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Everything posted by K

  1. Exactly. Also, has anyone pointed out to these people that you can just emulate Amiga games through a MiSTer FGPA MiniMig setup, rendering this gadget somewhat pointless? It’s a simple matter of buying the Amiga Kickstart ROMs from Amiga Forever, downloading the LHA files (links in this video by AmiganSupremacy790), and setting up the shared folder structure as per the Git repo. Hardware-wise, all you need is a DE-10 module plus any desired RAM/connector expansions. Troubleshooting your setup when it doesn’t work is tricky, but [cont. pg94]
  2. I can see why they kept them under wraps; the Amiga version of California Games is a pretty bog standard port from the C64 version, and I can't imagine many games will have aged worse than a b-team flight simulator from 1989.
  3. Forza Horizon games seem to have a lifespan of about four years, like replicants, so FH4 has about a year left before it releases a single dove into the sky and dies on a rooftop. Obviously it'd be impossible to include the cars and the licensed music, but it'd be nice if you could download the maps from FH1, 2 & 3 for newer versions of the game, although it'd obviously be a lot of effort to port them across. Have the game as more of a platform for Forza-related stuff, rather than as discrete entries in a series that progressively become obsolete and waste most of the utterly titanic effort that must go into each installment.
  4. Well, there's your first mistake. If you'd accepted adverts and set the subscriptions at a price which would result in a $560,000 annual profit, we'd have been bought out by Mike Ashley by now and we'd all be sat in space yachts on the oceans of Mars, vomiting into platinum fireplaces, and sipping purple drank out of enormous mugs.
  5. I've always found the Xbox UI bizarrely convoluted. You can find things quickly when you're used to it, but none of it is particularly intuitive, and it feels like every single bit uses a completely different design language, so that in some bits there are vertical blades you can scroll through to access new screens, in some bits there's a sidebar that brings up various options and links, and in others there's a line of horizontal tabs across the top of the screen that you can flick between. There's very little consistency, beyond that intense green colour.
  6. Admittedly, that video is from 2012, and I'm not that up on the current state of Japanese UI, but I'm thinking of stuff like Resident Evil 7, Metal Gear Solid 5, Death Stranding, etc. It's probably an unfair generalisation, there are no doubt loads of European and American games with crap UI, but those ones in particular are not especially intuitive (even though they do make a weird kind of sense once you get used to them).
  7. Mr Cybernet, thank you for your application. We read it with great interest. Unfortunately, due to *casts eyes around room desperately* videogames are no longer going to be made by anyone, so I'm afraid we will be unable to offer you this position.
  8. I misremembered! But he still has all his arms and legs in Casino Royale, thus ruining the Bond lore.
  9. That David Mitchell column was idiotic, I thought. Almost wilfully misunderstanding the Bond films, which have at best a pretty selective attitude to continuity.
  10. Spielberg didn't flinch from portraying the horror of the holocaust in that film, though. Look at the scene where the ghetto in Warsaw is "liquidated". It's nearly unwatchable. it doesn't glorify anything. I think fiction can add to your understanding of a horrific, real, event. From Hell (the comic, not the film) goes a long way towards humanising the people Jack the Ripper killed, and portraying them as women, rather than as victims, or as crones / harlots, etc.
  11. Yeah, Coogan is clearly desperate to be a serious actor, but I find he never really disappears into a role. It's always Coogan. But at the same time, he's good at copying the mannerisms and voice of a person, is an actor (rather than just an impressionist), and I think cares about people given his politics and his public stance against the tabloids. So I'm not totally sure he's the right person, but I am fairly confident he will try to do the right thing. It's not going to be some kind of Channel 5 affair, with a backlit Savile swooping out of a Ford Cortina and feeling up a selection of beautiful young women, like a kind of fright-wigged seventies Jack the Ripper.
  12. yeah man I'm sure it's going to be an essentially pro-savile take on events.
  13. I don't think filming something necessarily glorifies it. There are loads of films & TV series about horrific crimes that treat them with an appropriate level of gravitas, and which add to your understanding and empathy of the event(s).
  14. IIRC, you come out of your apartment onto the street, turn left, and cross over the road, and there's a big orange building you can drive / walk into. You can also access it directly from your apartment - come out the front door, turn right, go round the corner, and the lift is in front of you.
  15. If you park them there, yeah. I think it will only hold your current active vehicle though. It's the one that's accessible through the lift from your apartment. It's awkward to find though - I forgot how to get there about a third of the way through the game, and only figured it out right at the end of my playthrough.
  16. There is a garage, isn't there? It's just across from your apartment. Unless you mean somewhere where you can physically walk around all your owned vehicles.
  17. @Ste Pickford I would definitely check out Luther Arkwright. I think they've just reprinted the first two books in one volume, ahead of the third one being published next year. The first Luther Arkwright book in particular is great, with striking monochrome art and some quite experimental storytelling - it's a bit like V for Vendetta, in that it was started off in the early eighties and finished after a long gap at the end of the decade, so you can see Talbot's craft develop as it goes on, but also because it's very politically charged, and very British in tone. The second is excellent too, but doesn't quite have the intensity of the first one.
  18. On a more positive note, I started reading the Grandville anthology, and am really enjoying it. I love Bryan Talbot, and in theory I should be the perfect audience for an action-packed Talbot story about an alternate steampunk universe where the British lost the Napoleonic wars and the UK is part of the French empire. The setup is like a lighter, more action-packed version of Luther Arkwright, where a British detective investigates the suicide of a diplomat, and runs up against a conspiracy. The thing is, the detective is a badger, his assistant is a rat, and most of the characters are anthropomorphic animals of one kind or another. This really put me off when the comics first came out about ten years ago. It felt like a waste of an interesting setting to use it for a kind of ultra-violent version of Rupert the Bear. During the intervening decade, I've either matured to the point where I can appreciate the irony of anthropomorphic animals shooting each other in the head and smoking opium, or I've regressed to the point where I enjoy it at face value. Whatever the reason, I'm really enjoying Grandville. Like a lot of Talbot's comics, it feels uniquely British - Ian Rankin's introduction name-checks James Bond, Sherlock Holmes and Dirty Harry, but for me, the best points of reference are Beatrix Potter and Rupert the Bear, as well as older pulp heroes like Bulldog Drummond. There's even a bit of Danger Mouse in there. It's pure fun, not only for the OTT story and shameless puns, but also for the way the chaste reference material rubs up against the sex, drugs and violence. The whole thing teeters on the edge of ridiculousness - the protagonist is a preposterously buff badger, who has a human body attached to his badger head, and who pumps iron non-stop in his spare time. The whole thing is fucking mad, but knowingly, hilariously funny as well. The art is lovely, especially in the deluxe edition. Talbot seems to have found a better balance between his drawn art and the computer colouring and effects that overpowered Alice in Sunderland a bit, and visually, it's a lot like the second Luther Arkwright book. I would recommend it if anyone, like me, loved Luther Arkwright but was put off by the anthropomorphic creatures
  19. I finally finished Providence. Liked the ending and the overall story was good, but man it was long-winded. I particularly like the opening issue and the last three, but the middle bit was very much Moore taking the long road around the story, and I feel the sheer length of the story didn't result in particularly complex characters. If you're a real Lovecraft aficionado, I imagine you'll have gotten a lot more out of than I did, but it felt like each issue wasn't a complete story in itself - you needed to have read and to remember the Lovecraft story each issue is referencing, otherwise it just feels unsatisfying. It reminds me of reading one issue out of some long-running superhero comics crossover event, where you also need to have read Amazing Superhero Comics #221, Superhero Amazing Comics #11 and Fantastic Comics (Superheroes) #1000 to have understood what happened. Plus, the diary sections, jesus christ. They were utterly interminable - walls of text, most of it rehashing the comic you've just read, and none of it especially interesting or well-written. Robert Black just isn't a compelling enough character to warrant this amount of detail. I really liked the fake religious pamphlet he includes in an earlier issue - that was witty and blackly hilarious. I wish he'd done more stuff than that, rather than Black wittering on.
  20. K


