MrHoatzin

I like the look and feel of this one better than that of Love. Uniformly applying a crazy fuzzy paint daubs filter to everything in your pastel world is a stupid way to add visual interest to a bland, Quake-like art direction. I want to like the way Love looks, but I don't. Journey looks a lot more considered.

Local staging may be too much bother for something this simple. You just have to make sure your server has PHP. Any PHP will do. If you don't have any kind of scripting, you can do AJAX. Jquery makes it fairly simple. But your website will not be indexed by spiders at all, so this might not be a solution at all. Include this inside your head tag: <script src="http://ajax.googleapis.com/ajax/libs/jquery/1.4.2/jquery.min.js" type="text/javascript"></script> <script type="text/javascript" charset="utf-8"> $(document).ready(function(){ $.post('/myMenuFile.html', function(data) { $('#menuElement').html(data); }); }); </script> And then make sure you have an empty div with an id of menuElement in your code. It should pull the content from the myMenuFile.html. This solution is no better or worse than using frames. Ideally you would want to use server-side includes or PHP like suggested above.

The original ending was a little silly and random methinks. I was always under the impression that the new ending was basically the old ending with an epilogue tacked on to it. Those who've actually played the expanded ending, was it basically: If you can have yourself a smooth transition from the game to the expansion packs, why not go for it?

Well, it looks fun. It also looks nothing like X-Com.

Jeez, how can you make a pronouncement like this? We know nothing about these games. Maybe they will be starring Sam and Max, like the LucasArts Adventurer comics. :eathat:

It's true, though!

I'm with Wormsie here. I like third one better than the first one, and I never played the second one. It is really a surprisingly good game considering how bad it is and how many things went horribly wrong with its production. You can see that practically no one had fun making that thing, and yet the game doesn't suck as much as it should.

I am scared and confused. Should I care about these, or are they in the CSI vein? And actually, I hope that these games end up THOUGHTFULLY cartoony, rather than "realistic", whatever "realistic" may mean. I also wouldn't mind if they didn't follow the primary story arcs of the respective properties. Bone always felt weird in this regard.

This makes me think of the third Gabriel Knight game. That game had that bizarro engine that did so many things weirdly, back at the dawn of 3D. Anyone trying to develop new interfaces and technologies should play that thing. For those who never played the game: the player's presence in the game world was a disembodied camera that could go practically anywhere in the world. When something half the world over is interacted with, Gabriel would teleport right outside of frame, walk in and do whatever. However, if you interacted with something while facing the location of the Gabriel avatar (even if he was obstructed by a building) he would walk all the way from where he was standing to do his thing. This could sometimes take a minute or more. Bonus fact: the game used vertex animation. I have no idea how anyone could ever think that it would be more time-consuming to use skeletons.

I liked Coraline, it was quite nice. A caveat: the 3D didn't add anything to the experience, just made the relatively dark movie more headache-inducing.

In more dimensions than is comfortable to think about.

If that is all, then it is ridiculous. While Andrew Bird doesn't beatbox, he does put together some really involved compositions with just himself and a fancy shmancy sample machine thinger. I don't remember which song it was, but when I saw him live a year ago he used a couple of different microphones, his violin, guitar and a xylophone in this one song all by his lonesome. It was pretty good show. This performance comes close: ySoOkE92KlY

6

Season 1 has always been a quaint curiosity; some cool peeps trying to invent a new format. Worthy of supporting, but all kinds of cringeworthy. Season 2 was much better, leaps and bounds ahead of season 1, but still somewhat weird around the edges. Telltale really came into its own around Wallace and Gromit. All the games since have been quite awesome, without reservations. ANYONE WHO HAS PLAYED SEASON 3 AND WANTS TO CHECK OUT EARLIER ONES, DON'T EXPECT THE SAME LEVEL OF AWESOME.

Only when you're as big a dork as we are.

He must be loaded. Maybe an independent project or two will not be a bad thing.

The modern glasses are slightly tinted too, but not all that much.

Alternatively: beer. As Homer Simpson says, there is nothing like a depressant to chase away the blues.

GwKWttrEaSM

Orson Welles shared his title card with Gregg Toland on Citizen Kane. The former really appreciated the later's input and let him go crazy with cool things he wanted to do but never had the chance. On the other hand, there is Spartacus. A young, straping Kubrick, fresh-faced and hand-picked by Kirk Douglas (after a couple of other directors fell through, Douglas insisted on Kubrick because he thought he could push him around and have him do his bidding) proceeded to effectively fire Russell Metty, the cinematographer the studio selected for him. He didn't actually fire him, they say it was bureaucratically simpler to just tell him to go sit somewhere out of the way during the whole production. Dude came to work every day, did nothing for a few months of production, and then won an Oscar for cinematography for a movie he didn't even touch.

I've heard it used often earnestly and damningly for all kinds of un-Sarah-Palin-like behavior, it makes my blood boil.

It is really extra funny, because I saw some interview with him about Twin Peaks or Inland Empire or something like that and he is the huggy teddy bear of a man, soft spoken and calm and easygoing, and he played this sinister mysterious espresso-spitting monster in this completely random scene.And STOP USING THE WORD PRETENTIOUS. WHAT THE FUCK IS WRONG WITH YOU PEOPLE?! Why is it pretentious to know a lot about movies and movie history?

Fritz Lang single-handedly made American film noir awesome.

The sinister dude in the espresso spitting scene is actually Angelo Badalamenti, the dude who worked with Lynch on every soundtrack since Blue Velvet, including the iconic and the extremely awesome Twin Peaks music. I know how you feel about movie knowledge, Toblix. I find it is really important to watch a lot and with people who like to dissect movies and observe weird things in them. The more you watch, the more you will see unified lines between styles and movies within someone's portfolio, eventually noticing particularly impressive cinematographers and directors of photography, etc. It is close to impossible to just be told what to look for by an expert. You just can't pick these details up without a working knowledge of a lot of different people's bodies of work.

It is always humbling to read about the adventures of people living in societies afraid of free speech. On one hand because it must be excruciating to have to hold your trap shut and tiptoe through life careful of what you say and to whom, and be wary of rivals who will accuse you of all kinds of thought crime transgressions. On the other, the western laissez-faire trans-national corporate structure has somehow attained a degree of self-confidence where it doesn't seem to give a shit about what people say and think about it. The power of speech has either been grossly devalued in the west, or has been equally inflated in more totalitarian regimes. Is it just that the west has realized that soft propaganda is more effective than open oppression?