langermann, along with his wife Lynn, travels to the wilderness of Arizona to investigate the mysterious murder of the girl. But on the way their helicopter crashes, Lynn disappears to hell, and Blake, dropping tears and glasses, starts on her trail. Electricity in the province, where the action takes place, has not yet been carried out, so that the darkness is everywhere – even though the eye is pierced. Fortunately, the hero’s video camera, like in the first Outlast , is equipped with a night vision mode – let it quickly consume batteries, in three pines with it you will not get lost. Also, a miracle of technology helps the hero to eavesdrop on distant conversations and keeps key events in memory. In the fire does not burn, in the water does not sink – in short, the device for all occasions. And only one thing is bad – you can not break a camera’s head with anyone. It’s a pity.

Because the outset in the spirit of the “X-Files” as the plot develops into a horror movie like “Risen from Hell” with an admixture of the film repertoire Rob Zombie (Rob Zombie). It turns out that the village is teeming with religious fanatics, who do not feed bread – let someone sacrifice. And they are commanded by a truly infernal preacher named Sullivan Noth: only his portraits are not dangerous to hang out in the red corners, and only to write his sayings here is allowed to spend paper. The geography and structure of the sect are based on the history of the “Temple of Nations”, tragically ended in the fall of 1978, when more than nine fanatics went to the next world together with their leader Jim Jones . But even without this parallel in Outlast II work on the entourage is visible.

If the authors intended to wrap in the grotesque excessive religious zeal, they succeeded one hundred percent. Here are the weak-willed shadows, mumbling something about the punishment of heavenly ones, here is the terrible old Martha, killing victims with a pickaxe, and here is His Sparrow, the only fat man for dozens of miles around – just like Kim Jong-un in the DPRK. Devils out of the girls are driven out by the villain, of course, in bed, supporting the power of terror, beating babies and a set of quotes from the Bible. And how do you oppose conditional Christians with equally conventional Satanists, the difference between which is purely formal? On the other hand, Outlast IIbeats and conspiracy, including the impact on the psyche of radiating towers – in general, the ideological depth of the game is such that the bottom is not visible. Add here the quotation of everything that comes to mind in the context – from the Old Testament prophets to the “Shining” Stanley Kubrick (Stanley Kubrick). And in such and such a pot the hero has to cook.

It’s no time for him to sit on the closets, taking his breath away. Let the developers diversify the mechanism of hide and seek, allowing Blake to crawl under the bed, jump into the barrel, dive for a while under water or simply lock the door behind him, you will be surprised to find that the enemy also knows how to crawl on all fours, swim, and run off the latch not too difficult. Therefore, despite the variety of cottages, absolutely reliable shelters are not here, and the fanatics coming along the heels do not become smaller as they move to the denouement. Feelings they have sharpened – if necessary, make out the hero in the darkness of the head, and kill with a couple of strokes. That immediately sets a high rate: the main occupation in the village of maniacs is running with obstacles, occasionally interrupted by hallucinations about the school, where a parallel story line develops.

Moments of transition from reality to, say, associative hell are furnished without mounting glues, just as organically as chases – then the door will open not there, then the tentacles from the well will grab Blake under the mikitki. In other words, when compared with the first part, Outlast II is a more meaningful, driving, integral and meaningful for the culture of horror product. But the trouble is – all do not care.

Indeed, through its debut in 2013, the studio Red Barrels placed the snare, which itself and pleased. This is the same with the filing of the first Outlastfashioned bloody horror-attractions, where every second angle awaits “screamer”, and from every second tree hangs a corpse. That in the original, that in the second part of the suspense, that is necessary for the genre to inflate the atmosphere, crumpled into a bouillon cube – here’s a minute for the exposition, and it raced. Only there it at least worked, because it was fresh, but now it became the common place of most horror, and the method of “leaving the most delicious, but more” in this case spoils the refinement of sensations. Themselves are to blame. Just because of gamers, vying with their stress-resistance, the developers of horror arranged a social competition – who scares faster, higher, stronger. And, of course, they broke firewood.

Not in the sense of gameplay: the staff of Red Barrels very economically relate to the time you spend in front of the monitor, offering maximum emotions per square meter. Babays are seated at the corners with knowledge of the case, but they cease to terrify if they are screwed every five minutes. Anatomical theater ceases to disgust, when its branches are open in all the doorways, and you can not be afraid of undead and agile enemies until the second dozen deaths. The sudden fall of the hero makes you shudder, but repeat this a dozen times – and get a comedy with Charlie Chaplin (Charlie Chaplin). So after two or three hours the game is more like a zombie shooter with chases like Dying Light, which involuntarily begins to grumble: “Leave me alone – I just want to know what will end!”

Such an overdose of effects, coupled with a craving for realism and much more serious than the original, earnestness prompts to ask questions. For example, what would you do in a situation where the life of a loved one is at stake? Grabbing the same forks or rakes scattered around, would rush into battle? No, says Outlast II , you would be asthmatically breathing and hysterically whining, draping the kitchen gardens from danger. Okay, shock, injury – this can be understood, and therefore horror like Resident Evil 7 or Alien: Isolationarm the protagonists not immediately. However, Blake’s behavior does not change on the second day of his stay in the village. As a result, you do not sympathize with the hero, do not associate yourself with him – because fu is so. For a game that demonstrates a very personal story of a lifetime, for a five-minute journey to the edge of the night a jerk in the title role – like a drunken trombonist in a brass band.

Paradox: Outlast II has all the components of the ideal horror, but it’s not really a terrible language to call the girls game – it’s as if someone called the horror story of Nikolai Gogol. Instead of fear, the authors offer us a nervous tension, which, you see, is not the same thing. When there is no map and no one shows where exactly to go, it certainly strains. Collision with the “boss”, the habits of which are still unfamiliar, also creates tension. Garlands of guts and reading notes about the riots in the village, of course, keep in good shape. From the sudden attack of the maniac-rustic in a hurry, you confuse the buttons, from the crackling branches in the darkness – you start, you lock the doors behind you just in case, and as soon as the last battery for the camera sits down, you start to get nervous. But the listed components work on the strength of an hour and a half.

On the other hand, Outlast II can not be called a bad one, let alone a failure. This is a rich and dynamic thriller with a meticulously elaborated universe, giving hundred points to the psychiatric hospital from the first part. The developers of the Red Barrels depict the scenes of violence as they do, without falling into the vulgarity of films of category B. The gameplay requires skill and quick reaction: here we run, we fall and slip through the hole in the fence, and then to the left, into the thickets. And what with the fact that the soul does not sit most of the story in the heels, and the blood does not get stiff in the veins? The artistic value of the work does not cancel, so that it successfully complements the collection not only of the fan of the interactive hassle, but of any gamer who appreciates things made with a soul.

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