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Gorf King

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    Growing fingernails. Eating eggs. Keeping accounts straight. That sort of thing.

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  1. The reason I liked it is nothing to do with 'the industry' or being an auteur really. It's more to do with it feeling like a reasonably authentic voice of someone who was from a minority background and suffered from terrible discrimination, and was ambitious, and also a prick, and the language of its telling seems to fit all that. It just feels like a well-told tale of a life and a place in time, and the emotions feel relatively honestly portrayed. The guy could have been a car salesman and it might have had the same draw. Which is why I liked it as a 'games industry' thing. It normalises games because it's about everything else; the detail about how he wanted to cross-compile code is just incidental to the human stuff. Which is why it'd also be good as a TV thing. No fucker cares about programming for a C64, or how the industry grew. The young lad cracking after years of abuse and walking out of his house onto the estate to tell a bunch of bullies how he feels? That could definitely work, especially allied to his self-confessed arrogance.
  2. Aye, that's a really well-told story. The bit about the temporarily-'stolen' cups - fuck me.
  3. It's actually not. I must have seen at least ten dozen action films that have better-directed action sequences. Everything seemed derivative of something else, but done less well. Action scenes aside, the 'substance' was dully familiar, fly-blown. Sorry! Don't often post about films these days. And particularly don't really want to shit on other people's enjoyment. (The Marvel threads, for example, would be a wail of a time for all concerned if I did. No-one wants that if they like a thing.) But I've read so much about how good this is, including here, having rented this I really wanted to put a caveat emptor in here somewhere, in case others like me get suckered in. And I think it's a pretty big caveat, or set of caveats. YMMV.
  4. Well, I thought this was witless, barely-formed, derivative tripe. Just cynically xeroxing stuff that's been done better so many times before and making it less convincing, less engaging, and less coherent. And making it cheaper. Pure product of the Ratners sort; not even a good action film at the most basic level. I quite like Odenkirk, but for anyone on the fence about spending real cash or time on this, if you're not allergic to what I occasionally post about films, don't bother. Shoutout to @Hulot and @lordcookie. Hope you're both ok.
  5. Aye, that'd work better for the PS guys if Weavus has the kit. We always have the discord as a fallback I guess.
  6. Well obv we can pop in to each others' games as we did the other day, but PS5 <> PC comms is the issue. There is a clan discord server I set up years ago but tbh we've never used it. As was said above, it'll be a bit shaky on PlayStation as you'd have to have comms through the computer and game audio through... whatever. But it'd be ok in a pinch I guess. I'll let you have the details. Bungie intended to have in-game comms sorted for crossplay launch but had to pull it at the last minute. It's still supposed to come out this season, but I expect it'll be fairly poor quality compared to dedicated chat. Might still be preferable to having two separate devices providing audio though. If it's just a NF or something though, next time I see you on we'll just chuck out an invite. I'll see if we can do discord but failing that we can just crack through the obvious/simple stuff anyway.
  7. I don't think that's ever been the plan, has it? Isn't it the case that the game/engine started to creak - and then break - under the strain of all the assets, locations, etc, so they had to take a big chunk out to get performance up to snuff again? So you can expect some stuff to come back from time to time (e.g. VoG, Cosmodrome) and then be rotated out again next year to make way for new stuff and old returning stuff. I think the problem with an entity like the Red War campaign is that it ranges over so many locations, planets, and uses so many diverse assets that as well as requiring a lot of rework, the current framework would burst at the seams to accommodate it - while then being able to handle all the new stuff that Witch Queen will bring. I'm sure everyone remembers how loading times and other performance tanked really badly over the course of a year and then dramatically recovered once they'd culled a lot of the old content that no-one played that much. So I guess the code isn't up to handling everything they've ever created all at once. And there is that thing K mentions, about them saying they just didn't have the capacity to upgrade all the old stuff to ensure it ran as well as they wanted, and also make an endless stream of new stuff at the same time. So better a smaller set of manageable resources than a limitlessly-expanding universe that they just can't keep a handle or any proper QC on, which then impacts the performance of newer stuff too. (Warframe fans - you know what I mean.) Tl;dr - I'm sure it's not gone forever, but we'll probably only see bits of old things come back, at the same time as some of the current or previously-rotated-in content itself goes away. Apart from the seasonal content from this year, which has to be binned, I'm wondering what else that currently exists will have to go to make way for all the new Witch Queen stuff. VoG's on a short lease for sure, but I'm also eyeing up Nessus with suspicion, and I suspect old Spider's self-declared fiefdom on the Tangled Shore might be coming to an end - at least lore wise. But doesn't that mean we'd have to lose the Forsaken campaign? Whatever, but something's for the chop anyway.
