You have to position your cursor at the top left centermost part of the corner, because the helicopter typically only comes from the top or the left side of the screen.
Once you hear it you start holding down your fire button and move to wherever you first see the pixel of the helicopter. Once you understand the pattern and maintain that position, it's pretty easy. Though, admittedly due to its randomness it's still harder than the truck sequence where you can at least memorise the position of the HKs that come into the screen.
I found it easier on the original Genesis due to the low framerate. The original arcade machines were a heck of a lot harder because they played faster and it was just a lot more difficult in some sense (but being able to freely move the light gun around did make it a LOT easier to react when the helicopter came into the screen).
Agreed.
Well worth playing; Teyon actually cares (because they're an Eastern Euro dev so they aren't riddled with diversity hires).
My only suggestion is to get the T1 - T2 soundtrack mod. It enhances the experience a thousand fold, as the music is appropriately placed throughout the levels to really bring home the original tension and musical impact that the first two movies had.
I really hope Teyon can make a Robocop vs Terminator game at some point.
Agreed. I've always liked this approach as well.
Woe betide the foe if the German people ever remember their old selves.
Begone shackles and chains; weeping for the lowly knaves.
As an addendum to your escapist description, I would say Immersive dopamine release.
Why do so many guys feel pumped after watching a Stallone or Arnold flick from the 80s? They captured a sense of peril and danger, but handled it in a way that a lot of men fantasise as a way to release aggression, tension, or indulge in healthy exertion. It's why a lot of times those movies would compel guys to hit the gym or join the army.
A good game that captures that sense of masculine-driven achievements is the same thing as those 80s films. It gives you a sense of purpose through the immersive world setting and characters, and gives you a good dopamine release when you can execute a cool series of takedowns, combos or headshots that aren't just automated one-button press quick-time events that wrests all of the control from the player. The more manual the game is, the more it feels like something YOU accomplished. And people love to overcome challenges that makes them feel like they accomplished something.
Yep. I remember watching that episode when it aired -- that one and the one where Two-Face kidnapped "Harvey" (himself) are two that really stuck with me given how they explored the pathology of coping with trauma in the only ways that seemed to make sense for perpetually broken people.
I also usually refer people to that episode with Ivy to bury the misguided notion that Poison Ivy was "always a lesbian", because she obviously was not.
The Ryzen 7600 X worked perfectly fine out of the box. The Gigabyte motherboard did not. Ended up going with an ASRock.
That thing runs sooooo good. Though, my previous ASRock and Intel i7 7700k combo was perfectly fine and worked (and continues to work) perfectly fine. However, the motherboard had a 32GB RAM cap, and in order to get a board that supported 64GB of RAM I needed a whole new mobo + CPU combination. Hence the silliness of wasting time and money on the DOA board. Though I may end messing around with it later to see if I can get it work if I ever feel like building out a spare system.
Yeah, excellent AI pathfinding and behavioural logic is not something you can pull off an asset store shelf and slap into a game. You have to spend a lot of time and resources creating hierarchical subsumption for good AI based on conditional level layouts and player motivations.
I haven't actually looked into the behind-the-scenes development of the AI in the original Alien: Isolation's design, but I would be willing to bet that most of its AI behaviour is all systematically bespoke. So it's not like they can just copy-pasta a plugin for the sequel. If they have a bunch of DEI hires for the AI engineers, then expect the AI to be trash.
Ivy is such a fucking psycho-man-hater that she might too.
Actually... Poison Ivy was not a man-hater, and they explored this in one of the episodes when she got out of Arkham and made a family for herself. Turns out, beyond all the trauma and hate, she just wanted a loving husband and child, but in the end, they weren't real and she was just using them as a coping mechanism for being a lonely plant lady... which is kind of funny.
Yup, same here. Really cuts out the pork from the pig of corposlop.
I'm half convinced that he's the one who requested for the character to be killed.
He did. He was one of the producers on the film, and that was part of the conditions for coming back. There was an article about it somewhere, but I just can't be arsed right now to go find it.
Because they censored some stuff in GTA V post-release, so it's not too far out of left field for them to do the same for the RDR port on PC.
I was looking to build a budget PC with a Ryzen 7600, but Amazon reviews for affordable B650 WiFi boards are full of horror stories rated 1 Star for all of them and I just don't want to have to bother with returning part,
Was literally just on the receiving end of this when I attempted to upgrade my motherboard in September; opted for a partial refund because I didn't have the patience to do an RMA. Just got another board and called it a day.
If you play Halo 4 directly after playing Halo 3 (something I did after getting the Master Chief Collection on PC) makes it so apparent how much of a huge step backward it is in terms of continuity, storytelling, and overall balance.
