Siromatic

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About Siromatic

  • Rank
    Moonage Daydreamin'
  • Birthday 04/25/1989

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    Male

Converted

  • Interests
    Movies, comics, art--any and all forms of visual narrative.
  • Favorite Games
    Grim Fandango, Earthbound, Rez

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  1. E3 2018

    The games shown over the last month or so I'm most interested in are "Ooblets," "Tunic," "Sable," and "Tetris Effect." ("Overcooked 2" also looks like a solid follow-up; I'm hoping the netcode is good enough to make it an enjoyable experience. And if the GB folks, Idle Thumbs, or Steve Gaynor stream them playing through the new "Hitman 2" missions I'll watch that in a heartbeat. Not the kind of game I'm interested in playing, but I bought the first one since I got so much enjoyment watching the folks I just mentioned streaming it and will do the same with the second.) "Ooblets" has elements from "Harvest Moon," "Animal Crossing," and "Pokemon," done in a distinctive visual style and charming atmosphere. I think this game has a real shot of being even more enjoyable than all the ones it's inspired by. But even if not, it'll still surely be a good time. Wonderful trailer with great music: "Tunic" looks like a relatively simple isometric action adventure game, but the wonderful and unique art style and gorgeous music elevate it into must-play territory for me. Again, wonderful trailer with incredible music: "Sable" is probably the most interesting game shown off recently. Gorgeous art style inspired by Moebius and Ghibli, with the main character's animation being purposefully limited, and great lighting. It sounds like this game is all about exploration (i.e. no combat), so its overall quality will probably live or die by the quality of its narrative and how engaging that exploration/world design is. But even if the narrative isn't good, it's still such a striking and well-realized world that it'll likely be worth experiencing. Yet another wonderful trailer with great music: And lastly "Tetris Effect." Tetsuya Mizuguchi working on an officially licensed "Tetris" game. What more needs to be said? Not just the best video game trailer I've seen in a long time, but one of the best trailers I've ever seen, period. Sure, it's just "Tetris" (with way more of an emphasis on the synergy between audio and visuals) but it's gonna be the best damn version of "Tetris" ever made. Can't wait:
  2. Is Steam (Valve) Good? If not, what then?

    Yeah, I read these two articles today (first one here; second one here) which elucidated some more on what happened. Seems pretty obvious O'Brien capitulated to angry video game players, some amount of whom were GnomeGoobers (notorious GnomeGoober hangouts were also on fire/talking about what was happening prior to the firings, per the second article linked above) and some that were just "Guild Wars 2" devotees that got riled up about it. O'Brien could have made a public apology to Deroir without firing Price or Fries. Yes, he would have been throwing them under the bus, and one or both of them likely would have quit over it, and it would have all still been a big mess and still a cowardly move on his part. But it would have been slightly less egregious than just firing them. But honestly the obvious best thing he could have done was just let the damn thing blow over. This shit was happening during the week of a major holiday in America, and in the middle of summer (for everyone in the Northern Hemisphere). There couldn't have possibly been that huge a percentage of the overall "Guild Wars 2" playerbase actively clued into what was happening or that would have cared in the first place. (If there was, then I'm sorry but that's sad.) Combine doing that with apologizing to Deroir in private to try to keep him as an active member of the community via streaming, and I doubt too many people would have still been talking about it a couple weeks/month from now. (If anyone's just now looking at page 5 of this thread and totally bewildered, we got super off-topic and have been discussing the firing of Jessica Price and Peter Fries. Posts pertaining to that so far are 8, 10, 12, 13, 14, 15, 17, 19, and 20 on page 5. Everything else is still mostly about Steam/Valve.)
  3. Is Steam (Valve) Good? If not, what then?

    Oh, no worries. It is a bummer that (as far as I know; could be wrong) none of the Thumbs have given an update about whether the "Important If True," "Idle Thumbs" or the "Idle Thumbs Book Club" podcasts will resume. I think they said they intended for them to in the immediate aftermath of the acquisition being announced, but I don't think anything's been said since. I've just assumed they're all still too busy and an update one way or the other will come in due time. It'll be sad if the pods don't get cast from their glorious reels once again, hauling in only the finest of fish. But we'll have to accept the outcome either way. Also, regarding fish, remember to: eat them up, yum!
  4. Is Steam (Valve) Good? If not, what then?