    This feels like something where I'd have no interest whatsoever if it were anyone other than Paul King doing it, but given his record so far I'm very interested to see what happens with this. Before Paddington came out, I assumed it would be the standard CGI travesty of a family film, with a wacky CGI bear and awkward pop culture references. Perhaps some kind of hilarious scene where an old woman dances to 'Who let the dogs out'. Given that the end result was so unbelievably good and that Paul King would presumably have had a degree of choice as to what he did next, I hope this is going to be something really good.
  21. K

    Edge #364

    Has anyone else not received their subs copy? Presumably mine went to moosegrinder as per the above.
  22. I think that's a bit harsh on Garth Ennis. I don't think he's saying that liberals and right-wingers are as bad as each other, I think he's just taking the piss out of two separate groups of people. I feel you can draw a line between the people he thinks are really harmful - racists, religious zealots, corrupt businessmen etc - and the people he just wants to mock a bit (humourless academics, pop music fans, Neil Gaiman, etc). The humourless feminist is a bit of a stereotype, but the comic's nearly thirty years old.
  23. Also, Ben Whishaw was great as Q, but his new look reminded me a lot of this: Did I miss something from previous films, or did they acknowledge that Q is gay in this film? They strongly imply that he’s preparing for a date when Bond and Moneypenny turn up at his house, and I’m sure Q refers to his date as “he”.
  24. I saw this last night, and thought it was fantastic. It seemed like it was trying to take the same approach as Skyfall and Spectre and treat the typical Bond story with a lot of gravitas, with the difference in No Time To Die being that the characters and relationships had enough depth and complexity to withstand this kind of treatment. Bond’s relationship with Madeleine Swann and I really liked the female characters. It’s probably inevitable given that Phoebe Waller-Bridge was one of the main scriptwriters and that the director has gone on record as describing Bond as a rapist, but there was none of the casual sexual assault that stank up Spectre and Skyfall. The thing is though, the film wasn’t just notable for the absence of leery, creepy behaviour, the women actually had active roles, and were given the space to have characters who were more complex than being victims or fragile ice queens with daddy issues. I really, really enjoyed the rookie Cuban agent, whose nerves and inexperience disguised the fact that she was really impressively good at her job - the urge to put the so-called strong female character in a story often results in women being treated as boringly competent, or as two-dimensional badasses who are either dominatrices or very macho, whereas Paloma was funny and cool, while also being very feminine. The new 007 was excellent as well - funny and condescending to Bond, without being obnoxious. Generally, it felt like they’d taken everything that worked from the Craig area, and put it all together in one film. Safin’s plan and background were quite hazy, but I liked that they left a lot of it unsaid. He was a present threat with an odd, intriguing mindset, and I liked that they didn’t weigh it down with too much prosaic exposition in the way that sunk Spectre. There wasn’t too much action, and what there was was slick and exciting without being preposterous. The only thing I would change is to stop them from using the word “nanobots”, which sounded clumsy and old fashioned. I’m sure they could have come up with some better terminology than that.
  25. I thought we were talking about the Game Pass aspect of PSNow, not the streaming bit.
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