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Gorf King

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Everything posted by Gorf King

  1. However you play it mechanically, you can just follow your instincts and get a brilliant experience. It's probably one of the best written games in existence, and for an RPG that's dialogue and character (and idea) heavy that's all the recommendation you should need.
  2. Uncle Mike's not around that week so you could take his place if we're short one.
  3. Jubilant huff Convivial whicker
  4. The sound of clopping hooves plays through your mind, and you feel as though you are being nuzzled on a molecular, almost mathematical level. Infinite Neigh Over to you.
  5. Given all that, I'm astonished they managed to get De Niro in to play the horse.
  6. Apropos of very little: You had the most amazing barnet. I just like to see old guys talk without hyperbole about this stuff really.
  7. Yes, until Feb 22 next year when The Witch Queen comes out. But obviously in between annual expansions there's seasonal content, plus on Dec 7 there's the optional 30th anniversary pack.
  8. The story definitely didn't take a backseat in Halo CE. It was front and centre. The main differences between it and most of the sequels were that a) it was internally coherent, b) it was quite tight, and c) they didn't make gameplay or structural compromises to accommodate it. And there are probably d) to z) other differences, but whatever. Main thing is, I absolutely loved the story in CE and rather than getting in the way of things it drove the whole adventure. The little expositional breaks provided momentum, or turned an important corner for you, rather than being eyeball-rolling interruptions to gameplay. They advanced things meaningfully. Anyway, it doesn't really matter now. You can't go back and recapture that with everything that's gone on since - such is the curse of any franchise that builds on a story that's essentially complete in the first outing. I think the most you can hope for is that the 'story' here is minimised, and it doesn't affect any gameplay decisions. I mean, that's obviously what everyone here is hoping for anyway. All I'm saying is the Halo CE doesn't fall into that bracket for me, where the story doesn't matter. It's still one of my favourite stories in any action videogame - perfect sci-fi pulp, but extremely well integrated with the way the game develops throughout.
  9. I'm pretty sure you can use the stadia controller on PC with a USB connection, but not bluetooth/wireless. No idea how well the buttons map/can be mapped to any particular game though. One thing about 'free' Destiny: it's just the free-to-play version that exists on all platforms. Most of D2's content is in its expansions, and the free version doesn't have most of that in it; now that they've stripped the original D2 campaign (Red War) out of the game that leaves a lot less stuff to play.
  10. Excerpt covering, amongst other things, the length issue:
  11. You'll have to send him all those hours of sneaky cam footage you shot over the years and see if you can get him to stitch it together into Peter Jackson's Get Bros. Edit: or Get Matt. Oh, man that's worse. Fuck it, I can't work with this material.
  12. Yeah, they keep cycling through the same songs, so maybe. I don't think anyone can really say now how it would have ended up, even those concerned, cos they clearly weren't sticking to a rigid plan and were starting to really loosen up and enjoy themselves. Paul obviously relishes the opportunity to shout 'Get Back!' to the local fuzz, so it's not all bad. Except for those doomed to appear on celluloid for all eternity as joyless pricks.
  13. PS If anyone is crazy enough to want to do the above but hasn't got a copy of the Let It Be film to hand - it's not that easily found these days on yer modern streaming services - it's available for free download from the Internet Archive: https://archive.org/details/Let_It_Be_1970_film is one format, but there are others there too.
