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Among the discussions of legendary programmers from the pre-2000 era, one name that shouldn’t be forgotten is Chris Sawyer. Solo game development was still fairly common in the early days of the industry… but it became much rarer by the 90s. What Sawyer created with RollerCoaster Tycoon (1999) is...

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exQUIZitely 🕹️

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19,005 görüntüleme • 29 gün önce •via X (Twitter)

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I started with the original SimCity in 1989, then SimCity 2000 in 1993, and ended my journey with SimCity 3000, released in 1999 by Maxis and EA, which - to me - is the pinnacle of city-building simulations. Players zone residential, commercial, and industrial areas on gigantic isometric maps, managing budgets, traffic, pollution, and waste - a new mechanic that was absent in SimCity 2000. You negotiate deals with neighboring cities for water or power, erect iconic landmarks like the Statue of Liberty, and unleash disasters from earthquakes to locust plagues. Its jazzy soundtrack and advisor system add charm, and not only make it a fun but also an educational game. I loved SimCity and SimCity 2000, but the champion for me is the 3000 version, hands down. Still a great game today!
1:33

I started with the original SimCity in 1989, then SimCity 2000 in 1993, and ended my journey with SimCity 3000, released in 1999 by Maxis and EA, which - to me - is the pinnacle of city-building simulations. Players zone residential, commercial, and industrial areas on gigantic isometric maps, managing budgets, traffic, pollution, and waste - a new mechanic that was absent in SimCity 2000. You negotiate deals with neighboring cities for water or power, erect iconic landmarks like the Statue of Liberty, and unleash disasters from earthquakes to locust plagues. Its jazzy soundtrack and advisor system add charm, and not only make it a fun but also an educational game. I loved SimCity and SimCity 2000, but the champion for me is the 3000 version, hands down. Still a great game today!

exQUIZitely 🕹️

249,880 görüntüleme • 7 ay önce

Still one of the greatest theme songs in video game history. Greg Edmonson nailed it with Nate’s Theme. He created such a brilliant score for the original trilogy of games in the series, but Uncharted 2: Among Thieves score was perfection for me ❤️ Iconic. #Uncharted
1:43

Still one of the greatest theme songs in video game history. Greg Edmonson nailed it with Nate’s Theme. He created such a brilliant score for the original trilogy of games in the series, but Uncharted 2: Among Thieves score was perfection for me ❤️ Iconic. #Uncharted

