Jump to content

Scribblor

Supporters
  • Posts

    12,945
  • Joined

  • Last visited

1 Follower

Profile Information

  • Pronouns
    He/Him

Recent Profile Visitors

8,606 profile views
  1. And I love it. Yeah, guess so.
  2. Counterpoint - narrative length is often nothing to do with the narrative the team want to tell, or the 'games makers' as in the dev team - it's so often a sop to the publisher. I've literally been in pitch meetings where we've been told that the publisher is only signing games of 12 hours plus, and our narrative will need to meet that if we want funding, so can we put in grind mechanics to pad everything out? It might be nice to be able to stick to your guns and say that the narrative won't work at that length, but then you won't get signed and won't be able to make the game. Given that Days Gone was a Sony exclusive and from what I can tell is more or less the same template as their other exclusive action adventure games, I wouldn't be at all surprised to find that the game started out as something much tighter, narrative wise. That's pure speculation though - I've never played it and have no firsthand knowledge of its development. It might just as easily be that the woke-hating director was pushing for a boring, drawn-out story all along.
  3. If I have a criticism of the film, it's that it seems really engineered, rather than organic. It's like you can see the plot points sliding smoothly into place at just the right time to tug on the intended heartstring/emotion/audience response. It doesn't feel natural. It's manipulative. But that's all plots, really. This is just more noticeable because of quite how slick it is. And when the manipulation is done to such phenomenal effect, it's frankly churlish to let that slight artificialness get in the way of the experience. I haven't seen it since the cinema, and would like to watch it again, but there's no way my crappy sound system can produce the same effect as the cinema did, and that was so good. I'm apprehensive, because I think it'll lose such a lot of the impact.
  4. Anyone who ever, at any time, in any situation, in any medium, uses 'woke' as a pejorative, is a dumbass.
  5. I've just finished the series and I'm not sure what I think of it. Jenna Ortega is perfect as Wednesday. She absolutely carries the show. It's worth watching just for her performance. All the other actors playing Addams family members are great too. And those characters are brilliantly realised. Whenever they're on screen the show shines. But it's telling that they're the only parts of the show that were pre existing. Everything original in the show could be, as @DarhkFox says, from any other recent supernatural show. Or even any CW show. Setting the show in Nevermore Academy is a good idea, but it's just a TV high school. Attractive kids in cliques, only this time the popular girls are literal sirens, the jocks are werewolves etc. Only the show then basically forgets about their non human nature (except occasionally for plot points) and leans on their clique characteristics. So the popular girls are just bitchy and so on. The world the show creates is one in which non-humans ("outcasts") are apparently well known by humans ("normies") and are treated with what's essentially racism. That just doesn't work for me. It feels cheap and it spoils a lot of the fun of the Addams Family show and movies, which is seeing how people react with polite terror to the family. In this, they're just treated with disdain. And it leads to Morticia - a white woman - telling a black man that "men like you don't know what it's like to be treated as second class" (I'm paraphrasing, not a direct quote) which felt really problematic to me. That said, I did enjoy it, and Ortega is so good in the role that if it gets a second season I will definitely watch. Oh, and Gwendoline Christie is, as always, fantastic.
  6. Mostly agree. Against a really banged up Giants though, they struggled in the first half and that old curse of self inflicted penalties really hurt them. If they can be the team they were in the second half for the rest of the season, they don't have much to fear. OBJ to Dallas over New York, do you think?
  7. Holedown was a good recommendation, but I very quickly ran out of upgrades to buy and levels to progress through. And at that point it's just a case of beating your own records, but that's not enough to keep my interest. If games like Vampire Survivors get your dopamine flowing I think you'll keep enjoying it. Otherwise be aware it's only a quick game.
  8. The effects don't hold up in any way. My daughter pissed herself laughing at that scene.
  9. My ten year old watched Poltergeist a few weeks ago. His verdict: "What about this film was supposed to be scary?" Also, I had to explain what static on a TV channel was and what it meant which made me feel older than dirt.
  10. I'd genuinely rather sandpaper my own bollocks than watch any more than the 30 seconds of that shit I managed. It's not even so bad it's good, it's just utter, utter crap.
  11. You might enjoy Little, Big by John Crowley, in that case.
  12. I know we've had decades of games with stories, but I think we haven't yet really figured out the best way of telling stories in the medium yet. You're absolutely right that a lot of games come up with set pieces and fit the narrative around them, rather than coming up with something that would work with the story. That's literally what Titanfall 2 did: come up with ideas for fun sequences that they called "action blocks", whittle them down to a game's worth of the best ones, combined them in the best way to make levels and then make a story around them. In that case it worked well, but that was mostly down to the characters. The plot was nothing especially wonderful. Most games aren't that lucky. I think we tend to end up mostly with games that are "about" gameplay with narrative being less important, or games that are the other way around. It's rare that both those aspects of a game are valued equally and work in harmony, but I think that in the future these will become more common. I hope so, anyway.
  13. I think I'm a bit out of step with the opinions this week, as I thought the "best Star Wars-y" bit was shit. It had no urgency, no weight, no sense of immediacy. It was like watching a student film (but obviously it looked far better than that). I don't know why it was in the episode, unless it was to hammer home but we already know about that. Maybe they felt they needed it to keep fans' interest, and the reviews I've read of the episode bring it up as a highlight too so if that was the intention I guess it's working. To me it felt utterly unnecessary and from a different (worse) show. Other than that, I really enjoyed the episode, although plot wise it feels like:
  14. I'm definitely getting more out of The Mirror and The Light than I am out of any game I'm currently playing... But on the other hand, this year I've played a whole bunch of games I really enjoyed. I just need something other than 'numbers go up' from my games.
  15. Yeah, you're absolutely right. And this is often down to narrative not being as involved as necessary during the game concept phase. By the time a writer's brought on, the game is often pretty firmly conceived in terms of setting, tone, genre, (very general) mechanics. And then later on a writer comes in and has to try to fit narrative themes into stuff that's not going to change to help make things feel cohesively integrated.
×
×
  • Create New...

Important Information

We have placed cookies on your device to help make this website better. You can adjust your cookie settings, otherwise we'll assume you're okay to continue. Use of this website is subject to our Privacy Policy, Terms of Use, and Guidelines.