Most soaps wish they could be as melodramatic as the rugby baby scene.

Nothing inside a video game should cost real money.

The difference between this abusive horseshit and any cheaper example is quantitative - not qualitative.

Honk.

That’s not equal spacing - 1000-1500 is a bit longer than 1500-2000.

The graph is almost certainly logarithmic. Only the markings are stupid.

I think it is logarithmic, it’s just marked linearly.

The entire business model is criminal.

I checked God Awful Movies, I was thinking of Cipher In The Snow. Which was about divorce… somehow.

they were forced to move away from everyone else.

Do you have any idea how little that narrows it down?

Is that the one with the child corpsicle nobody cares about?

Jimmy Carter: insatiable autocrat.

Its reach exceeded its grasp. It’s waggly single-armed grasp.

That card launched the same year as Trespasser.

That said, apparently the technique was one of those comically early 1970s innovations, introduced by James Blinn himself. Shows what I know.

Corporations need their shit slapped straight, on the topic of media ownership. If you want control over something - don’t sell it to ten million strangers.

The lack of game-feel is shocking, considering the Romero-less Quake 2 nailed a lot what’s missing. Q2’s peppy little shotgun and beeftank super shotgun made up for how spongy all the enemies got. The chaingun both let you obliterate scarce foes and quickly ran dry for very Aliens sentry-gun moments. The blaster was both gun and flashlight, and would’ve cast all kinds of sweeping shadows. The machinegun fucked with your aim in a way that was chaotic but controllable, instead of that inexcusable way enemies slap control out of your hands and tank your framerate with double-vision.

As a weird point of comparison - Jurassic Park: Trespasser had very early bump-mapping. I’m not sure the name was settled yet. But it did the effect in software, so it was slow, even on 3D-accelerated machines… and it only existed on physics-puzzle boxes and enemies trying to eat you. So the framerate was guaranteed to suck during precisely the times you needed it to not suck.

That kind of “oh come on” detail permeates Doom 3.

Greasy.

So say that and its damn name.

Please stop using headlines like this, even if the site itself uses headlines like this.

Sunshine is the most memorable, certainly. Never heard of it. Showed up at the campus theater. I was utterly enthralled - wondering how the hell I’d never heard of it. It’s a scientific suicide mission, with no meathead archetypes. Any other movie would stick a marine on there to be stupid and aggressive for shallow drama. Nope! This one just uses the cold equations and basic human decency to create conflict. And it has a deep-rooted dedication to its obsession with the sun. Characters sit in a barely-shielded room, staring at their target and their adversary, obsessed with the heavenly body that will kill them. They go on spacewalks in these gorgeous golden suits, reflecting as much light as possible, and even that’s not enough sometimes.

And then the third act is a stupid fucking horror movie shot by complete amateurs. I just. I have no idea how this movie happened, as a product. I’ve read articles where the director talks about the intent, and you can almost sorta kinda see it… but it’s still a turd.

Incidentally I wonder if any games with ragtag themed gangs have ever consulted sincere anarchists. At the very least they’d have answered Ross Scott’s post-apocalypse razor: “Where do you farm?” It’d be interesting to see more hints of verisimilitude for post-collapse rivalries and group conflicts, even if it’s inevitably reduced to window-dressing for dudes with flaming axes rushing toward your crosshairs.

Capguns. So whatever percussion caps were made from throughout the 1990s.

Hot dust.