Naughty Dog World

23,027 görüntüleme • 9 ay önce

At the end of the day, as I discussed with Jordan Peterson, there are just two games to be played, one real, one Woke. The real game is called civilization. The false game is called power. A long post/🧵: The real divide between Woke and not Woke is in power. The Woke game is the power game, and it is a parasite on the real game, which is civilization. Here's roughly how Jordan described the foundation of this idea. There are various rules, norms, etc., in the game society ultimately plays, and these create a hierarchy that is based upon competence, mostly organically, obviously imperfectly. If the rules of the game are good enough, the imperfections (natural corruptions) are minor and society thrives. If they are not, you'll have problems. This is the real game of building society, and it ultimately has to favor competence. This game must be called "civilization" because that's not just its goal but it is also what it does. It civilizes us beyond our base instincts and impulses so we can work together productively in a healthy manner that generates prosperity. As Jordan put it, this game is also a reservoir of value, and reservoirs of value create parasites. What are these civilizational parasites? They’re parallel games organized by and around malignant psychopathological modes like Dark Tetrad traits, psychopathy, and Cluster-B disorders: histrionic, borderline, antisocial, and narcissistic. These malignant pathologies render people incompetent except at manipulation, so they cannot rise far in a healthy civilizational hierarchy. What do they do, then, to gain power and status in life in a game they cannot actually play? They define a parasitic parallel game and rope people into playing it. It is parasitic in that it draws off the real game (civilization) and mimics its form so that the hosts (people in society) are less likely to realize it’s there, but it doesn’t build or create of its own. It siphons and tears down. What drives this game is failing to see what makes the civilizational game and the hierarchy it produces legitimate in the first place. This is characteristic of the psychopathologies at its heart. The narcissist imagines the world should be serving himself at the top, but it isn’t. The problem can’t be himself, so it must be that the game is illegitimate. Otherwise, he’d be at the top, but he isn’t. Therefore, the game is corrupt. His histrionic nature makes him a victim of the real game, preying upon emotions like empathy and righteous indignation to recruit followers. Because of his Dark Tetrad alignment, his game is not only illegitimate but toxic. It’s inherently sadistic, cruel to its recruits in the way typical of all cults—alternating punishment and leniency or even love-bombing. It’s dishonest. It’s psychologically broken from reality. It’s also a Machiavellian game, which means it has no interest in moral or ethical behavior but only in power. Thus, this rival game to the game of civilization is the game of power. The parasitic game—that is, the power game—is based on a fundamental failure to understand the legitimacy of the civilizational game or the approximately legitimate hierarchy it produces. This is a result of its narcissism, mostly. The game cannot be legitimate because the psychopath isn’t on top of it, where he sees himself constantly as a projection from his frail ego. It sees power in the real hierarchy, though, which it can perceive and understand, and for which it blames most of its troubles. What this means is that the (Woke) power game develops a critical theory of the existing legitimate civilization game. That’s why Woke means “using critical theory (and activism).” A critical theory exists not to articulate a vision—at least not beyond a Utopia after the cult power game holds power to enforce its power game long enough—but to “criticize those aspects of the existing society we wish to change,” as Max Horkheimer, creator of the Critical Theory, put it. The critical theory of the power game exists to recruit by delegitimizing the civilization game in the minds of some of its players, usually ones who aren’t succeeding as well. It picks at “contradictions,” failures, and imperfections while casting the whole civilization game as corrupt and unjust. It offers itself as the only alternative to civilization game while pulling at the threads of the civilization game that allow people to believe in it. It all proceeds from the Woke failure to understand the legitimacy of the hierarchy of the civilization game as it proceeds from its set of rules. Misunderstanding legitimacy leads it to conclude that all hierarchies are actually based in power, and all power is fundamentally arbitrary. That is, they do not believe all power is illegitimate. They believe power is the only legitimate thing in any hierarchy, but they also believe that power is located in persons like themselves through their narcissism and projection. Think of Voldemort as an icon of this mode of thinking: “there is no good or evil, only power and those too weak to seek it.” Of course, that quintessential Dark Tetrad perspective is what ensures the psychopathological power game will be rigged to make sure the psychopaths are attracted to it and rise to its top. This belief is what we call Woke. The Woke game is the power game, and it is a parasitic competitor to the civilization game. There is no overlap between these two games. To adopt the power game is to abandon the civilization game entirely and, in fact, to become its enemy. But James, you might ask, isn’t there power in civilization? Yes, there is, and necessarily, but it isn’t what defines the civilization game. It’s a byproduct of the game, not the game itself. The civilization game is fundamentally the building out of an organic and dynamic hierarchy based on a set of rules, or what some people call “muh principles,” that will succeed or fail for that civilization in direct proportion to three things. 1) How aligned with the truth are the rules of the civilization game? 2) How aligned with justice are the rules of the civilization game? 3) How willing are the participants of the civilization game to defend their principles and their game, including against socio-parasitical perversion? The more aligned with truth and justice a civilization game is, the more successful it will be, and the more legitimate its hierarchy. The power that results as a byproduct is extremely legitimate in a highly aligned civilization where people haven’t forgotten their charge to defend the game itself, which is what we call responsibility. A civilization game strongly aligned with truth and justice filled with a preponderance of responsible people will produce a thriving, prosperous society. It only works this way every time. Not everyone is responsible, though. Some are also incompetent because of various pathologies (not talking about for other reasons). Those pathological players may, under certain circumstances, create a parasitic side game with themselves on top through a variety of strategies that mimic the values and principles of the real game while distorting them into power plays because their game is power, as discussed above. They will recruit into that game primarily from those who are resentful of the real game for any variety of reasons, and getting recruited into the power game from the civilization game is called “going Woke.”
2:38

