Game of Thrones Griping 11: Arya Gets Hit With A Stick Over and Over Again

By Bob Case Posted Friday Jun 23, 2017

Filed under: Game of Thrones 58 comments

This series analyzes the show, but sometimes references the books as well. If you read it, expect spoilers for both.

A visual medium – like television – has certain advantages over the printed word. For example, an actor who makes savvy performance choices can convey more about a character with their poise and their voice than entire paragraphs of text can. The way actors move within the frame, the choices of the cinematographer, the director, the costumers, the set designers… all of these are ways to communicate meaning to the audience.

It also faces certain disadvantages. It’s trickier to deliver exposition in a natural-seeming way, for instance. However, for my money, the single biggest challenge in adapting a book to a TV show is length.

In practical terms, books are way longer than shows – and that’s just normal books. GRRM’s works are your classic twenty-stone fantasy doorstoppers. To give you an idea, A Storm of Swords, which is the longest of the series, is 424,000 words. The entire Lord of the Rings trilogy? 481,000.These word counts vary according to the counting method. But the point is, GRRM’s books are very long. If you were to attempt a completely faithful, scene-by-scene, line-by-line reproduction of the books, you’d have to have fifty episodes a season.

The practical limitations of the form make that impossible, so the act of adapting A Song of Ice and Fire into a TV show is an act of severe abridgment. Every scene has to be pared down to the bone, entire storylines have to be cut, multiple characters have to be merged together into one, and so forth.

It’s why I always check myself whenever I get grumpy that one of my favorite things from the books isn’t in the show. I have to remind myself that they really just don’t have time to include everything. I try to be as understanding as possible.

Continue reading ⟩⟩ “Game of Thrones Griping 11: Arya Gets Hit With A Stick Over and Over Again”

 


 

Diablo III Part 1: The Legacy of Diablo

By Shamus Posted Thursday Jun 22, 2017

Filed under: Retrospectives 126 comments

The launch of Diablo III was marred by controversy and technical problems, but those have long since blown over. It’s been five years. After an expansion and innumerable patches, the game seems to have settled comfortably into its final form. So now is probably a good time to pick this thing apart and see what Blizzard decided to do with the sequel to one of the greatest PC games of all time.

Note: The games are properly titled Diablo, Diablo II, and Diablo III, but after one too many typos where I used the wrong number of ‘I’s and mangled the point I was trying to make, I’ve decided to use standard numerals for clarity and readability.

In this three-part series I’m going to look at Diablo 3 on both a cinematic and gameplay level. But first let’s talk about…

The Legacy of Diablo

The original Diablo. Swiped from Youtube, because my disk copy is long gone and Blizzard no longer sells the game.
The original Diablo. Swiped from Youtube, because my disk copy is long gone and Blizzard no longer sells the game.

The original Diablo came out in 1996. It was so influential that it was seen as the father of a genre. I don’t know if it was actually the first game in this particular style, but it was recognized as such to the point where the others were called “Diablo clones”. I think we’re over that now. Instead the culture has decided that the genre is named ARPG. (See, it’s not like all those other RPG titles. It’s an ACTION RPG.) While I hate to see the already-muddled term “RPG” stretched even further, I suppose this is better than “Diablo clone”.

In any case, Diablo looked almost like isometric survival horror. With its macabre scenery, haunting ambient sounds, smothering darkness, and grim endingThe hero sacrificed themselves to contain the titular demon., it was a tense experience focused on creating a sense of dread. You could argue that maybe the foreboding tone was at odds with the treasure-hunting gameplay loop, but the experience seemed to work for the folks in 1996.

Four years later, Blizzard followed up with the sequel. Diablo 2 was of similar tone to the original, although the visuals weren’t quite as pervasively dark. The scope was larger, the gameplay was more varied, and it seemed to have more of the ingredients that made the first title such a hit.