  8. In this oddly absolute and reductive future... everything else? I mean they lack them in any meaningful sense. And that doesn't mean I think every film has to be primarily driven by them, because obviously they don't. But I do think far too many films do lack them, or, even where the intention is there to illuminate some aspect of the human condition, they fail to deliver that well. As for any attempt to agree on what 'art' means anyway, no thanks. Which means we can't agree on what does or doesn't constitute it. What little I will say is that in this kind of context I prefer a meaning to the word that doesn't make it synonymous with 'craft'. Because if it's basically the same thing, it might as well not exist. Skills are one thing, craft is one thing, but something I consider art doesn't essentially depend on those, and for me it's possible for someone to be a highly skilled craftsperson and produce a thing that's not art (and which you don't consider art yourself). Similarly you don't need to be 'skilled at a craft' to produce something of artistic merit. I find any interpretation that necessarily links one to the other immediately suspect on a fundamental level. But that's just me, and I don't see any agreement about this being possible really; not after several centuries of it being impossible.
  9. Well of course John McLane is a fascist - the whole of Die Hard celebrates the power of the Individual American Cop With A Gun, and regards the chorale of Beethoven's Ninth ('All men become brothers', the anthem of European Union) in purely ironic terms. But it's a brilliant film. After that, yes, they should have stopped making them too, because while Die Hard is a truly great piece of action cinema - a totally satisfying standalone film - the others are merely instalments in a franchise. Which is kinda the point. I think much of the gaming industry is the epitome of consumerism in many ways. Destiny is by no means a standout there, nor is it the zenith of the form. But then, I don't think Destiny is much of a vehicle for artistic expression, nor is almost any game. Film - though it certainly shouldn't be all the time - certainly can be. I don't really want cinema to reflect a lot of gaming's franchise-based-let's-see-how-much-of-your-time-we-can-capture approach to its purpose quite as much as it has for a while, so I'd like to see some trends - like the now long-running superhero franchises - just go away for at least a few years. Just have one or two of them from time to time, rather than the incessant franchises and subfranchises and spinoffs and extended universes that seem to constitute 90% of film and TV, the endless diet of the unending. I'd like to see a lot more stories and experiences that are genuinely new things, new experiences, and have a start and an end in one viewing in a cinema (pandemic notwithstanding). I don't think the balance in the industry - or its primary motivation - is anywhere near right, and hasn't been for a long time. You must buy this product to understand this product, and each product on its own is nothing without buying access to the others. Each on its own is nothing really. Because there really isn't much in it apart from hooks to a lot of other stuff, often in other media. Just one strand in a big web of buy everything. There's too much of that abroad, and not enough of whatever else film is capable of being. This is hardly a new or controversial opinion, but at the same time it being not a Brand New Hot Take doesn't make it wrong. Btw consumerism isn't 'trying to sell a product for cash'. That would be a silly take, embracing within its vague, ill-considered ambit both Van Gogh's The Red Vineyard and Marx's Das Kapital alongside such obvious bedfellows as the horse armour from Oblivion.
  10. Heavy Rain was a bunch of shallow clichés cribbed from earlier, more original works, that was poorly written. Like the Harry Potter books. The only difference is that I'm not sure if David Cage is a centrist, Tory-enabling, transphobic neoliberal. But I'm happy to concede that he definitely is purely on the strength of his artistic output. You'd like to imagine that anyway, wouldn't you - rather than the opposite? I don't think I could take another Reverse Morrissey at this point in history.
  11. All superhero films. The populace is fascist - and stupid, and consumerist - enough as it is, without being encouraged to buy even dumber fascist-friendly consumable serialisations in lieu of art or human expression. Besides, the best superhero film ever made was made already, over forty years ago: https://www.rllmukforum.com/index.php?/topic/277369-amazon-prime-video/&do=findComment&comment=13290565. And at least that guy could shake a peg or two on the way to his bloodthirsty caste-aligned holy revenge against the criminal classes.
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