At the end of the day, as I discussed with Jordan Peterson, there are just two games to be played, one real, one Woke. The real game is called civilization. The false game is called power. A long post/🧵: The real divide between Woke and not Woke is in power. The Woke game is the power game, and it is a parasite on the real game, which is civilization. Here's roughly how Jordan described the foundation of this idea. There are various rules, norms, etc., in the game society ultimately plays, and these create a hierarchy that is based upon competence, mostly organically, obviously imperfectly. If the rules of the game are good enough, the imperfections (natural corruptions) are minor and society thrives. If they are not, you'll have problems. This is the real game of building society, and it ultimately has to favor competence. This game must be called "civilization" because that's not just its goal but it is also what it does. It civilizes us beyond our base instincts and impulses so we can work together productively in a healthy manner that generates prosperity. As Jordan put it, this game is also a reservoir of value, and reservoirs of value create parasites. What are these civilizational parasites? They’re parallel games organized by and around malignant psychopathological modes like Dark Tetrad traits, psychopathy, and Cluster-B disorders: histrionic, borderline, antisocial, and narcissistic. These malignant pathologies render people incompetent except at manipulation, so they cannot rise far in a healthy civilizational hierarchy. What do they do, then, to gain power and status in life in a game they cannot actually play? They define a parasitic parallel game and rope people into playing it. It is parasitic in that it draws off the real game (civilization) and mimics its form so that the hosts (people in society) are less likely to realize it’s there, but it doesn’t build or create of its own. It siphons and tears down. What drives this game is failing to see what makes the civilizational game and the hierarchy it produces legitimate in the first place. This is characteristic of the psychopathologies at its heart. The narcissist imagines the world should be serving himself at the top, but it isn’t. The problem can’t be himself, so it must be that the game is illegitimate. Otherwise, he’d be at the top, but he isn’t. Therefore, the game is corrupt. His histrionic nature makes him a victim of the real game, preying upon emotions like empathy and righteous indignation to recruit followers. Because of his Dark Tetrad alignment, his game is not only illegitimate but toxic. It’s inherently sadistic, cruel to its recruits in the way typical of all cults—alternating punishment and leniency or even love-bombing. It’s dishonest. It’s psychologically broken from reality. It’s also a Machiavellian game, which means it has no interest in moral or ethical behavior but only in power. Thus, this rival game to the game of civilization is the game of power. The parasitic game—that is, the power game—is based on a fundamental failure to understand the legitimacy of the civilizational game or the approximately legitimate hierarchy it produces. This is a result of its narcissism, mostly. The game cannot be legitimate because the psychopath isn’t on top of it, where he sees himself constantly as a projection from his frail ego. It sees power in the real hierarchy, though, which it can perceive and understand, and for which it blames most of its troubles. What this means is that the (Woke) power game develops a critical theory of the existing legitimate civilization game. That’s why Woke means “using critical theory (and activism).” A critical theory exists not to articulate a vision—at least not beyond a Utopia after the cult power game holds power to enforce its power game long enough—but to “criticize those aspects of the existing society we wish to change,” as Max Horkheimer, creator of the Critical Theory, put it. The critical theory of the power game exists to recruit by delegitimizing the civilization game in the minds of some of its players, usually ones who aren’t succeeding as well. It picks at “contradictions,” failures, and imperfections while casting the whole civilization game as corrupt and unjust. It offers itself as the only alternative to civilization game while pulling at the threads of the civilization game that allow people to believe in it. It all proceeds from the Woke failure to understand the legitimacy of the hierarchy of the civilization game as it proceeds from its set of rules. Misunderstanding legitimacy leads it to conclude that all hierarchies are actually based in power, and all power is fundamentally arbitrary. That is, they do not believe all power is illegitimate. They believe power is the only legitimate thing in any hierarchy, but they also believe that power is located in persons like themselves through their narcissism and projection. Think of Voldemort as an icon of this mode of thinking: “there is no good or evil, only power and those too weak to seek it.” Of course, that quintessential Dark Tetrad perspective is what ensures the psychopathological power game will be rigged to make sure the psychopaths are attracted to it and rise to its top. This belief is what we call Woke. The Woke game is the power game, and it is a parasitic competitor to the civilization game. There is no overlap between these two games. To adopt the power game is to abandon the civilization game entirely and, in fact, to become its enemy. But James, you might ask, isn’t there power in civilization? Yes, there is, and necessarily, but it isn’t what defines the civilization game. It’s a byproduct of the game, not the game itself. The civilization game is fundamentally the building out of an organic and dynamic hierarchy based on a set of rules, or what some people call “muh principles,” that will succeed or fail for that civilization in direct proportion to three things. 1) How aligned with the truth are the rules of the civilization game? 2) How aligned with justice are the rules of the civilization game? 3) How willing are the participants of the civilization game to defend their principles and their game, including against socio-parasitical perversion? The more aligned with truth and justice a civilization game is, the more successful it will be, and the more legitimate its hierarchy. The power that results as a byproduct is extremely legitimate in a highly aligned civilization where people haven’t forgotten their charge to defend the game itself, which is what we call responsibility. A civilization game strongly aligned with truth and justice filled with a preponderance of responsible people will produce a thriving, prosperous society. It only works this way every time. Not everyone is responsible, though. Some are also incompetent because of various pathologies (not talking about for other reasons). Those pathological players may, under certain circumstances, create a parasitic side game with themselves on top through a variety of strategies that mimic the values and principles of the real game while distorting them into power plays because their game is power, as discussed above. They will recruit into that game primarily from those who are resentful of the real game for any variety of reasons, and getting recruited into the power game from the civilization game is called “going Woke.”

