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That was specifically in reference to Rouge One’s odd tone. War movie but with Star Wars window dressing is the sort of template many fan films have taken with the subject matter. “Troops” is cop show but Star Wars. “TIE Fighter” is 80's scifi anime but Star Wars. You wouldn’t mistake them for official because Star

Impressive as Atlas is, I don’t know if I’d call it MORE agile than a human. Unless we’re defining agility far differently.

Almost everyone *liked* it. But I don’t know anyone who considers it a modern classic.

To be fair, the implicit reasoning behind the build is exactly to SEE if its a complete piece of shit and utter waste of time.

That is some premo historical revisionism you’re smoking there.

I thought it was great, if maybe a little slow to get started but that might have been my fault more than the movie. (I really shouldn’t go to the movies on 4 hours of sleep). But between seeing Rogue One and reading Tarkin, I now firmly believe that bad guy side stories are just fundamentally more interesting than

You’re also forgetting that those other shows are western made and subscribe to fairly recent trends in cartoons in terms of continuity and per-season showrunning. Whereas Pokemon is still fundamentally a late 90's Japanese children’s anime specifically made to advertise a separate, preexisting product. That’s why it

Origins was a 4 episode thing and this is just a 20th anniversary based special. I wouldn’t call either of them “reboots.”

It’s important to remember how manga, especially mainstream shonen action manga, is made. The story is written week to week and each author and editor pays close attention to fluctuations in reader popularity polls, making adjustments mid story based on how well the title is doing compared the other serializations in

I’m still catching up on Yuri (just saw ep 4), but its honestly one of the most refreshing shows I’ve seen in a good long while. So far, it’s a gay romance told with enough straight faced, good natured passion that I think it has more crossover potential than any shonen-ai show ever produced. It doesn’t hurt that the

I’ve definitely gotten feedback from riders in the past. Is the change that they’re just presenting the option more prominently with cute illustrations or was that not a standard feature this entire time? 

“Jessica Jones is the highest profile female character Marvel has other than Black Widow in the MCU.”

Does every superhero story need to be action oriented? Marvel has always indulged in a wider range pulp genres. Horror, psychological thriller, teen romance, mystery, cosmic scifi.

It’s not very fast though. It’d be easier and cheaper just to make tiny hindenburgs with consumer level toy drones. And even then, it’s not like they have any real advantage over stationary landmines or IEDs 

Unlocking fast travel between bonfires partway through DS1 always struck me as a genius level, seamless way to combine function and lore and development. You’re gaining power not just through leveling up and equipment upgrades but gameplay as your navigation through the world itself goes from frightened mortal tourist

I’m surprised there hasn’t been a risk/reward fast travel equivalent in modern Elder Scrolls games. At least as an option a la hardcore survival modes. Sure you *can* fast travel, but the chance of getting waylaid might be higher than walking yourself. I believe Daggerfall had something like that.

You know how there was like a weird half step between lizards and mammals? Synapsids? That’s how I envision kobolds.

5th ed. D&D is the ambassador game. The game with name recognition that convinces curious newcomers to give tabletop gaming a chance. It’s friendly and welcoming and all the rough weird edges have been sanded down. You can give a newbie a premade wizard and not worry that they’ll be overwhelmed with rules. It’s all

Real talk, Year One is the only Miller book I own, and I give far more credit for its masterpiece status to Mazzuchelli than I do Frank.