Lotd2242

For the record, I don't disagree the movie was mildly entertaining, but it failed completely as an Indy movie. A B movie is not a "simple relaxing movie." A B movie is a cheap, half-assed flick made for people who want to go to the drive-in and not feel bad about missing most of it. Indy is based on the action serials of the 30s and 40s, not the SciFi horror crap in the 50s. The B-movie feel might have worked given the timeframe, except that they took it to the point of absurdity. Indiana Jones always stuck to the realm of the plausible, mixing in a little fantastical of which Indy was always skeptical until the end. This movie gives the plausible the finger in the first 15 minutes. A 5 year old knows that fridge thing is bullshit. Indiana Jones was always supposed to be an ordinary guy who happened to get into trouble when out digging in the dirt. He got out of his scrapes with mostly luck and quick wit. In this movie, he's just superhuman. This script would've been far better served for a James Bond movie than an Indy film.

Completely fails as an Indiana Jones movie, but still not as bad as some of the other sequels I've seen recently. Also there's suspension of disbelief...and then there's what they did with this movie.

Only because Hollywood sucks at making movies now. Making a decent movie should be ridiculously simple with such a straightforward concepts. I've already decided to pretend like the Dragonball movie never happened. Goku is going to high school. They replaced Krillin with his Mexican equivalent, Teto. There is one reason, and only one reason, to consider seeing that movie, and that is for the live-action CG Kamehameha.

I'm actually surprised it hasn't been done yet. It really depends on who would be doing it. It's not a hard concept. You need Link, Zelda, Ganon, the Triforce, the Master Sword, and some dungeons. Fitting it into 2.5 hours or so would be tricky, but certainly doable. The problem is that Hollywood likes to "make movies more accessible to the general public" and in the process fuck them up totally. They always pick people who are totally unfamiliar with the source material and who just want to tell their own story under the header of a popular name. Fortunately, since all the Zelda games are so different from each other, that could theoretically work in this case.

I just got this image of Optimus Prime standing with his arm knife there cutting through Blood Rayne.

Anybody seen this yet? http://www.movieset.com/postal/news/uwe-boll-breaks-his-brief-silence,-speaks-out-on-internet-petition I laughed.

But didn't you know? All violence can be traced back to the introduction of video games, television, and/or movies. The world was at complete peace before the introduction of these things.

I honestly don't know with Brawl because I didn't follow it that closely, but I seriously doubt the original announcement was "December X 2008." It is almost uniformly "X quarter of Y year" first. Then when you get into that year, they'll narrow it down to a certain month, and then as you get closer, they'll give you the target date. Again, depending on the popularity of the game, they'll release the target date sooner. Then shit happens, and the date is no longer valid. Deal with it. I still don't think you grasp how one little problem can exponentially delay progress by flowing down the development chain. The software may still be ready by the actual release date, but not in time to be boxed and shipped for that release date. Or maybe it's ready to be shipped, but you weren't certain it would be and now you've missed all your advertising deadlines. The list goes on. This whole statement demonstrates a complete lack of understanding about software development. Suffice it to say, you have made some very poor assumptions about where the level of difficulty of designing a game or any other software lies.

Yeah, you're not getting the point here. The release date is not just to get you excited and shut up the people demanding one (retailers, customers, reviewers, etc.). It is also a goal for the developer to meet, and a good way to retroactively plan the software's development. Just because the company doesn't tell everyone their release date until a month before does not mean it wasn't set years in advance. And the higher demand for the game, the more likely they're going to release the date far in advance for a whole host of reasons that I'm sure if you think about you can figure out on your own. Uh, hell yes it is. The more complex the game, the more ways the timeline can go askew to the point of needing to adjust the release date. With a game like Smash, you also have higher-level issues that go beyond simple bugs, such as balancing characters. And yeah, they probably are adding new things as they go, as well as fixing existing things. I mentioned how that happens did I not? Hello, I'm Mr. Example. Have we met?

Well it's a combination of goal-setting, desire for hype/effective advertising, and customer demand. The first thing people do when you say, "Brawl is coming out in 2008" is cry, "when!? January? December? When in December? I need to know when to start checking my pre-order!" But basically, you pick a date you think you can be ready by based upon your manpower/resources and the estimated difficulty of the project. But shit happens. And software development by its very nature is something extremely difficult to time. I can't tell you how many times I've said, "Oh, that'll take me like an hour" and then it turns into a weeklong headache. This can be everything from an unanticipated series of issues to solve or something as simple as writer's block. Now if you scale that up to a game being worked on by a whole mess of people, each of whose portions are dependent on somebody else finishing something? My hour of writer's block then rapidly turns into a two week release delay. Even the guys at IGN were describing crashes in the game and the date was two months away. Hunting down those errors takes lots of time, fixing them takes even more because each fix often breeds a whole new set of errors. And all that is just the basic stuff, nevermind the more advanced problems. For instance, say you spend a month on a feature that sounded awesome on paper, but once you finish it, it turns out that it was a stupid idea. Now you wasted a month, and everyone else waiting on you wasted a month. Not only that, removing the feature or disabling it can take even more work. Or maybe there's talk on OCRemix about how Sonic just HAS to be in the game or nobody will buy it. Now you have to figure out how to get Sonic in the game... And this kind of thing goes on right up until somebody finally says, "put it in the box and ship it already." So it's not like they set a bullshit date they have no hope of meeting (well most of the time anyway.) They're just making the best guess they can so that the rest of their business activities can work in parallel. It's also much worse than it ever was because the games are so much more complex, and we demand so much more early information about them so much sooner. Precisely. That's how exploits are made. The more obvious the error, the more likely the developers knew about it and chose to ignore it. Hell, if you've ever played an EA game you can tell those folks have just decided to let patching take care of their problems after a point.