James Lindsay, anti-Communist

154,373 görüntüleme • 1 yıl önce

SimCity 2000 (Maxis, 1993) remains, to this day, the finest city-building game I’ve ever played. It has that perfect balance: simply gorgeous to look at, deeply satisfying/addictive to play, challenging but never brutally punishing, and surprisingly complex for its era. And the music... wonderful! But most of all, it possesses that truly rare quality: endless replayability. You always find yourself saying “just one more thing”: one more industrial zone, one more power plant, one more police station to keep the crime rate at a semi-reasonable rate… and then, with a bit of spare cash, you decide your city needs a beautiful park! Before you know it, another hour has vanished. Some games feel truly timeless, and SimCity 2000 is one of them. Designed by Will Wright (who later created The Sims and the ambitious Spore), it stands as a high point of 90s game design. Ranking as the 9th best-selling game of the entire decade is mindblowing when you consider the sheer quality of titles released between 1990 and 2000. While it may not have delivered the same groundbreaking “wow” moment as the original SimCity, as a sequel it was a gigantic leap forward in every way. For a game that's now well over 3 decades old, it could easily be published today and still be a huge success.
1:19

SimCity 2000 (Maxis, 1993) remains, to this day, the finest city-building game I’ve ever played. It has that perfect balance: simply gorgeous to look at, deeply satisfying/addictive to play, challenging but never brutally punishing, and surprisingly complex for its era. And the music... wonderful! But most of all, it possesses that truly rare quality: endless replayability. You always find yourself saying “just one more thing”: one more industrial zone, one more power plant, one more police station to keep the crime rate at a semi-reasonable rate… and then, with a bit of spare cash, you decide your city needs a beautiful park! Before you know it, another hour has vanished. Some games feel truly timeless, and SimCity 2000 is one of them. Designed by Will Wright (who later created The Sims and the ambitious Spore), it stands as a high point of 90s game design. Ranking as the 9th best-selling game of the entire decade is mindblowing when you consider the sheer quality of titles released between 1990 and 2000. While it may not have delivered the same groundbreaking “wow” moment as the original SimCity, as a sequel it was a gigantic leap forward in every way. For a game that's now well over 3 decades old, it could easily be published today and still be a huge success.

exQUIZitely 🕹️

21,698 görüntüleme • 25 gün önce

Fun Fact: 🎸 Rush’s “Tom Sawyer” was inspired by the Mark Twain character… but that’s not the full story. Neil Peart wrote the lyrics after reading a poem called “Tom Sawyer” by his friend Pye Dubois (from Max Webster). He then reimagined it as a modern-day rebel — “a modern-day warrior, mean, mean stride.” The result? One of the most iconic rock songs ever, with that legendary bass line and drum fill that still gives chills. Who else thinks this is peak Rush? 🤘
4:26

Fun Fact: 🎸 Rush’s “Tom Sawyer” was inspired by the Mark Twain character… but that’s not the full story. Neil Peart wrote the lyrics after reading a poem called “Tom Sawyer” by his friend Pye Dubois (from Max Webster). He then reimagined it as a modern-day rebel — “a modern-day warrior, mean, mean stride.” The result? One of the most iconic rock songs ever, with that legendary bass line and drum fill that still gives chills. Who else thinks this is peak Rush? 🤘

Roy Rogers Happy Trails Music Shop 

152,688 görüntüleme • 1 ay önce

Todd Howard says Fallout 76 is the game that he is most proud of. “In many respects, it’s the game that we’ve done that I’m the most proud of. It’s so hard to do and then maintain as a relevent game, and I think if you look across the industry, the amount of games like it that there have been or come and gone, and here’s 76 still there with big numbers and doing well.” “I get to see the roadmap that's planned for the game, and it gets even better.” Source:
1:51

Todd Howard says Fallout 76 is the game that he is most proud of. “In many respects, it’s the game that we’ve done that I’m the most proud of. It’s so hard to do and then maintain as a relevent game, and I think if you look across the industry, the amount of games like it that there have been or come and gone, and here’s 76 still there with big numbers and doing well.” “I get to see the roadmap that's planned for the game, and it gets even better.” Source:

Idle Sloth

15,218 görüntüleme • 5 ay önce

The green R The yellow I The blue C Those three letters and colours are forever burned into my nerdy gamer brain until the end of days. The original Sim City (1989, Maxis) is one of the most timeless games I can think of. I hope that future generations will still play this in 50 years from now. I simply love games that have endless replay value. You can always find a new little detail, a new way to play, set yourself new goals or even handicap yourself. A great early days sandbox game. The older I get, the more appreciate the genius that went into its design and creation. Will Wright will forever be linked to what made 80s and 90s gaming what it was: brilliant and unforgettable.
1:04

The green R The yellow I The blue C Those three letters and colours are forever burned into my nerdy gamer brain until the end of days. The original Sim City (1989, Maxis) is one of the most timeless games I can think of. I hope that future generations will still play this in 50 years from now. I simply love games that have endless replay value. You can always find a new little detail, a new way to play, set yourself new goals or even handicap yourself. A great early days sandbox game. The older I get, the more appreciate the genius that went into its design and creation. Will Wright will forever be linked to what made 80s and 90s gaming what it was: brilliant and unforgettable.

exQUIZitely 🕹️

19,074 görüntüleme • 10 gün önce

If I had to choose just one game (and no other ever again) to play for the rest of my life, I'd go with Civilization (MicroProse, 1991). You can argue some sequels were better (I can't deny that), but the "wow" effect from first playing it in 1991 was so huge it holds a special place in my heart. For a 1991 game, the graphics are pretty good, the sound fits perfectly (rather soothing!), gameplay is complex and variable, and replay value is gigantic. To me, Civilization is as close to perfection as a game can be. That's my pick. What's yours?
0:40

If I had to choose just one game (and no other ever again) to play for the rest of my life, I'd go with Civilization (MicroProse, 1991). You can argue some sequels were better (I can't deny that), but the "wow" effect from first playing it in 1991 was so huge it holds a special place in my heart. For a 1991 game, the graphics are pretty good, the sound fits perfectly (rather soothing!), gameplay is complex and variable, and replay value is gigantic. To me, Civilization is as close to perfection as a game can be. That's my pick. What's yours?

exQUIZitely 🕹️

92,878 görüntüleme • 7 ay önce

One of the biggest game rivalries in the 90s existed between the fans of Kick Off 2 and Sensible World of Soccer. Supporters of Kick Off 2 would argue that it was a great game for its time (1990), and that comparing it to Sensible World of Soccer, released four years later in 1994, isn’t entirely fair - and I think that's a valid point. I always liked both, but the manager feature in SWoS obviously added a whole new dimension. Still, what Dino Dini created with Kick Off and Kick Off 2 impressive. Personally, I preferred the controls and game flow of SWoS (it felt a bit smoother), so it became our default choice for any 1v1 match. What was your favorite soccer game?
1:45

One of the biggest game rivalries in the 90s existed between the fans of Kick Off 2 and Sensible World of Soccer. Supporters of Kick Off 2 would argue that it was a great game for its time (1990), and that comparing it to Sensible World of Soccer, released four years later in 1994, isn’t entirely fair - and I think that's a valid point. I always liked both, but the manager feature in SWoS obviously added a whole new dimension. Still, what Dino Dini created with Kick Off and Kick Off 2 impressive. Personally, I preferred the controls and game flow of SWoS (it felt a bit smoother), so it became our default choice for any 1v1 match. What was your favorite soccer game?

exQUIZitely 🕹️

18,374 görüntüleme • 5 ay önce

Into the Wonderful! Gods (Bitmap Brothers, 1991) scored 90% or higher in every magazine that reviewed it at the time. In retrospect, perhaps a tad bit too high - not because of the graphics or sound, which were brilliant in typical Bitmap Brothers style, but because I always found the controls a little clunky. Like Xenon II, the movement felt somewhat sluggish. In a classic platformer, that small but noticeable issue was the only real downside. What remains is still a great early-90s game, one of the last hurrahs for the Amiga. Bitmap Brothers sure were one of the more badass game developer studios back in the day. Their style was simply iconic.
1:01

Into the Wonderful! Gods (Bitmap Brothers, 1991) scored 90% or higher in every magazine that reviewed it at the time. In retrospect, perhaps a tad bit too high - not because of the graphics or sound, which were brilliant in typical Bitmap Brothers style, but because I always found the controls a little clunky. Like Xenon II, the movement felt somewhat sluggish. In a classic platformer, that small but noticeable issue was the only real downside. What remains is still a great early-90s game, one of the last hurrahs for the Amiga. Bitmap Brothers sure were one of the more badass game developer studios back in the day. Their style was simply iconic.