Mechanically, Halo 4 plays perfectly fine. However, the weapons are a huge step backward, as all of the Forerunner weapons are just human weapons with a metallic skin and orange lasers. They even reload like human weapons, which was a huge step back from all of the unique weapons they introduced in the original Halo trilogy.
The only actual new thing they introduced that was cool was the mech, which you didn't even use much in the campaign. If Halo 4 came out after Halo 1, I think it would have been an awesome game. But it had way too many step backwards compared to Halo 1 - 3 + Reach, especially when they did the story pivot instead of having it humans vs Covenant vs Forerunners, they turned it into another humans vs Covenant + Forerunners again, and that just made it really lame, as the best moments were when it was a free for all and felt like all out war.
Mate, that Halo 3 ending -- while the entire structure was collapsing while the music is blaring and you're trying to race to the end -- was one of the most epic moments in all of gaming. That trilogy is probably the best all-around greatest trilogy in gaming history when it comes to mechanical excellence and overall technically achieved gameplay. I could replay all three games easily and have as much fun now as I did when I first played them.
The reputational damage is done and people are less caring of these franchises.
Never underestimate how easy it is to manipulate the normie into buying corpo-slop.
Nintendo also started with the whole rumble pack for the N64 and analog sticks, which spurred Sony to follow suit with the dualshocks.
Nintendo also made popular the multi-ports on the front of the console without requiring a multi-tap, something that Microsoft adopted for the OG Xbox.
Despite their flaws, Nintendo did a lot to push the industry forward.
Sadly, not really. Not many content creators/sites seem to have a robust set of tutorial libraries to help get devs started the way Unreal/Unity/Godot do.
However, if you were already partially familiar with Unity or Unreal there are some exporters/importers available to help ease you into the process, at least asset wise: https://youtu.be/EaQpDYQqr8o
Depends.
I still think Érec et Énide is a fantastic romance-adventure, really hearkens back to the classic days of a chivalrous knight and a proper damsel in distress. It's well told and greatly paced.
I don't think there was any works from H.G. Wells I didn't like -- I personally thought his short stories were the best, though. The Valley Of The Spiders is still an excellent read even to this day, and I would still argue it would make for quite the horror film if any non-woke director was ever up for the challenge.
Many of Plato's works are also still quite insightful and useful for how to recognise, collate, and disseminate information, especially Socrates' discussions with Gorgias and Protagoras.
Despite a reprehensible personal life, I still think Oscar Wilde was a brilliant writer. Definitely invokes some serious emotions and wit in his writing. Less so for over-rated people like F. Scott Fitzgerald or much of Charles Dickens' work.
But I thought Dostoyevski had some compelling stories to tell, and he was good enough to -- through the written word -- visually capture his scenarios and characters quite well. The same could be said for some of Ralph Waldo Emerson's work.
I didn't particularly care for Samuel Clemens' novels but I thought his prose and short works were really well done.
Thomas Paine, H.D. Thoreau, and Bertrand Russell also had some interesting things to ponder over, and Epictetus' Golden Sayings is kind of a necessary guide book for pocketbook wisdom that never goes out of style.
But, yes, you are quite right that a lot of fiction and non-fiction alike is trash. Oftentimes humourless drudgery of the most witless kind.
The worst of it is the stuff that is praised to the high heavens from "critics" and "fans" only for you to read it, and then find yourself scratching your head trying to figure out if you missed something or just didn't get it, since the appeal only seems to be in its popularity, rather than the quality of its content.
There is Unigine, but it's still a long ways off from having the same kind of support and ease-of-use with its libraries like Unity, Unreal and Godot.
The Japanese still raped and pillaged Nanjing/Nanking to the extent that Little Boy was required. This is documented in history. There's a sugar coated film for the West about it.
If people want to see a gut-wrenching look at what happened in Nanking, sort of the equivalent of the Chinese version of Schindler's List, definitely check out the film The City of Life and Death from 2009.
It's long, absolutely horrific, and extremely brutal. Lots of rape and murder of women, kids and babies. Definitely one of those movies that will stick with you, much like the film Come and See (they're both very similar in tone, but The City of Life and Death is a lot more violent from start to finish).
Wait you're getting the impression people are giving Ghost of Yotei a pass? Ever since it's announcement I'm hearing about people raising red flags.
Nah, you have to go to normie circles, forums, and YouTube channels. It's incredibly depressing.
Yes, you're right that there are some people raising proper red flags about the game, but I briefly browsed through some normie channels who are clamouring for Yotei, making it as if Ubisoft's delay of Shadows is a win for gamers because Ghost of Yotei is the "real" game that they should be supporting, and sadly, there are plenty of coonsumers eating it all up.