  14. Which is forever, in the case of John. The last episode of this is a proper payoff, which I found quite touching given McCartney's fear that there'd never be one. It might not be the one he wanted, that rooftop sample only being another truncated rehearsal of sorts, albeit live. But fifty years later, the full version of that reluctant mini gig has finally found a massive audience for the complete experience and serves as a belated reminder of just how good they could be right until the end. The payoff's even greater when you've seen all this develop in some detail over the space of three weeks. It's almost a euphoric experience to see and hear them again like that, especially after working to get there with them, and it feels as fresh as when I saw it back in the day as a little kid, before they'd become ancient history. Like they're alive. I think this is where Jackson's project really works. You're far more invested in the outcome of the project because you've been a party to how it's been painfully put together, warts and all. The Let It Be film is a dour and closed affair by comparison, and it has to be said that part of this is because of the short runtime of that film. It feels joyless, lacking in insight and dynamics compared to the far more expensive Jackson treatment. Like some random sequences that don't really give a sense of the personalities and relationships of the parties involved, or the necessary journey. Of course, you could't have released a 7-8 hour film in 1970, so that's not so much a direct criticism of Lindsay-Hogg as an appreciation for just how much better an experience we have here. The whole rooftop climax is so, so much better, not only for being complete, but for our being led so closely up to its development that by the time we get there, we must feel we know the material and the group dynamics as well as The Beatles themselves. My recommendation to people who like the Jackson film - a recommendation which I've also followed myself - is to watch Let It Be immediately afterwards, then start and complete your second watch of Get Back right after that. It'll take a while, but it's not nearly as long or arduous as trying to put together an album. But it'll have some of the same sort of payoff that only that end result can give, while also illustrating just why Jackson's expansive, somewhat indulgent approach works far better than the original for this material. Also: fuck the pigs, and fuck the Tory business population. That's a given, right? We might have got another half hour of the rooftop gig if not for them. Proof, if any other proof were needed, that the mean-spirited little tossers need to fuck the fuck off and stop spoiling life for everyone else. Fucking Tory businessmen and their disgusting apparatus of inept control and their fucking pencil-pushing plan to make the world just as dead as they are. I mean, the film's alright, and The Beatles are ok and I really do like their music, but I mainly just wanted to say that, because it's more true than any documentary ever could be. Edit for being stupid and quoting the wrong post at the top.
  15. If you're not into The Beatles I can't see how this would hold any appeal at all really. Not for the runtime involved. Unless you'd literally never heard them and somehow the music here did it for you, and pulled you in, which seems highly unlikely. They're mainly jams and rehearsals and bits of song development that repetition and experimentation give rise to. The people being filmed won't draw you in, because they obviously don't want to be part of the film in the first place and are often trying to put the filmmaker off; plus, there's no revelatory 'narrative' by the original filmmaker here at all. Just footage. I'd say it's only for people who are already really into the subject.
  16. Yeah, the change of climate forced by George, away from the film studio setting and into a more intimate studio made for them, made for making music, made a massive difference. And then when they get Billy Preston in to do the keys it really takes off. Like he reminded them what it was to sing and play together as a group of friends just having fun. You can see them actually wanting to be together and do stuff together again, and when he's not there as he's called away for a bit you can see it sliding back.
  17. I can't help but feel that the points being made about editorial restraint are somewhat wide of the mark in this case. Sure, there are some mismatches here between audio and video. But some of most obviously out-of-place ones - e.g one of the plant pot mic ones taken in a non-rehearsal room over lunch - are placed over the top of a picture of a plant pot in a café, with the difficult-to-parse words spelled out in writing. I think where the audio is placed over live footage that doesn't match, they probably had audio from other hidden mics that caught stuff while they were playing, that wasn't matched with any particular piece of video, but obviously took place as part of that same general jamming/songwriting sequence. So they just tried to fit it in as best they could. It tried to keep the flow alive, and although not perfect it does give the whole piece as much cohesion as 60 hours of video and 150 hours of obviously not all sequenced audio footage could give. Getting all this down to 7-8 hours is obviously a pretty big job, and I'm not sure that putting all the unsynced audio behind stills - panned or not - would have represented Jackson doing a better job. It feels a bit churlish to criticise him for reducing hundreds of hours of material that Beatles fans would be gagging for to a mere seven hours, using that as the equivalent of someone expanding a small book into a overlong film trilogy. I mean, I agree he did the latter, for sure. But that's really not what he's doing here, I think. I've read elsewhere some criticism of the length of this, of the endless jams and practising, of the sheer amount of time spent watching and hearing musicians do music, and people do people things. And while there's certainly a lot of it