    That's possible, but of course none of us have any idea what precisely happened. Just want to clarify: I don't think O'Brien or anyone else should have demanded an apology from Price or Fries. When I said the worst (if anything) they should have received was a simple "hey, I saw that exchange with Deroir on Twitter and just wanted to say I don't think he meant any malice," I mean that should have been stated as lightly as possible and left at that--he should have let Price decide whether or not to apologize. (Also it should have been prefaced or followed-up with "I understand where you, Price, are coming from, but closely looking at his wording and what he followed up with I don't think he meant any ill will.") Price could have very well not have been happy to have been told that by her superior and decided to leave over it, but that would have been her decision. Also all the reporting about the incident specifically says they were fired. If there was more to it and at first they had just been asked to apologize and refused to, I think that would have come out by now/been in the reporting in the first place. And like I said, I don't think they should have been asked to apologize, and would understand them refusing to if asked to do so. So even if that was the way in which it elevated to them being fired, it still should not have reached that point. I really don't understand why O'Brien--if he felt so strongly about this--didn't just PM Deroir and apologize for the incident. He could have explained where Price was coming from/the context of her and all other women on the internet being bombarded by messages with malice behind them, but said that for him personally looking at Deroir's wording he felt there was no ill will intended. Then he could have thanked him for his support of "Guild Wars 2," and left it at that. Deroir seems like the type of person that would have been more than satisfied with that response, and probably would have even deleted his tweets. Just seems like this could have been much more easily resolved and in a manner that didn't have terrible consequences. Oh well, too late now.
  5. Is Steam (Valve) Good? If not, what then?

    I wouldn't read absolutely anything into the Thumbs not commenting on the absurd "Guild Wars 2" situation. (Absurd in that the two people should not have been fired.) I presume Jake and Chris feel the same way about the situation as most other game developers I've seen comment on it (if they're even aware about it). The fact they haven't said anything likely has nothing to do with now working at Valve; they've been way less publicly active on the internet in general since announcing the acquisition. They're probably still busy settling into their new surroundings and probably also on the game they're working on--I could see how after a month+ long process of moving and getting everything sorted out and spending time getting acquainted with their new place that some of them probably then wanted to get heads-down on working on the game itself, especially since they now have many more people and resources available to them to help them on it. Of course this is all pure speculation on my part, but in any case regardless of why they haven't commented on it, I still wouldn't read much of anything into it. As for the situation itself: I know nothing about Price or Deroir but just reading the tweet thread and some news articles about it, sure she might have overreacted to what seemed like a fairly innocuous response by Deroir (he even ended his little series of 4 tweets by saying "nonetheless, I appreciate the insightful thread!"), but so what. I bet the only reason her boss was upset and fired her and the co-worker who backed her up on Twitter is because Deroir is a regular "Guild Wars 2" streamer. If Deroir was just a random person that no one knew of then I doubt the boss/anyone would have cared. And even if they *did*, it still seems like the worst Price and Fries should have received was just a talk about how Deroir didn't seem to intend any malice in his response. A simple "hey, I saw that incident with Deroir on Twitter and just wanted to say I think he didn't mean any malice" should have been all that was needed, if anything. But as already has been stated, when you take into context how women are very often treated by men on the internet (and the fact that men often do intend malice, even if it doesn't seem overt), no one should be shocked or upset about Price taking umbrage with it. I totally understand how women would have a difficult if not impossible time differentiating between someone who means ill intent in their response or someone who doesn't. And I know nothing about Deroir prior to this incident happening so who knows, maybe he has said things in the past that would make Price assume he did mean ill intent. In any case, no one should be upset about her reaction. There are some women who have a very stringent "I don't take any advice, criticism, input, comments, etc. from men on the internet into account and I do not want to receive any of them" policy online, which is understandable. Price's bio on Twitter that says "I block often; I won't play demure for you" strongly indicates that is probably her policy, and people responding to her should already be aware of that or be able to figure that out by looking at her profile for 2 minutes. Also aside from everything else, even if this was an interaction that happened between two men or two women, I still feel like no one should be upset about the response from the game developer. Even if they were wrong/the person giving the feedback was right. Whether anyone takes into account any feedback they receive is totally up to them. And if they respond to your feedback saying they're not interested in/do not want it, then you should simply accept that that's their policy and move on. Firing the two employees sets a terrible precedent and also emboldens the absolute worst knuckle-dragging troglodytes. Just like what happened when Steam announced their new "nearly anything goes on our store" policy, you see lots of GnomeGoober type people celebrating what happened with this incident. The worst part of all this is that based on Deroir's tweets I highly doubt he wanted Price and the other person to be fired. (If that is the case, he should really make it clear/say so.) Seems like an absolutely egregious mistake on the part of O'Brien to fire Price and Fries. Hopefully both Price and Fries get hired soon, by a better company. Anyway, like Henke and Merus said this is all obviously off-topic for this thread. I did have something I wanted to post that pertains to Steam, but will do so in a separate post in case the last couple responses get moved to a new thread.
  6. RetroThumbs

