knightgamer7
KnightGamer7
knightgamer7

I could really care less about this movie, but the hate it’s getting is amusing me to no end, from the mocking posters (someone made one using Schindler’s List) to this epic theme song from one of writers on The Good Place:

I think this every day. I say this often, even here on io9, and I mean no disrespect to anybody else, but I don’t think there’s any creative force working for Lucasfilm who *gets* Star Wars more than Filoni.

“I just wanted to mention the name so it gets in there, so it’s something people can use,” he said. “And sometimes that’s what I can do for things that come out of Legends. I could create just another Captain with some name there or I could put someone like Pellaeon in play.”

“In the end, they made a game about trying to survive disaster.”

All of your observations on how this game is a metaphor for the state of the Metal Gear team after Kojima left are artistically engaging enough to make me want to play this. 

Thank you for your excellent analysis and actual deference toward some the people who slogged to make this happen. THIS is what game journalism could/should be, not a laundry list of graphics/sound/gameplay, but a keen eye to observe even a bad game as an important cultural artifact.

So they basically made a game that’s a metaphor for the drudge the left-behind devs feel working for Konami and the (more or less) betrayal of Kojima. And they somehow got that to fly with the higher-ups at Konami in their meetings. A story of how they managed that could make for a fascinating documentary.

Sounds about right.

I fully recognize that Kojima was and probably still is a primadonna dickhead when it comes to exercising directorial control over a project (and is probably absolute shit when it comes to budget management), but I will never be able to see Metal Gear as anything but his.

I have zero desire to play

It’s funny that no one ever mentions he’s also Supergirl’s grandfather. What with a Supergirl show on the air right now and all.... hey, wait, you don’t think she’s part of the changes to the timeline, do you?

All of these companies, however, work for Jason, and delay games at his every whim.

I haven’t seen or heard anything that I HATE yet in this show. The cape might be a little gratuitous, but it wouldn’t be a comic book show if it wasn’t a little gratuitous.

The anonymity the Internet provides is at once one of its greatest strengths (in that it allows people to express ideas that may be politically unpopular in their area, or to organize social movements without fear of direct/immediate reprisal), and also one of its greatest weaknesses (in that it enables

Long, Dr. Strange-style capes are good looking. But they literally have to have a mind of their own to do all the sexy billowing-in-the-wind-even-when-there’s-no-wind stuff that Strange’s cape can do. Otherwise, completely impractical to the point of making them impossible to fight with.
So we end up with half-capes,

I’m not gonna lie, I’d probably watch a Black Hole reboot. I loved that movie as a kid.

Sometimes I think our obsession with statistics, numbers and broad truths about society clashes with the fact that our justice system is about the individuals involved.

i guess you missed out on Alien/Aliens, Terminator/T2, Salt/Mr & Mrs Smith/Wanted/Tomb Raiders, The Underworld series, RE to name a few. I’m 40 and have been astonished by the sheer amount of emphasis being peddled when I’ve got childhood memories of Sarah Connor and Ripley, and right now every movie is trying to tell

And then you escape, reinvade the simulation, gain virtual super powers, cause the Earth to be destroyed, kill the alien overlord, invade Hell, and punch Satan in the face.

GOTG2 was terrible.

Now playing

. . .I take it you’ve never seen the Return of the Jedi recut with Emperor Joker’s lines? You’re in for a treat, my friend.

His dad wasn’t an idealist, but every single time Clark could choose, he tried to help instead of protect himself - when his father overruled him, it tormented him for years. The film was about Clark learning to trust his idealism instead of his (and his father’s) fear.