Diablo 2 was not instantly recognized as a classic when it hit the market in June of 2000. Gamespot gave it 8.5/10, IGN gave it 8.3, and Gamespy gave it 86/100. That’s amazingly consistent by the standards of review scores, and yet surprisingly low given its reputation today.

Continue reading ⟩⟩ “Diablo III Part 1: The Legacy of Diablo”

 


 

This Dumb Industry: Denuvo and the Death of Piracy

By Shamus Posted Tuesday Jun 20, 2017

Filed under: Column 178 comments

For over a year people have been requesting that I weigh in on Denuvo, the fancy new DRM that has all the publishers excited. What is it? How does it work? How effective is it?

DRM used to be a major part of my writing. I still care about the issue, but I eventually stopped talking about it because I ran out of things to say. You can only write the “Inconveniencing your customers in an attempt to harm people who are not your customers is a stupid idea” rant so many times. I made my case. Nothing changed. End of story.

I wanted to wait to comment on Denuvo until I had something concrete to say. I figured sooner or later we’d have answers to some of the questions I posed above. But even after all this time there doesn’t seem to be much of a consensus.

What is it?

Why make a better padlock when we can just make it EXTRA illegal to open crappy ones?
Why make a better padlock when we can just make it EXTRA illegal to open crappy ones?

The term “Digital Rights Management” is such a deviously constructed bit of PR. It sounds like a good thing. “Digital Rights”. Those are good, right? But calling anti-copying software “Digital Rights Management” is like calling prison “Freedom Management”. It’s technically true, while also being a pretty good example of real-world doublespeak.

In the case of videogames, DRM is any system intended to “manage” (limit) what you can do (your rights) with the software through various software tricks. The argument usually goes something like this:

Continue reading ⟩⟩ “This Dumb Industry: Denuvo and the Death of Piracy”

 


 

Messages from Spammers Part 7

By Shamus Posted Sunday Jun 18, 2017

Filed under: Random 111 comments

It’s the height of the cold war, and your task is to infiltrate the Kremlin and steal the plans for the top-secret Soviet Hammer-Gun. You’ve slipped into the country. You have the perfect cover story. You’ve created a military uniform that’s accurate to the smallest detail. It’s been tailored to look like a garment that has been scrupulously cared for despite continuous use. You forge all of the proper papers, to the point of fabricating your own ink and paper to make sure everything is just right. You’ve spent weeks memorizing the faces and names of all of the important people inside. You’ve watched the patterns of people leaving and entering so you know when and where you can enter while arousing the least curiosity. You’ve spent a fortune to track down and bribe various custodians, electricians, plumbers, chefs, and other workers so that now you have a completely accurate map of the interior. You know where your goal is and you know how to get there. You’ve put three years of your life into this operation.

As you approach the front door, one of the nearby guards greets you. You reply with “Howdy partner!” because you don’t speak a word of Russian and it didn’t occur to you to study it.

This is roughly how things go for spammers. So much time and effort is spent customizing their bots. They identify forms, parse captchas, spoof bot-detection systems, work through proxies to avoid IP filtering, and avoid bot-traps to make sure their messages get through. And then they post gibberish that sticks out like a Texarkana accent in Moscow.

The usual defense is that this stupidity is deliberate for one reason or another, but I harbor a secret suspicion that they are actually just incompetent. In any case, let’s see how they fared this week…

Continue reading ⟩⟩ “Messages from Spammers Part 7”

 


 

Game of Thrones Griping 10: The Lindeloffian Method

By Bob Case Posted Friday Jun 16, 2017

Filed under: Game of Thrones 117 comments

This series analyzes the show, but sometimes references the books as well. If you read it, expect spoilers for both.

Everyone’s favoriteshut up Game of Thrones gripe-a-thon is back! I won’t even have time to complain about everything I wanted to complain about between now and July 16th, when the new season is scheduled to start. But all I can do is try. Never let it be said that common sense limited my can-do spirit.

