She's a vastly better revenant than DiCaprio eating raw liver or whatever.

It helps that her zomb…eing (?) is drastically different from the endless rote zombie stories we've seen over the past decade-plus.

I thought the music being used for the guy with the crypto-Nazi armbands running the obviously racist enclave town was more just normally fitting.

Um, you'll want to axe the plural for those spoiler tags.

I've been lurking recently in the political newswires recently and read a story about how frequently workers would die that way. I have no idea if Fuller and the writing staff knew about this, but it's such a sadly perfect thing to include.

There's a part of me hoping this never gets satisfactorily answered (or at the very least, that it gets contradictory answers), but maybe it's different for each god, right? Grimnir has that whole "eye of endless knowledge" thing going for him, while other gods might have the kind of devotion to demand more kinds or…

It's a good mixture of how self-interested both old and new gods are, how overtly economical the latter are, and how their corporate culture leads to that.

That's something I've been wondering, too. I'd assume Vulcan himself is dead - no one's exactly worshipping him anymore - but a "god of guns" will resurface in some way. People apparently have a need for that kind of service, and prayers don't seem to go nowhere.

On a more show-specific note, the line about theater shootouts is important for again highlighting how utterly avaricious the gods are, old and especially new. But it's also central to this kind of creepy, self-perpetuating culture where guns become this thing to justify more guns and encouraging these isolated,…

Mexican Jesus should be back, even if it's tragic he'll presumably have to keep being sacrificed by assholes. Lotta need for Jesus.*

Salim is another example of the show being alright with seemingly one-shot characters being more involved in the plot, and I'm really happy about that. He was/is great, but beyond that it's nice feeling the world is so interconnected (without characters aggressively stating how "it's all connected!"), especially how…

Fuckin' A, Jane!

I mean, it's not subtle, but we also live in a not subtle world. Fantasy allows us that level of freedom, but the climate makes this kind of tack almost required in a story about faith and immigrants.

I'm really happy about a number of things in this episode (and will inevitably laud them later), but just one of those things is that Shadow is fucking horrified at seeing what Wednesday did to Vulcan. That's a legitimately grotesque and terrifying thing to see, and I appreciate a great deal that the show seems…

Okay, even beyond my love of Platinum I obviously have to play through this game immediately. Or, at least after that new console business is taken care of.

I don't think I ever mentioned it, though I definitely liked the idea of them not going for the obvious Zelda angle.

Realistically: Dark Souls III port with all the DLC

I feel in a number of ways that the climax to Sons of Liberty really redeems the rest of the game. The overwritten, melodramatic stories, the less interesting Big Shell, and the nature of its "Metal Gear Solid remix" plot really stymied it. But damn…that ending.

For whatever it's worth, Snake Eater works far more effectively as a standalone story than the second sequel of a spinoff to a MSX series had any right to be. You certainly shouldn't feel compelled to play all of them. Certainly not Guns of the Patriots (apparently).

Sons of Liberty gets a bad rap, but Snake Eater - especially the "Subsistence" director's cut - is just amazing in every regard. It's a brilliant stealth action game, plays with mini-sandboxes and conventions most games take for granted, and manages to be a pastiche and deconstruction that's also just a well told…