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posted on theoptics.bearblog.dev y'know when you're in a train car with exactly -
so apparently you can't add a bookmark of a particular page to your home screen on Android if that page happens to be on a site that supports being a progressive web app. it'll just always take you to the site root
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on The Great American Baking Show:
Sean: I'm really worried about it poofing up a little bit too much when the jam-
Paul Hollywood: Poofing up?
Ellie: Poofing up!
Sean: The correct term. The scientific term.
Ellie: The culinary term. Yeah. "Poof up."
Sean: Yeah, you know, poof it!
Paul Hollywood: Like puffing up?
Sean: Yeah, yeah, but "poof" just has a little bit of, like, *gestures expansively* poof!
Ellie: Poof!
Sean: Puff just sounds a little...
Ellie, dismissively: Puff.
Paul Hollywood: 💠Am I the only person at this table who realizes this is a slur for gay people? -
Good question! For those unfamiliar, I've had a yearly tradition since 2021 of playing a classic survival horror game each October, because I like themes. I've played Resident Evil (GameCube version), Silent Hill (PlayStation version which I think is the only one), and Resident Evil 2 (2019 remake) so far. This year, as Máxima accurately recalls, I am planning to play Silent Hill 2.
Originally I thought I would obviously be playing the original, since the remake was being made by Bloober Team whose horror output has not seemed particularly great. But with this remake reviewing quite well, I did take some time to consider it as a real possibility. Ultimately, particularly after consulting Christa who has strong opinions about these sorts of things, I decided to stick with the original.
Where I've found my interest in Resident Evil as a series largely orbiting its mechanics and the use of game design to convey a notion of "horror", at least in the first Silent Hill much more of what I found compelling was wrapped up in the story and atmosphere. That's much harder to preserve, let alone elaborate on, in a remake. Even a really good remake made in 2024 will still have 2024-era textures and mocap and movement. If I'm playing a game for its vibe, I think I want the first time I play it to be with the original vibe.
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This is deceptively compelling. At first glance, the ape men, broken english, and doctrine that all animals converge on the perfect (evidently white) human form feels teleological with a distinct flavor of eugenics. But as the film progresses, it builds out a much more nuanced narrative. "Are we not men?" cry the islanders, taught this mantra by Moreau himself. But Moreau does not truly want them to see themselves as fully human. To him they are at their most compelling, and their most useful, as a sub-human who will do his bidding without ever being his equal.
Although Moreau's work isn't precisely secret, he is coy about it, and when he speaks to the mainland about the other inhabitants of his island he refers to them as "the natives". This gives away the allegory: Moreau is a colonizer and the beast-men his colonized subjects. Whatever he has given them has come with a terrible price: not just subservience but subhumanity. When Bela Lugosi's striking Speaker of the Law accuses Moreau of making them "not men but things", I hear it not as a tired admonishment to avoid meddling in the natural order, but as a claim that it is Moreau himself—despite his vaunted laws—who prevented them from becoming fully human.
It's telling that where H. G. Wells's novel is structured around the tendency of beast-men to revert to their bestial instinct, the film pushes this thread far into the background. The climax of the plot is no longer driven by instinctual violence, but by words: the Speaker of the Law confronts Moreau and declares his laws void because they are built on lies and hypocrisy. In their way, the beast-men are more rational than Moreau himself. The film ends by challenging the core dichotomy between "beast" and "man" at its root and suggesting (surprisingly deftly for a film made within Wells's lifetime) that the concept of "sub-humanity" is itself inhuman.
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Shel's essay about her former synagogue rescinding their mask requirement for services and in doing so effectively barring their disabled community members from full participation is painful to read, but it's also one of the best articulations I've seen of the grief and alienation of being disabled[1] during a pandemic. This experience is particular to the Jewish community in Philadelphia, but at the same time it is one of a pattern of moral failures that have been happening since the pandemic began and people en masse started facing the immediate question: are you willing to sacrifice your comfort to give other people space to exist?
