As I’m sure anyone who’s held the dock can tell, there’s not a lot to it. It adds no performance to the Switch at all. The Switch just changes modes when docked, because being plugged in it doesn’t need to rely on battery power.
zerokei
zerokei
As you say, they’re about tone. I’d argue Snyder’s superficial nailing of minor details don’t really make them more accurate than missing the tone almost entirely.
Except Superman often is written around the things he couldn’t do, like the bottle city of Kandor. When you’ve got such a ridiculously overpowered character, one that has such black and white scenarios when it’s OK to murder is pretty poor writing, and Snyder wrote him into a lazy situation where he had zero doubt and…
Superman is inconsolable.
Don’t forget data caps. Streaming tons of high resolution gameplay is a great way to hit data caps that came back into place once ISPs thought the goodwill of removing them during the pandemic had worn off.
It’s what baffles me about the gushing fandom around the “Snyder cut.” Like, Batman v Superman was awful, Man of Steel pretty terrible and full of WTF moments like Kevin Costner stepping into a tornado to teach his adopted son some sort of Randian message about how he can’t let the world see his true power level or…
Aren’t they largely expys of WarCraft characters?
For speed runs I think it’s mostly a mix of Toad and Luigi. Peach is more useful for casual play most likely though.
The sad thing was it likely was a console mover, at least when it came out. The Wii U library was really thin in the first year.
I’m picturing a modern day update of that classic Twilight Zone episode.
The point is that every weapon is essentially built off the same archetype. There aren’t 15 distinct assault rifles in Mass Effect. They’re just minor variations on the same three stats.
I’m not oversimplifying though. Within the four weapon system of the first game, the difference separating one weapon from another is one of three stats: damage, shots before overheating, and accuracy rating.
People love to tout how much of an RPG the first game supposedly is over the second and third, but I think they mistake having more “things” for having more options. Most of the gear you get is junk, and the stats that differ between most of them aren’t really interesting options.
It’s possible he had some sort of internal logic as to why his demand had to be met, but given we know the answer to why he bought a site he appeared to not enjoy (because it was cheap and had good page views) and that the change following the exodus killed non-sports discussion pretty much entirely for Deadspin, not…
The Adults in the Room article that capped off the former team’s exodus from Deadspin nailed it. The Deadspin team obviously understood that it was their broad discussion of all manner of topics in addition to sports that made people interested in their writing, but some overpaid executive had to demonstrate he knew…
This question reminds me of one of my favorite parts of gaming, player emergent narratives. I would argue that it’s far more interesting to show someone how interacting with a game becomes its own emergent story particular to the player than in showing them just a pretty scene that happens to be in a video game.
I think some players get into a mentality that characters they don’t like don’t really count, because they didn’t like them to begin with. As you said, they’re still a part of the team. They just expect all the consequences to be limited to the characters they don’t like I guess.
I don’t agree, at least with the Assassin’s Creed games. Character progression in the last three games wasn’t an issue. The microtransactions aren’t really compelling in the slightest. You level fairly frequently already. Speeding that up won’t make the sheer amount of content any better, it might just trivialize any…
Not seeing how nagging about having grandkids during a pandemic would be the better view in that situation.