exQUIZitely 🕹️

24,409 görüntüleme • 5 ay önce

The legendary video for 'Sabotage' was directed by Spike Jonze and shot in Los Angeles on a very low budget in guerrilla style. The Beastie Boys dressed up as tough cops of the '70s, parodying shows like Starsky & Hutch and Baretta. The car chase was almost entirely improvised, with the band doing their own stunt driving. Released in 1994 on the album Ill Communication, the song and video became one of the biggest icons of the 90s: It was nominated for 5 VMAs and is still considered one of the best and most influential in MTV history.
2:40

The legendary video for 'Sabotage' was directed by Spike Jonze and shot in Los Angeles on a very low budget in guerrilla style. The Beastie Boys dressed up as tough cops of the '70s, parodying shows like Starsky & Hutch and Baretta. The car chase was almost entirely improvised, with the band doing their own stunt driving. Released in 1994 on the album Ill Communication, the song and video became one of the biggest icons of the 90s: It was nominated for 5 VMAs and is still considered one of the best and most influential in MTV history.

Ladytron Fan Account

74,923 görüntüleme • 28 gün önce

Chris Cornell performing a hit, a classic, and a masterpiece that was created by Soundgarden. It was written by Chris Cornell and recorded in the basement of his house. Cornell says that he played all the instruments in his basement and recorded the song, these lines were told by Cornell on his meeting with Howard Stern in 2007. He believed that it was a bad recording but this is not what we're thinking today. It turned into a masterpiece of the 90s and still one of the most influential songs of all time. Here in this live performance, Cornell plays Black Hole Sun, at CBS This Morning,
4:10

Chris Cornell performing a hit, a classic, and a masterpiece that was created by Soundgarden. It was written by Chris Cornell and recorded in the basement of his house. Cornell says that he played all the instruments in his basement and recorded the song, these lines were told by Cornell on his meeting with Howard Stern in 2007. He believed that it was a bad recording but this is not what we're thinking today. It turned into a masterpiece of the 90s and still one of the most influential songs of all time. Here in this live performance, Cornell plays Black Hole Sun, at CBS This Morning,

Rock'n Roll of All

419,771 görüntüleme • 1 yıl önce

I did it 😩🏆 I beat the Demon of Hatred and Isshin the Saint both in the same stream and finished the game in just a few hours. And with that, that is a wrap on Sekiro. AMAZING game. Music and the combat is so fluid. Took a few tries, nailed it down perfectly, I didn't know you could do that with the lightning until the finishing run. 😅 Everyone said the final boss was the HARDEST in any souls like or souls game. Personally to me, he was easy and came nowhere NEAR as difficult as Consort Radahn or Melenia. Not even top 5. BUT still a cool fucking boss. Absolute CINEMA. 🖐️😩🖐️
1:26

I did it 😩🏆 I beat the Demon of Hatred and Isshin the Saint both in the same stream and finished the game in just a few hours. And with that, that is a wrap on Sekiro. AMAZING game. Music and the combat is so fluid. Took a few tries, nailed it down perfectly, I didn't know you could do that with the lightning until the finishing run. 😅 Everyone said the final boss was the HARDEST in any souls like or souls game. Personally to me, he was easy and came nowhere NEAR as difficult as Consort Radahn or Melenia. Not even top 5. BUT still a cool fucking boss. Absolute CINEMA. 🖐️😩🖐️

Zentreya⚡🐲⚔️ SVA

55,738 görüntüleme • 7 ay önce

New PS5 China Hero Project game reveal! "A Whisper of Fall: Jinyiwei" UE5 Wuxia action RPG with a "time-travel" twist. The player can replay sections of the game, making different decisions with different outcomes. Developed by Chengdu-based CangMo Game Entertainment. The game has, reportedly, been in development since 2022. Planned to release on PS5 and PC, at least. Date TBA. The game was actually first announced back in 2024 under the name "Project Jinyiwei", but this is the first big gameplay blowout.
2:19

New PS5 China Hero Project game reveal! "A Whisper of Fall: Jinyiwei" UE5 Wuxia action RPG with a "time-travel" twist. The player can replay sections of the game, making different decisions with different outcomes. Developed by Chengdu-based CangMo Game Entertainment. The game has, reportedly, been in development since 2022. Planned to release on PS5 and PC, at least. Date TBA. The game was actually first announced back in 2024 under the name "Project Jinyiwei", but this is the first big gameplay blowout.