there, I think that's what people who are really familiar with the Beatles want to see. They want to see the minutiae of it all, as well as the broad strokes and bombs that land. They want to get into the feel of what it must have been like to be there. Given the tricks that the band naturally pulled to keep some of their stuff off-camera and off-mic, I think 2 eps in Jackson's done as good a job as you can expect of pulling us back into that time, into that moment, and given us a good feeling of what it must have been like to be in those studios. As to editorial decisions or opinions affecting quality, I'm only 2 parts in out of 3, but I think overall it's got an interesting dynamic, paints a more natural, more intimate picture of these people than much else I've seen - with less editorialising or opinionating - gives a really great insight into how their songwriting and other elements of their group dynamics worked, and obviously at least undermines, if not outright shatters, some myths about these three weeks in January 1969 and the break up of the band. It doesn't feel forced to any particular narrative to me, and if Jackson has somehow contrived to fit the available materials into a deliberate narrative, that's more praise of his editorial skills than criticism. I don't think this sort of documentary, which is supposed to be warts and all but contends in this respect against both the reluctant subjects and the footage itself, and seeks to diffuse myths and sensationalist bombshells rather than drop them, can ever appeal to people who weren't quite big fans in the first place and just want to see a bit more of what goes on behind the meticulously-managed and still hated-by-everyone-involved products of that few weeks. By which I mean Let It Be in both album and film form. All you can do is reveal a little more of what the people involved in that actually felt and said and thought at the time. And I think this does do that, as well as fleshing out the interactions of those involved, their motivations, and the creative processes - however gruelling or monotonous - that they went through to try to get what they created out into the world. I mean, I suppose I am quite a big fan of The Beatles. But if anything, after this is finished, I'll wish there was twice as much of it left to watch. The film's narrative, if anything, is just about a bunch of quite alright people getting on a lot and then sometimes falling out a bit, and in the meantime writing and playing some music and rejecting a lavish stadium gig and just slinking off to a roof to play a last gig and then going home cos they're bored and want to get out of the claustrophobia of it all and don't really want any of that glitz any more. It's an exercise in displaying the mundane, really, and in showing people who clearly love each other but need to have their own lives away from this circus of mics and cameras everywhere and the oppression of each others' creative impulses banging against theirs. But if you love the music this gave rise to, you're going to find that tension fascinating to watch unfold. I think Jackson presents the mundanity of the process very well. Which also means, if you're not a big fan, that what you're watching is a very long film about mundanity which results in nothing at all. "In 50 years, they'll say the Beatles split up because Yoko sat on an amp," mocked McCartney during the infamous bitter bust-up sessions depicted here. Well, they did do that for 50 years. But I guess they won't any more. That's worth something, right? 8/10 for fans of this music, 1/10 if not.
  18. Yeah, I don't think taking the game out of Mass Effect leaves much that's worth making into a TV series. Well, not a great TV series. I think it'd work better as a game show, which would add all that player agency back. Destroy, Control, Synthesis. You have two teams of players each with a captain, and in the early stages the team captains can rack up points by doing everyday stuff like acquiring advertising contracts with rival businesses, punching female journalists, and making sexually suggestive comments to their fellow team members. The rest of the team members stand idly by while all this goes on, fiddling with consoles and being ogled. Then they spring into action in the middle phase, when the captains have to choose which of them to put in charge of potentially life-threatening tasks. Like rewiring an electricity pylon in the rain. Choose the wrong one for the wrong job - like, you have a qualified pylon electrician with full protective gear on your team, and like a lot of people seem to do you instead choose the one with vertigo, an acute case of flu and no use of their limbs - and it may be curtains for them. Thus leaving you with a depleted team for the final round, so choose wisely. In the final round, you have the stock of points you've amassed, and the combined strengths of your remaining team, to play with. It's now time for the Consequences section of Destroy, Control, Synthesis. In this round, both the points you've accrued and the abilities and input of your remaining team members are completely disregarded. In fact, you never see them again. Instead, you are simply asked to walk through one of three doors named after the words in the game show's title. Whichever one you choose, you win a refurbished Mini Metro from 1990. But it's a different colour depending on which door you walked through. Only there's a twist. If you chose Destroy, the car you just won is crushed by a pile hammer immediately after you are handed the keys. If Control, you get to drive away in it. If Synthesis, the car and you are placed in separate Brundelfly teleportation devices, and these fail to turn you into ShepMetroHybrid because it's a low-budget TV show, not actual science. So you get the car anyway. This neatly mirrors the ending of the game itself, because the only winning play is to choose Destroy, and everyone else is a massive loser driving around in a shit car that a dog wouldn't piss on. Sounds crap, you say? Still be better than the planned TV series.