    Lots of Super Nt impressions and reviews came out today. Everything looks/sounds great so far. Linneman's Digital Foundry video is coming out this Sunday, which will likely be the best for video, audio, and performance comparisons. But there's already some great videos out today about it. I'd recommend: Gamexplain's video showing the visual differences between an unmodded original SNES, the SNES Classic, and the Super Nt, which makes it pretty clear the Super Nt produces the best, most faithful 1080p image of SNES games. My Life in Gaming's video has some good comparisons as well, a lot more in-depth information, and is interspersed with a video interview with Kevtris (the person responsible for the FPGA in the Super Nt). And Jeremy Parish's video gives a nice general overview of the system. Pretty cool. This is the best, most authentic way to play SNES games in 1080p now. Really love the design of the hardware and packaging (by Cory Schmitz), boot-up screen (designed by Phil Fish; audio by Squarepusher), etc. The only way this system could be more perfect would be if it accepted Saturn Model 2 (Japanese Model 1) controllers, since those are the best 2D controllers ever made, but the SNES controller is good enough. Big thumbs-up from me.
  7. Very well said, Simon, and completely agreed! I have the softcover version of the reprint designed by Jake and it's one of the most well designed books I own. (Check out the hardcover and some early design sketches here.) Seriously, it's my favorite book, along with "Perfect Nonsense: The Chaotic Comics and Goofy Games of George Carlson" (which is the most well-designed and beautiful book I've ever seen), the massive-sized "Peanuts Color Sundays" volumes, Dame Darcy's "Meat Cake Bible," the Floyd Gottfredson Mickey Mouse volumes, some of the John Canemaker art books, and some of the prose Penguin Classics deluxe edition books. Jake is up there with Tony Ong and Jacob Covey from Fantagraphics as one of the best book designers of all-time, though sadly it seems like it was just a one-time passion project for him. If y'all publish an "Art of Campo Santo" book in the future, you've already got the perfect person to design it! It's a shame the 2008 reprint Jake designed is now out of print as well. Prices on Amazon and eBay for the softcover seem pretty high for one in like new or new condition. But it might be possible to get a new copy for a more reasonable price if there's anyone that is just now learning about it and would like a physical copy over the digital tablet/smartphone version. I sent an email to the Cartoon Art Museum a few years ago inquiring about getting a copy since they had a Purcell "Sam & Max" exhibit at the time and a bookstore attached to the museum (since they relocated it looks like the physical bookstore isn't open at their new location yet, though they do have a limited amount of items in their online store). They kindly forwarded me to someone named Joel who said he worked with Steve Purcell periodically. He was able/kind enough to send me a brand new copy of the softcover halfway across the U.S. for $30 (new book + shipping) via Paypal. This was in July of 2014. I don't want to give out precise info since I don't know if he has any more copies or would be able to do the same for anyone else, but it seems possible. If anyone in the U.S. is sure they'd want a copy, feel free to PM me and I'll email him, ask if he has any more he'd be willing to send out, and if so give you his email address to make the transaction (you're just giving him your address to ship it to you and he'll give you the email address to pay via Paypal). Would be really cool if someday Purcell is able to publish a new book of the work he's done since being at Pixar, along with any new "Sam & Max" or personal artwork. Several Pixar employees have been allowed to publish work while at the company: Sanjay Patel has published personal work via Chronicle Books, and Enrico Casarosa and Ronnie Del Carmen have both published personal work, too. All three of them have had some of their Pixar work published via Chronicle and Disney Press, as well. Lorelay Bove, Brittney Lee, Claire Keane, Lisa Keene, Victoria Ying, and Helen Chen were all able to publish their personal work via Design Studio Press a few years ago, too, so it seems like Disney Feature Animation is fine with employees publishing personal work, as well. (Speaking of Pixar, let's fucking hope it's confirmed that Lasseter is out for good sometime soon.) Could you imagine if Purcell was able to direct a "Sam & Max" short or feature-length movie at Pixar? That'd be pretty damn cool. Sanjay Patel's "Sanjay's Super Team" is the best short Pixar has made so far, in my opinion. Would love if they started letting employees spearhead projects with their own ideas instead of only letting the same five or six people be in charge (this would have the side benefit of getting them out of this god awful sequel malaise they've been in this entire decade), and good lord after all the shit that's come out about what Lasseter put women employees through for *decades* let's hope they let more women be directors/in charge and not unceremoniously boot them off the project 3/4th of the way through like they did to Brenda Chapman.
  8. The Asian Film Thread