As a software developer, I can affirm Strike's assessment. Software is never truly finished. Every time you think you've reached an end point, something comes up that you have to fix or something else you forgot to add, etc. It really ends up being a matter of "screw this, it's good enough." And if you're a perfectionist like me, this gets extremely stressful as your due date comes up. You learn just to say "that'll be version 2" or "that error only happens .5% of the time, so it isn't worth trying to debug." Of course with console games, there's not much of a version 2 short of a sequel.

Goku FTW. 10char

He did the original movie theme (which eventually became the TNG theme) and the Voyager theme too, both of which are fantastic. Almost all the Star Trek movie themes were good, First Contact being the best of them. But II, IV, VI, Generations, and Insurrection were also great scores. Goldsmith also did Air Force One, which is another of my favorite scores.

I won't be. Sonic is the most obvious, logical, and desired choice, so being a big company Nintendo is likely to do the exact opposite.

Says the game.

They were jelly-beans.

I vote for the Blob from A Boy and His Blob: Trouble on Blobolonia.

I found him much easier in KH2.

I have to have listened to this mix about 50 times trying to figure out what I thought of it. I know everyone loved that chiptune bit, but it was a complete turn-off for me. I felt like it stole all the energy from the intro. I really enjoyed the spooky build in the background, but it's completely overshadowed by the chiptune. OWA's intro has that "Pyscho" shower-scene feel, which is extremely appropriate for Sephiroth, and this just makes that all into a comedic throwback to a time before FFVII. As a ringtone? Ok, cool. In a remix? All I can say is: "..." After the chiptune goes away, this mix turns into something I can really get into. Then around 2:07 the heavy marching beat felt over-emphasized, generating an image of either a slow-witted giant stomping along or a really fat guy waddling to a snack bar, neither of which scream "Sephiroth" at me. It evens back out around 2:45, which is good. Then you hit that great guitar solo section, which seems like it's going to build into the big finale...and then the mix ends! What happened? Where's the last 45 seconds or so? I suppose in some ways the comical parts and the abrupt ending of this mix are appropriate, given how ridiculously easy Sephiroth is to beat compared to other bosses in the game and how fast he goes down, but I thought they took away more than they added. Ultimately, I think the chiptune is really what did it in for me. I honestly thought I had some Legend of Zelda sound effects playing instead when I first heard this, and that really doesn't convey anything about a final battle with a psychotic half-"angel" hell bent on the destruction of the planet and who spent most of the game mind-fucking your lead character and slaughtering everything in sight with his giant sword. I will say this, it does take a lot of cajones to try and remix One Winged Angel. Not only is it an extremely recognized tune, not only has it been converted into that fabulous Advent version, but the damned song is so odd in its own right. I think if there's every a non-chiptune version of this track, I would really enjoy it, and that speaks to the skill of the remixers.

Absolutely loved everything about this track. It's gritty, it's dirty, it doesn't suffer from any of the schizofrenia that some of the other tracks in VotL do, and all while remaining true to the source. Can't ask for more.

If this mix started at 2:40 I would have enjoyed in its entirety. At 3:10 and I would've loved it. In fact, most of the time I will just skip right to that part when it comes up in the playlist. I did understand sort of how the metal sections were after that swearing, abusive part of Cid's personality, but it really didn't flow with the original theme (or even the rest of the mix) in my opinion. And I also always felt the vulgar and abusive side of Cid were less hardcore metalish and more redneck than anything else. As was said, clearly this mix does not suffer from lack of effort, technique, or even in some senses execution. But this mix can't really decide what it wants to be, and so I felt that it suffered from that. I would really love to see how this mix would sound if it were more focused into the way it presented the theme after 2:40 and was directed towards building up to that section.

That explains a lot. There were parts that were familiar but not Spidey that I couldn't place. I haven't seen Batman Returns in a long time otherwise I might've recognized it. I enjoy the track, but wondering if it was intentional or coincidental was driving me crazy, hehe.

Chrono Symphonic is the devil...because now I have to create a series of live-action movies for Chrono Trigger (four to be exact) in my lifetime. Hopefully many of you folks involved with this project will not drop off the radar between now and then because it would be a shame not to be able to create a score from a track or at least a similar sounding score for the movie because we couldn't find the original authors. Getting the game composers involved will be hard enough without having to scour the Internet for a trace of someone who's been out of contact for years...

Am I the only one who thinks Jenova Returns sounds a lot like the recent Spider-Man movie themes?

I learned to wipe him off on the other racers. He'd get all caught on somebody else. Meanwhile with the sprint regen held down and running hard you can get way out in front so even the space area isn't too bad. But yeah, he could be a real pain in the ass.