Daniel Camilo

14,398 görüntüleme • 6 ay önce

the camera being in a tight close up on both ilya and shane for the entirety of this scene, except for the moment when ilya is working up the courage to say he’s in love. it’s like for the whole conversation it’s just the two of them, there’s nobody else who matters, and then for a brief moment the shot widens as ilya considers the implications of the fact he’s in love with shane. the fact that the rest of the world DOES matter and will always be a presence in their relationship. we’ve been held in this moment between the two of them and by widening the shot, that intimacy is broken just for a second as we’re reminded that there is a world beyond the two of them and ilya is still in russia. what he’s doing is incredibly dangerous. then the camera tightens back into a close up as he realises he needs to say it anyway because all that matters is that he’s on the phone with shane and he’s in love with him. it really is just the two of them in this moment and he doesn’t want to let anyone else in.
3:26

the camera being in a tight close up on both ilya and shane for the entirety of this scene, except for the moment when ilya is working up the courage to say he’s in love. it’s like for the whole conversation it’s just the two of them, there’s nobody else who matters, and then for a brief moment the shot widens as ilya considers the implications of the fact he’s in love with shane. the fact that the rest of the world DOES matter and will always be a presence in their relationship. we’ve been held in this moment between the two of them and by widening the shot, that intimacy is broken just for a second as we’re reminded that there is a world beyond the two of them and ilya is still in russia. what he’s doing is incredibly dangerous. then the camera tightens back into a close up as he realises he needs to say it anyway because all that matters is that he’s on the phone with shane and he’s in love with him. it really is just the two of them in this moment and he doesn’t want to let anyone else in.

frances 🏒

294,575 görüntüleme • 7 ay önce

Have you played Koudelka? Or even heard of it? Koudelka is a survival horror RPG for the PlayStation 1, developed by Sacnoth and released in NA in 2000. The game is an interesting mix of Final Fantasy, Resident Evil, and Silent Hill. It’s cinematic with lots of CGI cutscenes!
1:50

Have you played Koudelka? Or even heard of it? Koudelka is a survival horror RPG for the PlayStation 1, developed by Sacnoth and released in NA in 2000. The game is an interesting mix of Final Fantasy, Resident Evil, and Silent Hill. It’s cinematic with lots of CGI cutscenes!

FantasyAnime

112,887 görüntüleme • 2 yıl önce

It is absolutely true ! Pakistan-China friendship is doubtful. If it were not so, the Chinese leadership would have been nominated for the Nobel Prize and the lunch would have been in Beijing. But the lunch was also in Washington. Just as the rulers of Pakistan have been playing a double game with the people in the name of development for the last 60 years, now they have started playing the same game with the world powers. Very soon this game of duplicity will end with terrible consequences. #China #USA
0:49

It is absolutely true ! Pakistan-China friendship is doubtful. If it were not so, the Chinese leadership would have been nominated for the Nobel Prize and the lunch would have been in Beijing. But the lunch was also in Washington. Just as the rulers of Pakistan have been playing a double game with the people in the name of development for the last 60 years, now they have started playing the same game with the world powers. Very soon this game of duplicity will end with terrible consequences. #China #USA

Muhammed Faisal

145,246 görüntüleme • 6 ay önce

Scenes from Palo Alto in 1989. This footage captures Palo Alto during a time of transition. The city was already starting to change, but not at the scale or pace seen today. Tech companies were present, and venture capital was part of the picture, but the footprint was smaller, and the transformation was not yet complete. Some of the places shown are still recognizable. A few streets, storefronts, and buildings remain much the same. Others have been replaced, rebuilt, or removed entirely. It’s a mix of the familiar and the forgotten. What comes through is a version of Palo Alto that feels more grounded in everyday life. Before it became a global center for innovation, it was still just a town, with all the ordinary details that come with that. The song is by a now-defunct Redwood City band called Nord Mariner. It felt like a fitting soundtrack. Its lyrics about change, memory, and the things we take for granted echo the feeling of watching a place change so much that it becomes something else entirely.
1:30

Scenes from Palo Alto in 1989. This footage captures Palo Alto during a time of transition. The city was already starting to change, but not at the scale or pace seen today. Tech companies were present, and venture capital was part of the picture, but the footprint was smaller, and the transformation was not yet complete. Some of the places shown are still recognizable. A few streets, storefronts, and buildings remain much the same. Others have been replaced, rebuilt, or removed entirely. It’s a mix of the familiar and the forgotten. What comes through is a version of Palo Alto that feels more grounded in everyday life. Before it became a global center for innovation, it was still just a town, with all the ordinary details that come with that. The song is by a now-defunct Redwood City band called Nord Mariner. It felt like a fitting soundtrack. Its lyrics about change, memory, and the things we take for granted echo the feeling of watching a place change so much that it becomes something else entirely.