    Oh yeah, totally agree that there's a lot of not-great movies made elsewhere, and that there's surely some campy fun to be had in some of them that we're likely not going to experience/know about since what we receive here is purposefully filtered/tailored for the market. My point was simply that since the best movies made outside America are often of a much higher quality than the best that are made here, I also presume the same is true for mid and low-tier (in terms of quality) works. Take "Miss Hokusai," for example, an animated movie I could have mentioned for this thread but purposefully didn't because though its premise and elements of it are great, the execution of the movie as a whole unfortunately falls a bit flat. I'd consider it a mid-tier movie in terms of quality. That said, what it's about is better and more interesting than 99% of animated movies made here in America. The movie isn't executed as well as the best movies from Laika, Pixar, and Disney, but it also was made with a fraction of the budget, people, and resources as movies made by those American companies (and like all foreign movies also made an infinitesimal fraction at the box office compared to movies made by those American companies). And when I say a fraction, I'm not exaggerating. Can't find a specific number for the budget of "Miss Hokusai," but the production company has 120 people *total* and also does television and video game work, so I doubt everyone was on the project. 120 people is 1/10 the amount of people Pixar has, so one can assume the budget is also a tiny fraction of what one is for a Pixar movie, and the reported box office gross is 0.0003265% that of Pixar's latest movie "Coco." Of course "Coco" played at hundreds if not a thousand more theaters than "Miss Hokusai" did, but even if foreign animated movies played at the same amount of theaters as an American animated movie does, it seems highly likely they would still make a fraction of what they do at the box office. Also even if you compare "Miss Hokusai" to a smaller-sized American animation studio whose movies unfortunately do the lowest numbers at the box office (Laika), it's still a fraction. The "Miss Hokusai" production company has 3/10 the amount of people Laika has, again you can assume a fraction of the budget, and made 0.003184% what Laika's most recent movie ("Kubo and the Two Strings") did. So a bit better, but still pretty far from 1% of the total gross of the worst-performing (god why do more people not go see Laika movies they're really fucking good) contemporary American animated movie from a major studio. (I probably should have compared "Miss Hokusai" to the worst or mid-tier quality movies from both those companies, such as "Cars 2" and "The Boxtrolls," but the numbers would be very similar.) Me hoping that more American moviegoers seek out foreign movies is so we get exactly the kind of movies you're talking about--ones that previously would have only been known about by people that live in the places they come from. (My point in giving the stats above was to convey that if just 1/50 of the people that show up for major American movie releases went and saw foreign movies, they'd be doing much better financially and we'd get even more of them.) I'd love to get way more mid and low-tier quality foreign movies, and I'd also love for the people that make the best ones to do better financially so they can make even more great movies, etc. (Though of course no matter what there's always going to be creative works that are only known locally--whether it's isolated to a town, state, or entire country. Some stuff just never breaks through to a wider audience. But I do strongly think that if foreign movies made more money at the box office, we'd see companies taking more risks in terms of what movies get distribution, how many get the green-light in the first place, etc.) So if foreign movies are made with a fraction of the people, budget, and resources as American movies, and yet are often so much better in quality (like I said earlier, compare "A Separation" to anything that has been made in this decade so far here in America), what accounts for the discrepancy in quality? Surely a multitude of factors, but one that stands out to me is the sad fact that the story of America so far has been the story of white mediocrity in control. (And I don't say that to be harsh or hypocritical--I'm one of if not *the* most mediocre white people on the planet.) Many of these foreign works are made by way less white people than your average American production, and I think this is one of the huge benefits they have. I say this because the same thing is true of works made here in America--"Do the Right Thing," "Children of Men," "The Square" (2013), "Fruitvale Station," "Moonlight," etc.--most of our more recent great movies have come from non-white people. (Even silly entertaining stuff like "Thor: Ragnarok" has a vibrancy and style that most of its peers in its genre are missing, likely due to the director and people in the movie crew.) Sure, a lot of white people made some great stuff here from the 20s-60s, but non-white people didn't have much of a chance to get into high-up positions. And when you look into a lot of the best works made by white people, especially collaborative works like movies, you often find there was one or a handful of non-white people who actually did most of the crucial work and then the white people in charge unconsciously or consciously took and received the credit for it. (This stuff still happens a lot today, sadly.) Somewhat similar to how you often find out a spouse of a famous man deserves way more credit than given for the success of their work (and that it should be referred to as their work since they both contributed to it), such as Elaine Bass, Marcia Lucas, et al. Also, just think of how much better a lot of that work from the 20s-60s would be if there had been more diverse creative teams working on them, and how much better works made by mostly white people today would be. (Hell, as much as I like the diverse cast and story group on the new "Star Wars" movies, I wish they'd gone with different directors. Would love to see a Janelle Monae or Alfonso Cuaron helmed "Star Wars" movie. Oh well.) Would also like to try to dispel the myth that foreign movies with subtitles are difficult to watch/get into and that it's only for "smart" people or some such nonsense. (Hopefully there are folks that read this thread that have seen few foreign movies before and now feel more interested/excited to do so.) I totally understand there is some percentage of people that either have visual or learning impairments that would make reading subtitles difficult or impossible. But a huge percentage of the American population can easily read subtitles. Characters in movies hardly ever speak more than 1-2 sentences at a time, and even more rarely do they use words that people would not have heard of/need to look up the definition of. Reading subtitles in foreign movies is nothing like reading a book, or even a comic strip--it's way simpler and to the point. I've had more difficulty trying to pronounce and understand the meaning of words I've come across on food menus than I ever have from a foreign movie. And I think most people, once they've watched 2-3 movies with subtitles, will start to notice they better understand the narrative/plot due to reading instead of just hearing the dialogue. I watch most movies where the dialogue is spoken in English with subtitles for exactly that reason, and find it to be a much more enjoyable experience. The one argument against subtitles I can understand a bit more is folks that want to take in the visuals as much as possible. I really don't find reading subtitles to be any different than just listening to the dialogue in terms of my ability to observe the visual details (either way your brain cannot 100% focus on the visuals--you're either reading the subtitles or instinctively parsing what is being said, and honestly I find reading 1-2 sentences a lot easier to do than processing the same spoken dialogue), but obviously when you're reading the subtitles your eyes are no longer taking in the whole image/paying as close attention to the details. My biggest counterargument against this position, as someone who really loves visuals, is that I find I am way more likely to rewatch/experience any media I really like visually at least one more time after my initial experience. And it's a lot easier to focus and observe visual details on a second viewing of any movie, subtitled or not. And the last myth/stereotype that seems to drive people away from experiencing foreign movies (and other media) is that they think the theaters that play them are more "fancy" than a standard wide release multiplex. Some people seem to think it's equivalent to going to a high-end restaurant where the food is all mega-expensive, people are snooty and dressed to the nines, etc. In my experience this is hardly ever the case or is blown out of proportion. Some theaters that show foreign and independent movies are older movie palaces and may have some nice decoration, but when it comes to the seats, screen, and audio they're often slightly worse or no better than a standard wide release multiplex. (A tradeoff that's easy to accept for the kinds of movies you get to see.) And many of them are just basic ass theaters. The audience is usually a smattering of people in their early 20s, a few more people in their late 20s/30s/early 40s, and some older people. Some of the middle-aged/older folks may be dressed nicely, but I've never been to a screening where everyone is--it sure as shit ain't required and I've never felt out of place dressing normally. And the worst misconception is pricing--tickets on average are much cheaper at theaters that show foreign and independent movies than at a wide release multiplex. Matinee showings at Landmark Theatres across the U.S. are $7, and evening/standard showings are $9. Independently-owned theaters that show foreign movies can be even slightly cheaper. Good luck finding tickets at a wide release multiplex that low, unless it's before noon on a specific weekday when they have a sale. I'd love if more folks from all types of backgrounds started seeing these movies. The tickets are cheaper than for a wide release multiplex movie, the movies are better, etc. Though I totally understand for some folks these theaters are too far away from where they live/work to regularly go to, which is a shame. Again, FilmStruck streaming, mom-and-pop rental stores and damn Netflix are your best options if that's the case. Anyway, most of that is tangential to the topic at hand and more regarding foreign movies in general. Don't mean to get the thread off-topic; just wanted to give a reply since I agree with you @Patrick R that I'd be nice for mid and low-tier quality Asian and other foreign movies to play here, too. (And like I said, based on all the info above I think mid and low-tier quality works from Asia and elsewhere would be better than ones made here, as well.) Some other movies I thought of: not sure if "The Act of Killing" counts (co-directed by Christine Cynn and shot in Indonesia)--that's another remarkable documentary. And when it comes to campy/not-great-but-also-the-greatest-because-of-how-not-great it is movies, "Hausu" is aces. (Though it's Criterion-approved, so surely doesn't fit the criteria of a lesser-known not-great work like you were talking about.) But yeah, "Hausu" is probably the most I've laughed during/enjoyed a not-great movie, since it's so hilariously bizarre and some of the techniques employed make such little sense. And I have not seen these yet, but I've owned the Blu-ray set for a few years now: "The Samurai Trilogy" movies by Hiroshi Inagaki, which are supposed to be good. (This is a good reminder that I need to watch those! They aren't even very long, just roughly an hour and a half each.) Also, glad to hear you liked "A Brighter Summer Day" @Woodfella! Always nice when one of those 4-9+ hour movies are compelling enough to make you excited to take breaks and see the whole thing. Nice to save those for a cozy Saturday or Sunday.
  9. Everyone deserves a pink elephant in their life: (I was once driving down a highway in the middle of nowhere and saw some place with a giant pink elephant sign that looked similar to the plush from "Darkman" and wanted to stop and take a photo but unfortunately couldn't easily maneuver my car to the entrance to the place to stop and do so. Also I saw "Drag Me To Hell" and "Up" on the same day when they came out which was a tonally bizarre experience.)
  10. The Asian Film Thread