In keeping with what I’ve done so far, I’m going to pick a single season six storyline – in this case, Arya’s – and stick with it. And hoo boy, did I pick a doozy.

It would be going too far to say that Arya’s storyline was the season’s worst – that particular trophy was retained by the season five defending champions, Dorne. But it was the one I found the most obnoxious. The Dorne plotline was inept and scatterbrained, sure, but I didn’t personally see any malice in it. The Arya plotline, on the other hand, continuously manipulates the audience in a way that I find familiar enough to breed contempt.

I’ll sound smarter if I give this phenomenon a name, so I’ll call it the “Lindeloffian Method.” Damon Lindelof is the often-talented-but-even-more-often-infuriating auteur who gave us Lost and Prometheus, among other things. He’s not the only writer who practices the Lindeloffian Method, but he is the most noteworthy, so I’ve named it after him.

The Lindeloffian method is this: have something happen that makes no sense, hint at a promised explanation later, and then never deliver. Simple, but effective, because it gives the audience something that’s initially indistinguishable from actual suspense. When they start to get antsy, you replace the old mystery with another, bigger mystery, and carry on as before.

It’s essentially the Ponzi scheme of fiction writing. In a Ponzi scheme, the grifter gets people to invest in some plausible-sounding company, and makes payments to the first group of investors with the money from the second group, then the second with the third, and so on. Once you run out of suckers the scheme collapses, of course, but by then a smart operator will have already skipped town with what’s left of everyone’s money.

Continue reading ⟩⟩ “Game of Thrones Griping 10: The Lindeloffian Method”

 


 

Arkham City Part 21: The Punchline

By Shamus Posted Thursday Jun 15, 2017

Filed under: Batman 48 comments

At the start of the story it was established that Batman was willing to let Joker die, even if he died too. He was only motivated to pursue the toxin cure when he learned that the people of Gotham had also been poisoned.

Then later it was revealed that he wanted to abandon his efforts to save people in order to save Talia. Alfred even had to tell him, “You have to decide if one life is worth more than a thousand.” Alfred followed that up with, “Batman must save Gotham.” In the end of that conversation, it’s not even clear that Batman agreed with this idea. He didn’t go through some kind of moment of clarity. He didn’t admit Alfred was right. He left Talia and went after Protocol 10 because Alfred didn’t leave him any other choice.

So Talia is worth more to him than Gotham, and Gotham is worth more to him than Joker. That’s a bit of a compromise for him, but I’m okay with this so far. “Love” does all kinds of things to sexually repressed dudes.

Why are all of these goons standing around outside the theater? Didn't I knock these guys out?
Why are all of these goons standing around outside the theater? Didn't I knock these guys out?

But here at the end of the story, Batman scoops up the dead Joker and somberly carries him out of Arkham City, leaving his possibly dead girlfriend on the floor of the theater without even bothering to check to see if she somehow pulled through.

So now he cares more about Joker than about Talia, and more about Talia than about Gotham. At this point the Bat-Morality Compass is exactly backwards.

We get a shot of Batman carrying the Joker in his arms. This creates a callback to the opening shot of the game, a painting of Cain & Abel:

Continue reading ⟩⟩ “Arkham City Part 21: The Punchline”

 


 

Nan o’ War CH14: Dealer is Busted

By Rutskarn Posted Wednesday Jun 14, 2017

Filed under: Lets Play 49 comments

My horse racing career has been one of the most thrilling afternoons of my life, but I think it’s time to hang up the stirrups. I’ll always have the memories slash two character levels slash undisputed championship, even as my racehorse trots bemusedly back into its stall and my former competitors whittle themselves prosthetic wooden spleens.

All this for six thousand piastres—less than one solid Spishy Mishy. Either horse racing’s a dying art or dressing like a nun and decapitating people is a going concern.

Continue reading ⟩⟩ “Nan o’ War CH14: Dealer is Busted”