Welcome to the Playpen, our space for ferrety banter and whimsical snippets of things that aren't quite long enough for articles (although they might be) but that caught your eye anyway.
What I think's really sad is that apparently the big deal about Godus is the land sculpting feature, but from what I've been able to find out about it (from the game's wiki) it seems pretty lackluster. You can... flatten land and pull land levels out a la the "level terrain" tool in Sims 2, and it sounds like that's it?
And that, of course, was a feature of Populous and a cornerstone of its gameplay.
That's part of what makes Godus such a shame: if Molyneux had just kept his mouth shut and delivered a straight update of Populous for modern systems with modern graphics, everyone would have been happy.
Definitely a useful overview, though, thanks!
RPS: Do you think you can make a great game?
Peter Molyneux: I think I can try.
RPS: But do you think you can achieve it?
Peter Molyneux: You’ve gotta try, man!
Have you read this fictional interview with him? With the room and the horse?
What I think's really sad is that apparently the big deal about Godus is the land sculpting feature, but from what I've been able to find out about it (from the game's wiki) it seems pretty lackluster. You can... flatten land and pull land levels out a la the "level terrain" tool in Sims 2, and it sounds like that's it? And houses can only be on flat land, so your goal is basically to level as much as possible? There's so much potential when you put "god game" and "terraforming abilities" together! Like having your people live on the mountains, and then raising mountain ranges that lead wherever you want them to go. Or digging vast cave systems for defensibility. Or having a city built into the side of a cliff. Or growing an enormous forest and having them live in treehouses. Or, since you have supernatural powers, having them live underwater in a huge faith-sustained bubble, or in a floating city or what have you. Instead... leveling stuff.
Also, I was introduced to iTunes over the holidays, and I found this: a musical accompaniment to Ligotti's "In A Foreign Town, In A Foreign Land" stories by the postindustrial/experimental Brit group Current 93. Looking at their discography they appear to be fans of Mr. Ligotti.
- I thought it would have been a much better film if it had avoided the "creepy masked killers" angle entirely (because we already have The Strangers) and instead just concentrated on the early conflict between the dad and the daughter's boyfriend. Have dad and boyfriend go into a room privately to thrash out their differences, then have gunshots blare out and the two men burst out of the room in different directions, both claiming that the other drew first. Boom bang, you suddenly have a family civil war playing out within the confines of a suburban house.
- On which note, the mass killing of the poor the film plays out would of course be a near-inevitable consequence of the Purge, but I think they missed the point that the day after the Purge you'd find an awful lot of security systems being opened up by concerned police to reveal a total massacre of the occupants with no signs of break-in.
- As pointed out by my brother when we were discussing it, if all crime is legal during the Purge, why is it good for the economy? "All" crime includes white collar embezzlement, so shouldn't every company of every significance go bust overnight as its management plunders its accounts for all they're worth?
In short, the filmmakers pitch The Purge as this big "what if" exercise but then they don't offer anything but the most shallow possible speculation as to what the consequences of the Purge would be.
Also, if the late TNG era don't float your boat, they're working on a second mod set in the pre-TOS days that should be out by the end of the year.
The real trouble began the day you arrived at court. Every last nobleman hides a viper in his smile. How you long for the purity of life in your village, which is currently on fire or something.
But I think my favorite's all these "x in western art history" posts! "Women Rejecting Marriage Proposals In Western Art History". "Families Who Hate Each Other In Western Art History". "Women Having A Terrible Time At Parties In Western Art History". I love it.
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On The Conspiracy, that sort of anti-natalist pessimism is supposed to be kind of depressive, I think, but for some reason, I find it sort of endearing. It's sort of like realizing the four truths of Buddhism and then just dwelling on it, instead of trying to accept it.