    Lots of great recommendations already! Since you started off with Ozu, I'd highly recommend "Good Morning" and "An Autumn Afternoon." The former is his most lighthearted and entertaining movie (about two bratty but lovable kids pestering their parents for a television set so they can watch sumo wrestling), and it's my personal favorite. And "An Autumn Afternoon" is my second favorite of his late-period movies shot in color. One of Hirokazu Kore-eda's movies ("I Wish") has already been mentioned in the thread. Kore-eda is the closest we have to a modern-day Ozu, employing a lot of the same narrative and visual techniques. His movie "Still Walking" (2008) is the most Ozu-like and my absolute favorite of his. Of course Studio Ghibli is immensely popular, and for good reason. My two favorite movies from the studio are "Grave of the Fireflies" and "Only Yesterday," directed by Isao Takahata. Both are incredible, but "Only Yesterday" is the one that seems to be the most overlooked. About a woman in her late 20s who goes to work on a family member's farm to take a break from city life, the movie is filled with her thinking about various flashbulb memories from her childhood. It is perhaps the most gentle and affecting of Ghibli's entire output, and one of the greatest movies ever made. (I also really liked his recent "The Tale of Princess Kaguya," but more for its visuals than narrative.) Of the Miyazaki-helmed movies, which of course are all great, my favorites are "Porco Rosso," "Kiki's Delivery Service," "Nausicaa of the Valley of the Wind," "Spirited Away," and "My Neighbor Totoro." "Tokyo Godfathers," "Mind Game" (2004), "The Girl Who Leapt Through Time," "Summer Wars," "Akira," "Ghost in the Shell," etc. are all very good animated movies, as well. Kurosawa of course has been mentioned. He had a long career filled with many great movies--my absolute favorites are "High and Low" and "Ikiru." (Word of warning on the Criterion "High and Low" Blu-ray: the white typeface is a bit annoying for the first 15 minutes or so of the movie. It's an interior shot that is brightly lit and the subtitles kind of bleed into the background a bit more than they should. But this issue goes away once the movie transitions to another sequence and the subtitles are easy to read for the majority of the movie. You can definitely still read the text at the beginning, but it's the only time I remember ever having slight difficulty reading subtitles because of their color interacting poorly with the movie image itself--I think I had to pause a couple times to ensure I got everything. The movie is definitely damn good enough to warrant dealing with that minor annoyance at the very beginning, though.) Wong Kar-Wai has also already been mentioned. I see that Patrick is already familiar with his work, but for anyone that isn't I'd recommend starting with "Chungking Express"; it's his most entertaining movie. "In the Mood for Love" is great, but it is a purposefully slower-paced movie that rewards rewatching to fully grasp and might be a bit much for one's first foray into his work. On that note, Edward Yang similarly made great and purposefully slower-paced movies. I'd recommend starting with "Yi Yi," the easiest to get into (though it is 3 hours long). "A Brighter Summer Day" is his masterpiece, a sprawling work informed by personal experience. It's 4 hours long/a bigger commitment, though it's definitely worth it. One of the best documentaries I've ever seen is "Last Train Home" (2010), directed by Lixin Fan. It's about how millions upon millions of Chinese factory workers (often underage) live and sleep at the factories they work at (making jeans and other bric-a-brac for Americans to "enjoy"), working excessively to try to help themselves and/or their family financially. They all work at factories for most of the year and get one single break/vacation, when they all travel home for the Chinese New Year. The movie is filled with unforgettable imagery of the factory conditions, the mass exodus of all these incredibly hard-working people trying desperately to cram onto trains to get home for the one minor break they receive, and the tireless resolve of these workers to try to better their lives via a corrupt, denigrating, and uncaring system. Though it is obviously a deeply upsetting and harrowing movie, it is well worth watching, both to witness conditions many of us have never endured, but also to see the brief moments of hope and joy these people still exude. Though the economic system is utterly failing them and doing everything it can to deprive them of their basic living conditions, it can not *completely* take away their humanity. One can only hope one day this type of atrocious economic system is dismantled and replaced with a viable one, and that some form of reparation is given to these people, no matter how late and disproportionate it will be to what they've suffered through. I'm sure there's many more I'm failing to think of off the top of my head; I'll make another post after trying to remember all that I've seen. But of course as already evidenced by other suggestions folks have given in the thread, there are clearly many more great movies that fit this particular category for me to see. I think there is strong merit in having threads dedicated to moviemaking or creative works from specific regions, but maybe a general "foreign movies" thread would be welcome, as well? Thinking about the movies for this thread was yet another reminder of a fact I observed long ago: that creative works made outside of America on average are both of a higher quality and often more genuine in nature. Don't get me wrong, of course there are still many exemplary works that come from here, but I think many people from here, especially the more jingoistic among us, think that we excel at/are the best at everything, which couldn't be further from the truth. Foreign movies (and most other creative works/other endeavors done elsewhere) have long been on average better than ones produced here, and this disparity in quality only seems