RetroBayArea

97,980 görüntüleme • 3 ay önce

Have you played Koudelka? Or even heard of it? Koudelka is a survival horror RPG for the PlayStation 1, developed by Sacnoth and released in NA in 2000. The game is an interesting mix of Final Fantasy, Resident Evil, and Silent Hill. It’s cinematic with lots of CGI cutscenes!
1:50

Have you played Koudelka? Or even heard of it? Koudelka is a survival horror RPG for the PlayStation 1, developed by Sacnoth and released in NA in 2000. The game is an interesting mix of Final Fantasy, Resident Evil, and Silent Hill. It’s cinematic with lots of CGI cutscenes!

FantasyAnime

21,031 görüntüleme • 1 ay önce

In the Fall of 1990, Nintendo Power held a contest for players to send in a photo of them finding WarMech, a very rare enemy found deep into Final Fantasy. While it's never been officially verified, there's some strong evidence that the winner of that contest was Chris Houlihan, and the prize was to get your name featured in a future Nintendo game. He was mentioned in one subsequent issue from 1998 as a contest winner in '92, Zelda's North American release year. As I'm learning while writing this, there's evidence that the winner was actually Chris's dad, immortalizing his son's name in one of the most unique video game stories out there. Kevin Hainline on YouTube posted a video with some fascinating insight and perspective on the story. ( In short, it seems that Chris was also named in the 1991 Game Boy version of Nintendo World Cup Soccer, where Terry was benched from the U.S. team in favor of the contest winner. The timing lines up really well. As for why his name is only found in the failsafe room in The Legend of Zelda: A Link to the Past, it probably lies with just the nature of game production. They clearly missed a deadline since they never gave Houlihan the later highlight that seemed to be the standard for the Power contests. Also if Kevin's story holds water, they were rightfully not happy with simply naming a team member "Chris" in a handheld title. So it actually makes sense his name gets put into this room. It's probably the highest caliber game they could add him to, in one of the only places the devs could reasonably put him. They had to have known some players would eventually find it, and it would be a mystery. I just wonder if anyone involved knew just how wonderfully complex and interesting it would be. The poetic thing is if everything I learned today is real, "Chris" appeared on the Game Boy, then appeared with his full name in the legendary SNES room, and now is book-ended with just "Houlihan" in Cadence of Hyrule on the Switch. A fascinating legacy spanning nearly three decades and consoles. #RetroGaming
0:44

In the Fall of 1990, Nintendo Power held a contest for players to send in a photo of them finding WarMech, a very rare enemy found deep into Final Fantasy. While it's never been officially verified, there's some strong evidence that the winner of that contest was Chris Houlihan, and the prize was to get your name featured in a future Nintendo game. He was mentioned in one subsequent issue from 1998 as a contest winner in '92, Zelda's North American release year. As I'm learning while writing this, there's evidence that the winner was actually Chris's dad, immortalizing his son's name in one of the most unique video game stories out there. Kevin Hainline on YouTube posted a video with some fascinating insight and perspective on the story. ( In short, it seems that Chris was also named in the 1991 Game Boy version of Nintendo World Cup Soccer, where Terry was benched from the U.S. team in favor of the contest winner. The timing lines up really well. As for why his name is only found in the failsafe room in The Legend of Zelda: A Link to the Past, it probably lies with just the nature of game production. They clearly missed a deadline since they never gave Houlihan the later highlight that seemed to be the standard for the Power contests. Also if Kevin's story holds water, they were rightfully not happy with simply naming a team member "Chris" in a handheld title. So it actually makes sense his name gets put into this room. It's probably the highest caliber game they could add him to, in one of the only places the devs could reasonably put him. They had to have known some players would eventually find it, and it would be a mystery. I just wonder if anyone involved knew just how wonderfully complex and interesting it would be. The poetic thing is if everything I learned today is real, "Chris" appeared on the Game Boy, then appeared with his full name in the legendary SNES room, and now is book-ended with just "Houlihan" in Cadence of Hyrule on the Switch. A fascinating legacy spanning nearly three decades and consoles. #RetroGaming

Elder Mathias

19,269 görüntüleme • 22 gün önce