This is a rawly emotional post that slides towards despair at the end, and I do want to put back on that. I don't at all blame Shel for feeling that…
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posted on topposts.net FOR IMMEDIATE RELEASE
Meow Wolf, Cirque du Soleil & MSCHF are proud to present:
#The Cohost Global Feed
the interactive play-within-a-play-pilled digitally-mediated real-life experiential booking slot that seeks to ask: what if the hottest babes from Dimes Square roleplayed as the "most-severaled chosters", acting out titillating versions of their "blaseballiest" content creation moments? XD!
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nex3 BACKER reviewed Lies of PPeople told me this was "the good one", the non-FromSoftware game to finally execute well on the formula, and I was ready to believe them. I found the "gritty steampunk fairy tale" theme a little tired but I was ready to give it another chance. I really was open to this game being good.
This game is not good.
The bitter irony is that the thing that's maybe hardest about aping Dark Souls is having a collection of fun, compelling, and distinctive boss fights, and that's the only thing this game does right. There are a few boring bosses and one that I think is actively bad, but the majority of the roster are legitimately very fun. The combat's emphasis on perfect guarding and limited support for dodging (including some moves that simply ignore iframes) means they lean pretty heavily towards rhythm memorization, but that's my preferred style anyway. And it's certainly not the only thing going on—the best fights are also about positioning and learning when you can get in what sort of attacks.
But as fun as the boss fights can be, the game surely makes you suffer between (and sometimes during!) them. The first, most egregious sin is the writing. The game is from a Korean dev, so it's tempting to lay the blame at the feet of the localizer, but I'm confident that the underlying writing is terrible. That's not to say that the localization is good—more on that below—but it's very clear that even if the prose were marvelous the concepts being conveyed are insipid, boring, and deeply unsubtle. Nowhere is this clearer than in the figure of Gemini (pronounced like "Jiminy", get it), whose entire role in the narrative is to explicitly describe things that were already completely clear from subtext in gratingly unskippable voice lines. But truly, nearly every line of dialog or lore writing in the game ranges from ham-fisted to outright nonsensical, so that even the lore and character moments that are compelling (and there aren't zero of those!) fall completely flat without any kind of supporting structure.
The writing isn't helped by one of the worst localizations I've ever seen that doesn't straight up break rules of spelling and grammar. Descriptions of the same thing use inconsistent wording, and descriptions of different things overlap. Idioms are misused or overused like someone cribbed writing notes from an 80s sitcom. Major mechanics have descriptions that are flat-out inaccurate to how the game behaves. If you want to understand how the game works, you need a wiki not because the game's descriptions are oblique and left to the player to explore, but because they're untrustworthy.
If you're thinking, "well if it's fun to play I can deal with skipping through the text", think again. Outside of boss fights (and even in them to a degree), the design sensibilities of this game are frequently thoughtless and haphazard. While the core combat mostly works for fighting large, strong enemies, it falls apart entirely for weaker mobs, which die in one or two hits without any resistance throughout the entire game. For a combat system built around the idea that you can essentially parry any attack, parrying is irrelevant to 90% of the respawning enemies. Compare to Sekiro, where even very early mobs won't let you just walk up and hit them until they die without blocking you and forcing you to engage in a microcosm of the mechanics used by the bosses.
The game is just full of blunders like that. The "fable meter", which is used for special weapon-specific attacks, becomes completely irrelevant two or three bosses in once you get an amulet that gives you a huge across-the-board damage boost when it's maxed out and so motivates you never to use your fable attacks. This is one of not two but three different equipment meters you have to keep track of during combat, all three of which are mostly irrelevant. There are some interesting ideas here, but they're all fumbled or half-assed.
So don't play Lies of P. If you must, find a mod that just throws you at the bosses with nothing in between but maybe some build management. And please pray that when there finally is a worthy disciple of FromSoftware's teachings I won't be so burnt out on these failed pretenders that I don't even bother to give it a glance. -
I found a guy on the street the other day
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posted on postnow.site There should be a wretched little goblin
Just something I think we should have