to increase as time goes on. (For example: there isn't any American movie made so far in this decade that holds a candle to "A Separation," in my opinion.) With all of the appalling information that has come out about aspects of the American movie production apparatus in the last few months, as well as the fact we're apparently going to allow one company to control the majority of it, I hope beyond hope that more people from here seek out more and more movies and other creative works made elsewhere. (Of course there is no doubt that atrocious individuals are involved in movies made elsewhere, as well--Bernardo Bertolucci and Lars von Trier are as reprehensible as Woody Allen and Roman Polanski, etc. But the overall higher quality and greater sincerity of the best works made elsewhere strongly indicate many of them are also made by nicer people, and I feel more comfortable supporting the best works made outside of America.) It is easier than ever to find out about and experience these works. Landmark Theatres (owned by Mark Cuban, who also owns the Mavericks and seems like an upstanding person, though I certainly don't claim to have done extensive research on him) is the largest chain that shows foreign movies here in America, and every major city also has at least one if not a handful of independently-owned theaters that show limited-release foreign movies. (Even many places with population sizes between 35,000-100,000 will have one theater in town that shows foreign movies.) Criterion and Masters of Cinema have brought a lot of the best foreign movies to home video and have both done mostly sterling HD restoration work for their Blu-ray releases. FilmStruck has a lot of the Criterion collection available to stream; you can try out a free two-week trial here--just make sure to select the middle option as that's the one that includes the Criterion catalog. (For those that care: the video quality of HD streaming on FilmStruck and also Netflix, Hulu, etc. is somewhere in-between that of DVD and Blu-ray. I did a comparison a couple years ago of a handful of Criterion movies I have on both DVD and Blu-ray to how they looked in HD streaming and the video quality was always better than the DVD but worse than the Blu-ray--like I said, pretty much directly in-between the two formats in terms of clarity/quality. For most movies I'd say streaming is definitely good enough--if you have the bandwidth to stream in HD--but if you can get access to the Blu-rays from a mom-and-pop rental store or Netflix, it will be a bit better.) Thanks for starting the thread @Patrick R and everyone else for their great suggestions. Will be checking in on this one regularly--looking forward to seeing more great movies!
  11. Haven't listened to the episode yet (won't be able to until tomorrow), but I'll take any excuse to link to this: (And if anyone's jonesing for some more Pavement, these are their two best songs in my opinion: "Unseen Power of the Picket Fence" and "Grounded." So god damn good--perfect tunes to relax to at work going into the weekend. Thanks for the reminder!)
  12. This conversation between Amy Hennig and Sean was a really good read. Wide-ranging and funny; I particularly liked the bits about "Chaos in the Windy City" and narrative/interactivity in games. Also: this might not be of any help to the dev team, but I thought folks would still enjoy looking at these great posters for silent movies that are in the public domain (made prior to 1923) regardless. I have no idea if a movie in the public domain means that additional material related to it (such as posters and other promotional material) are *also* in the public domain, but if so maybe they could be useful for the dev team. (Though the setting could very well preclude them from being able to be used even if they are part of the public domain, if it wouldn't make sense in terms of a movie theater being anywhere close to where the game takes place.) Anyway, like I said even if not useful still thought some folks on the forum would enjoy them! Gives a decent insight into the types of movies/genres that were being made in the late 1910s/early 20s, and of course a strong reminder that movie posters from the 20s-60s are generally of a much higher quality than contemporary ones. (Though to be fair I totally understand how posters could be viewed as less important in terms of promoting movies nowadays than they were in an era devoid of easy access to trailers, information, etc.--still a bummer that beautiful ones like these are mostly not being made for new movies, though. Fan made posters and Criterion/Masters of Cinema covers are the closest we have, for the most part.) Here's the posters: "Cabiria" (1914): poster 1, poster 2, poster 3, and poster 4. "The Phantom Carriage" (1921) poster. "Nanook of the North" (1922) poster. "Dr. Mabuse the Gambler" (1922) poster. And here's some for movies from the 20s post-1922. (So not in the public domain yet; movies from 1923 will be added January 1, 1919, and movies from 1924 will be added January 1, 2020, etc. Just figured folks would like looking at these since they are incredibly well-done, too.) "The Thief of Bagdad" (1924): poster 1, poster 2, and poster 3. "The General" (1926) poster. Fritz Lang's "Spies" (1928): poster 1, poster 2, and poster 3. "Woman in the Moon" (1929) poster. Those posters are all for silent movies that came to mind for various reasons after seeing the "In the Valley of Gods" trailer. They're not all good/great movies, but they all certainly have great posters. If anyone's interested in getting into silent movies and looking for suggestions on where to start, my humble recommendation would be to start with "Safety Last!," "Sherlock Jr.," "The Phantom Carriage," and "The Cabinet of Dr. Caligari." Feel free to PM me if you want more suggestions beyond those (maybe I'll start an intro to silent movies thread in the movie forum if there isn't one already). Anyway, hope y'all enjoyed the posters and the transcribed "In the Valley of Gods" convo/article--have a great weekend!
  13. AGDQ 2018