  19. If anyone's playing on PC and doesn't have all the paid-for expansions, the currently active ones are all available in the shape of the Legendary Edition at Green Man Gaming for £23.52: https://www.greenmangaming.com/games/destiny-2-legendary-edition-pc/. I have no idea if this is any use to anyone, as it's almost impossible to keep up with D2's labyrinthine pricing models and shifting availability across various platforms. Just be aware that the above pack contains Forsaken, Shadowkeep, and Beyond Light, which is all of the currently-active expansions. But it doesn't contain the current season, Season of the Lost, which lasts until February 22, or the 30th Anniversary Dungeon that's coming on December 7. But you will get the new 6-player activity that comes out at the same time, because that's free. But Forsaken will be going free to play at the same time as the new dungeon comes out, so you might not think it worth buying. And it's being removed from the game on February 22, when the next expansion, The Witch Queen, comes out. But when that happens, if you did buy Forsaken you'll get an exotics pack that allows you to access the exotic weapons from it if you didn't already earn them, whereas if you played it free-to-play you won't. But none of this will get you The Witch Queen, of course. You'll need to buy that separately. And whatever season it comes with, if you want that too. Anyway, it's £23.52. For now. That much is clear.
  20. 20 mins into ep 1 this is Z-tier writing and acting, I had to turn it off. Just awful. Terrible characterisation and dialogue, a bunch of clichés delivered direct to my voyeuristic watching eye in a context that makes no sense to the world the characters are supposed to inhabit. If that seems harsh, just tell me - does this change significantly at all? Not even asking if it gets better really. I've never read the novel, so I've no roadmap or context. This just seems well under the standard of what I'd expect from other films/TV based on his stuff; I usually like those a lot more.
  21. It's 7 seconds slower even at Tier 10 mobility. This time last year it took 9 seconds to get that dodge back at tier 10. It'll now take 18 seconds - literally twice as long. And dodges no longer break projectile tracking. You really don't see how that affects invis builds? As for you other point, that's just the base cooldown of that tree. The way you use that in high-end is by going invis, then getting close to enemies and invoking gambler's dodge to get your melee back and going invis again, and since the cooldown of the dodge itself has been doubled in length, that playstyle is fucked. Upping the base invis melee cd from 96s to 75s doesn't make any real difference to that. Like, no-one waited 96s for their invis to come back anyway. They dodged and got it right back. I mean, a lot of hunter stuff is all about mobility and dodging. No well, no rift, no barricade, it's all about movement. Double the time it takes to get a T10 cooldown on dodge and you've stiffed most of the viability of that playstyle. I'm hoping this is just part of some planned changes - like those upcoming to the void classes - in which the sum of them all makes it viable again. But as published, without remedy, this is a massive set of nerfs. And the thing that sticks all wrong isn't even that tbh. It's that it's supposedly all about PvP balancing, but the hardest hits are taken to PvE activities. Like, who thought Hunters were previously super overpowered in PvE because of all their pesky dodging? Literally no-one in this thread, that's for sure. So I dunno why I'm just stating the obvious here really.
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