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Liquid Myth

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Everything posted by Liquid Myth

  1. I pulled out a dusty PS2 today, in order to load up the original version of Amplitude, and my God, time has not been kind to that early-2000s brash interface. The Euro-house remixed David Bowie song is much cheesier than I remember, but even lyrics like "Everyone says hi/and your big fat dog" make me well up a bit.
  2. You have to hold R1; there's no way of differentiating between targets though, and you will often times end up targetting the baddy you don't want to target.
  3. The only track I can remember away from the game is an early one ("Recession") because it was already in Rock Band 4, except it was better mastered in that.
  4. This is so disappointing. Awful soundtrack, controls duffed by an inappropriate R2, and the individual stems just don't pop out at all, which itself is unsurprising given how they fucked that up in RB4 as well. How I long for the range offered by older games in the series, even if the most pop stuff was usually easier.
  5. Liquid Myth


    There's a number of reasons why people have jumped all over it: i) Fantastic humour, and ii) Well-done story These are two elements that painfully lacking from a great number of games, and probably more irritating when someone is told how funny something is -- for example, Borderlands -- only to discover that it's full of shitty memes and exhausted storytelling models or boring old character archetypes. The way I see it, the humour and story to Undertale is very similar, in that they both live on lengthy set-ups that lead to an eventual punchline or pay-off, whilst being fairly modest about its own delivery and presentation. It helps a lot that it's all under the vision of one person so as to keep it consistent, but it definitely feels much more relevant than the disjointed nature of stuff like Tim Schafer's latest disappointment. iii) LGBTQ/Gender positive presentation The non-judgemental nature of the game with regards to these elements has also found it a big following, all without crowing about its own moral superiority. Ironically there's been people complaining about these elements, in a sense that they are "triggered" by the game's friendly nature (I saw it on another, recently killed forum I posted on, and one of the people from Penny Arcade whinging about it), and the lack of self-awareness is nothing short of completely fucking staggering. EDIT: iv) the music and its variations on various leitmotifs
  6. He didn't "ruin" Star Wars, he made them in the first place. Everything else -- books, video games, cartoons series -- is a spin-off at best, and obfuscating Dragonball Z-styled shit at worst.
  7. It's only more visible now, with regards to the greater ease of sharing ideas and opinions on the internet.
  8. Benteke is fucking hopeless, I've never seen anyone so unsure of what they're doing. Even more shocking that he's the only one who put goals in with the previous two games (and royally fucked up some one-on-ones).
  9. Slashdot's always been full of garbage idiots, and I realised that when I stopped looking at it over ten years ago before I was even aware of egalitarian-based movements.
  10. Again, everything you've complained about is wilfully inaccurate to the point of either i) being a total misrepresentation of the film, or ii) applicable to shitloads of other films which do these sorts of things all the time (like a non-chronological order of storytelling, convenience of coincidences etc.). I mean, what in the fuck is a "super order follower"? Whose orders does he follow? Bearing in mind that the film is not totally chronological, in case you missed something as basic as that. EDIT: I mean there's a bit where, after killing somebody to save other people, he screams at the horror of his action. The one person that he kills.
  11. Come the fuck on. Even the first time round when I didn't really like it, almost everything was clear as day to me (sans Costner's tornado death). Costner wants Clark to keep his identity hidden, lest he risk the lives of those around him, and moreso at a young age when he could end up doing something reckless; Crowe tells him that he can save them now, having grown and matured into somebody ready to do so (without telling him about the burdens he'd end up taking on). "Without context it's meaningless"? You could say that about everything, ever. Context is everything. It always has been. The characters have tons of development, and all bounce off one another brilliantly. Characters die -- willingly or not -- to illustrate that their time is done, and that their actions have no place in the future of the world. The "problem" is that the development happens continually and organically, through actions, emotions, metaphors, dialogue and even location, against Marvel who reduces it to shitty info dumps from various people. Coincidences in a film plot? Bet you hated it in Star Wars how Luke had his awakening to the Force as Darth Vader blows up a planet, how very convenient!
  12. Liquid Myth

    RIP Lemmy

  13. Nah, mostly just a spew of stuff about the characters and motivations, which in turn lay the ground for how things may play out in sequels.
  14. I wrote a bunch of stuff at the same time as watching the film last night, on my second viewing (because I'm like that):
  15. Okay, I watched it again last night, and even though everyone spotted it, I just ended up getting really bothered by it when I saw it again:
  16. It was a joke, even I can do that sometimes.
  17. It's good, but it's got a ton of weak bits in it. Lois is a whiny cynic who doesn't like or trust anyone other than Superman (women, am I right?), the bit with Zod and chums is completely redundant (and gets shown at the beginning of Superman 2 anyway so there's no point to it), and Supeman turning the world back on itself is the very definition of neglecting the responsibility that comes with great power. The highlight of that film, however, comes in the revelation that Clark's real weakness is his contempt for humans, his thinking of them as weak: It's a fucking masterclass. No suit, no special effects (aside from the non-diagetic music), just an adopted set of tics and slight hunchback that transforms the man on-screen. Comparatively, Superman 2 is complete garbage. Superman is a bully (beats up a guy at a bar at the end with no remorse), re-introduces Lex for no good reason to an already busy plot, and has Superman murder the other Kryptonians without a hint of regret, replaced by triumphant dickheadedness. When people complain about Clark doing a murder in MoS, they should watch the mess that is Superman 2.
  18. Just don't use terms you don't understand, job done?
  19. A Chekov's Gun only exists if it is introduced and then used in the same film, or else it isn't a Chekov's Gun, but a reference; I mean, it gets used continually throughout, which is the complete opposite of such a trope. R2-D2 is that thing in this film.
  20. Genuine question: what comparable film (i.e. a superhero film) in your mind is substantial, or entertaining, and why? This is not a trick question.
  21. A "Mary Sue" is code for an author's self-insert, usually someone who knows their way around the fictional universe no problem and has little or no trouble escaping scenarios they end up in. One example of this in film is probably the original "Total Recall", where the film even stops about 2/3 through and a doctor practically says as much out loud.
  22. Repeating that everything's fine ad continuum does not make it so
  23. Liquid Myth


    There's a single part in the game where you should use a keyboard, but otherwise it's fine. Dunno. There's a whole meta-game involved with it being the way it is.
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