    Only run I've had time to watch the archive of so far is "Sonic Mania," which was great. Claris is the best runner of the game with Sonic & Tails and she did a great job. Some really cool techniques, skips, and just non-stop speed. Of course you'd expect that with a classic-style 2D Sonic game, but as she and the announcers pointed out, the drop dash (a new move invented by the wonderful "Mania" dev team to give Sonic a unique ability since Tails and Knuckles have their own unique abilities) really makes "Mania" a better/even more enjoyable speedrun game than 1/2/CD/3K (though those are good speedrun games as well). I think "Mania" is one of the best 2D side scrolling speedrun games there is now. Really cool. Here's a timestamped link to the speedrun. Other runs I'm looking forward to catching the archive of when I have free time: "Splatoon 2," "Hollow Knight," "F-Zero GX," "Magical Pop'n" (such a great/cute game), "Mega Man X," "Dynamite Headdy" (which has the greatest pixel art and animation made thus far, along with "Demon's Crest," "Owlboy," and "Sonic Mania"--such incredible work), "Symphony of the Night," "Mario 3D World," "Wario Land 4," "Mario & Luigi: Superstar Saga," "Yoshi's Island," "Mario Sunshine" (just to see how a great speedrunner deals with the camera/the most awful aspects of the game--though the secret levels are great/a precursor to a lot of design elements of the "Galaxy" games), "Star Fox 2" (just because it will be fascinating to see what a speedrun of this looks like), "Ori and the Blind Forest" (should be a fun race), "Owlboy," "Hyper Light Drifter," "Spelunky" (last GDQ run of this was great; little disappointed this isn't a hell run like that one was but is just Olmec, but still should be good), "Super Mario Galaxy," "Mega Man 1-3" relay race (this should be great--might be the highlight of the whole GDQ), "Kirby: Canvas Curse," "Tintin in Tibet" for GBC (never played this but it's based on one of the best Herge stories and I am aware that the music is really fucking good), "Super Mario World" (should be another great race) and "Breath of the Wild." Like always lots of good stuff--will take me a long time to catch the archives of all those! Hopefully none of the runners or announcers for any of those games and the entire event say/do anything egregious like has happened in years past. (Always hate when terrible stuff happens at an otherwise pretty good event, though they've seemingly done a good job with disciplinary action when it does.)
  14. Idle Thumbs Streams

