It’s new new season of Spoiler Warning! Finally! In glorious 1080p! Which is an awful lot of p. It might even be too much p. Those with extreme p sensitivity may want to use caution when viewing this much p at one time.
At the start of the episode I suggested that we track how many times you’re captured in a cutscene. Then later I suggested that maybe the problem wasn’t “capture” but the way the game poofed in guys from just off camera. But these are both problems with a common source: A storyteller who can’t be arsed to sell things properly. Whenever they need to create a setback, an unlimited number of bad guys can walk in from off-frame and gank you. After a while it starts to feel like a movie character being assaulted by the cameraman and boom operator.
This is terribly lazy. It’s not unforgivable here in the early game, and if the trick had been used sparingly they might have gotten away with it. But this is the only play in the writer’s playbook, and pretty soon the contrivances start to grate. I mean, at least have them ambush you in a dark space, or while you’re fiddling with the radio, or have them spring a clever trap. Anything but having them beam down from the Enterprise in the middle of an open field.
But I liked the game. You’ll see.
What Does a Robot Want?
No, self-aware robots aren't going to turn on us, Skynet-style. Not unless we designed them to.
Crash Dot Com
Back in 1999, I rode the dot-com bubble. Got rich. Worked hard. Went crazy. Turned poor. It was fun.
The Gradient of Plot Holes
Most stories have plot holes. The failure isn't that they exist, it's when you notice them while immersed in the story.
Bad and Wrong Music Lessons
A music lesson for people who know nothing about music, from someone who barely knows anything about music.
Marvel's Civil War
Team Cap or Team Iron Man? More importantly, what basis would you use for making that decision?