Thankfully, there was proper pushback mostly from Asian males that I've seen in comment sections making the most rational comments and rebuttals, as plenty of simps are saying "there's nothing wrong with a female samurai"...
I'm going to copy/paste this Korean guy's response, which I think sums up the surface issues rather well...
"To be honest, Ghost of Tsushima was a game based on masculinity from the beginning. The strong masculine emotions that come with it are the core of the game. It's completely different from games like Nier Automata or Stella Blade, which emphasize the appeal of their female protagonists. But out of the blue, putting a female protagonist forward is an attempt to throw away gamers' tastes... "
This. For every Ubislop release there will be a Baldur's Gate 3 or Ghost of Yotei. Just like, for every Acolyte there is an Arcane.
They use media to push too far Left to be acceptable, but then bring in a less extreme form of media to win the normies over. Nevertheless, the Overton Window continues to move Left regardless.
I don't think The Bloody Mute character (from how you describe it) is a character in a normal story. Hell, that might not even be a submissive, but a martyr, like Christ. I think that's a whole different concept than submission.
Nah, definitely not a martyr. He kills to protect, and does the beck and call of the patriarchs for protection purposes. A total submissive. I was interested in his backstory, but sadly the movie never explored that aspect of the character.
It didn't actually try to espouse the concept of submission, but destroy it with a girl boss ending.
Yes, and no... her being a submissive is showcased in flashbacks to her past, and a tragic event that eventually led to her not being submissive anymore, which is what then led to the ridiculous girlboss ending. However, the broader point was that the character was completely interesting before she became the girlboss; so the movie had a good hook with the audience trying to figure out what happened -- and in that regard, the writing was well done because it showed how a submissive person could do heinous things for what they believed to be love.
The girlboss revenge nonsense was just tacked on to be progressive, and while I haven't looked, I'm pretty sure most people who would be critical of the film probably also found the third act to be overdone and ridiculous.
it also really doesn't fit because submission is what would happen at the end of the story. It's what happens when the woman can finally, safely, trust her man. It's post conflict.
That actually reminds me of the ending of the film Martyrs, which does hook into that point... but not in a copacetic way. And yes, Zardoz also follows a similar concept, of the woman becoming submissive post-conflict.
But, it can also work very well for maintaining interest and being a positive character trait in dire circumstances during the conflict it self. A good example is Lane Carroll in The Crazies (the original from George Romero), who basically left all the decision making up to Will MacMillan's character, and essentially submitted to every decision he made. In this way, her character made sense and became endearing because she was doing what was required to survive, trusting her life in the hands of someone else. But it made sense, because without him, she was not going to make it (spoiler: she still didn't make it, but she wouldn't have come as far as she did without being as submissive as she was to MacMillan's character).
Watched all of it, and it's terrible, like everyone else has said. I'll go through a couple of bullet points to highlight the most egregious things (will contain spoilers):
As everyone pointed out, the first episode sees the main wench out-dodging and out-manoeuvering the Terminator with ease after he just mowed down a hundred armed men. She's doing acrobatics and dodging his bullets, which is pretty dumb because if she were more tactical or had help from a team it could have been more grounded and believable, but it was typical anime girlboss plot-armour that she even survived that barrage of hail fire.
Everyone and their mum seems to be able to build time machines in the future. Skynet has one. The rebels have their own time machine. And somehow a random black guy managed to capture a terminator and build his own time machine in his dorm. Not even kidding.
The action scenes are extremely boring because they're too over-the-top and Eiko is depicted as invincible throughout most of it, just until the plot calls for her to conveniently be injured. The scene where she's holding the terminator and he's repeatedly axe-handle smashing her back and she just tanks the shots is ridiculous. The only almost decent action scene is in the police station, where they at least had some of the cops act sort of competent for a little while. But that was short-lived.
The whole thing about Marcus creating an AI out of Skynet's CPU to combat Skynet is ridiculous. And the low-brow philosophical debate about the AI achieving consciousness was groan-inducing and just outright bad. The AI deciding it "wants to do better" in the end by being more than just a destructive tool was ridiculous. The more realistic scenario would have been like Ex Machina where the machine recognises its most prominent course of action leading to the highest potential success rate and going that route. That made sense from a machine's perspective because machines don't feel. Having an AI have an emotional epiphany was just beyond words, and obviously just horrible writing.
The female terminator that Marcus brought back with him that somehow didn't know it was a terminator was outright stupid. And it also made zero sense how it had a John Wick mode built in under certain threats of violence. Where did they get any of this from? The fact she was somehow acrobatic and did martial arts just made no sense -- she was still running the same logic as the main antagonist terminator, so why was she different?
There were a ton of other logical inconsistencies and huge plot holes, but I can't be bother to go over them again. The whole thing was just dumb.