    A song for @Nick Breckon and everyone who watched his stream to enjoy. Great stream; looking forward to more adventures in the future. Happy holidays everyone!
  15. Is Steam (Valve) Good? If not, what then?

    Agree with many of the points made. I also thought this lawsuit sounded god awful when it happened, in which an employee said they experienced transgender discrimination and were fired simply for complaining to their superior that Valve was wrongfully asking community members to provide free language translation services, dangling a carrot in front of them that it might lead to a paid position with the company that of course they never followed through with. I used to love Valve. (I have a dumb Vortigaunt and Headcrab plush sitting on my desk as I type this, and framed "Team Fortress 2" posters.) But the immense success of Steam and some of their multiplayer games seem to have both been great (in a financial sense) and awful (in a quality of life/enjoyment sense for its employees) and dramatically changed the company, for the worse. Problem is how dominant and convenient they still are for customers. Physical copies of PC games are nearly non-existent now, so that's no longer really an option. Of their competitors itch.io seems to have the best reputation, but that service is still missing many major and even indie games that are available on Steam, GOG, and Humble. Quite a few games that are on GOG and Humble aren't treated the same way as the Steam release, lagging behind when it comes to patches, updates, DLC, etc. There are still some games that are on Steam but not *any* of the other digital services. And as shitty as these things are both for the creators and customers, they frequently have huge sales on many different types of games, and the inane card shit you get for free merely by playing games enables you to make small amounts of money to further save on purchases. It is an awful, bloated service made by a changed and seemingly much worse company, but as often happens for the time being they seem too big to fail, and there are legitimate reasons/issues that would prevent people from avoiding them altogether. I hope they eventually have a strong competitor--a service that matches their advantages while doing away with all the negative aspects. A service that had all the best games (both from major studios and independent creators), that was treated the same way by devs when it comes to patches, that allowed for convenient access to all your games and cloud saves via a lightweight app if you wanted those features but also had DRM-free versions of all games on the service that could be played without the app for people that didn't want to use it or are worried about access to what they bought in worst-case scenarios, that allowed for refunds with good rules in place to qualify, that had decent deals throughout the year at prices they allowed the devs to set (also allowing them to opt to not be part of a sale if they didn't want to), that provided the same metrics and services and ease of use to devs who use them, and so on and so forth. None of the competitors come close to doing all of that as of now, but I definitely think it's possible--though obviously incredibly difficult--for someone to do so eventually. Let's hope so.