John_Brennan
Bio
Retired G.A.M.E.R.
My interest is more so in movies (both in the making and the observation) than in anything else. It's what I study after all. While on the other hand games was a passion of mine when I was a kid that I had lost due to the amount of dedication that they requiere. That doesn't mean that I don't like games tho! Quite the opposite. I find them a fascinating medium, and thanks to this site my interest on them is kind of returning. If I play anything tho it'll probably be short stuff. Don't expect a JRPG to pop out on my journal.
If you want to know about my taste in movies: https://letterboxd.com/Jo_Brennan/
Retired G.A.M.E.R.
My interest is more so in movies (both in the making and the observation) than in anything else. It's what I study after all. While on the other hand games was a passion of mine when I was a kid that I had lost due to the amount of dedication that they requiere. That doesn't mean that I don't like games tho! Quite the opposite. I find them a fascinating medium, and thanks to this site my interest on them is kind of returning. If I play anything tho it'll probably be short stuff. Don't expect a JRPG to pop out on my journal.
If you want to know about my taste in movies: https://letterboxd.com/Jo_Brennan/
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Kratos' tragedy is that of dehumanizing discipline to achieve the vain glory of ultimate conquest, of fruitless strength.
I wouldn't consider God of War's drama to be particularly lucid, as it largely exists to rationalize the player's advancement in the scenarios (as is the case of so many other triple A games, to dichotomize "story" and "gameplay" in the relationship between cinematics and "the actual game", as if gameplay wasn't inherently narrative in the actions we partake in when interpreting a character) and gets too stuck for much of it in the voyage for the McGuffin that is Pandora's Box. However, I can't deny that there's something intriguing in its contradiction.
A game about the pleasure of ultra-violence and the dominance over all beings that questions our involvement in how all the expulsion of id results trivial. Merits without satisfaction, as the demonic phantasms of the past persevere. A mortal accepting the throne of a God, yet he is still condemned to be haunted by his actions; what has been done can't be borrowed, no matter how hard one fights against the divine. Kratos "wins", yet what is his worth? A solitary palace to rejoice on his emptiness? A revenge bringing no more than dissatisfaction in ostentatious dresses?
Its immediate sequels (II & III) would miss this appeal, either from the ridicule reaching an excess that it no longer can have any human grounding (this entry is absurd though, let that be clear), or from the epic centering even more scarcely in the psychological complex, making its delving to such unearned. Yet this one still holds weight in the progression of the flashbacks, each taking us closer to the painful truth, and its understanding of the Greek tragedy being personalized to the protagonist's vices; the tale functioning in pedagogical terms due to how the punishments of the Gods feature a cautionary lesson; the inevitability of the conclusion as all has been precedingly rigged (and how the flashbacks here play a role in realizing this dynamic).
Some gets lost in translation due to how troubling is to pull off its contradiction, of being satisfying while enjoying a sense of banality and transmitting it in terms of interaction with systems. Nonetheless, it remains interesting and surprisingly well designed to evade monotony in our player disposition. It takes some time to get truly engaging with the challenges, yet everything involving, for example, the three stages of the finale I found immensely gratifying in how it forces genuine attention for the enemy patterns and a pragmatic usage of our special abilities. Definitely better than the sordidness of God of War III.
I wouldn't consider God of War's drama to be particularly lucid, as it largely exists to rationalize the player's advancement in the scenarios (as is the case of so many other triple A games, to dichotomize "story" and "gameplay" in the relationship between cinematics and "the actual game", as if gameplay wasn't inherently narrative in the actions we partake in when interpreting a character) and gets too stuck for much of it in the voyage for the McGuffin that is Pandora's Box. However, I can't deny that there's something intriguing in its contradiction.
A game about the pleasure of ultra-violence and the dominance over all beings that questions our involvement in how all the expulsion of id results trivial. Merits without satisfaction, as the demonic phantasms of the past persevere. A mortal accepting the throne of a God, yet he is still condemned to be haunted by his actions; what has been done can't be borrowed, no matter how hard one fights against the divine. Kratos "wins", yet what is his worth? A solitary palace to rejoice on his emptiness? A revenge bringing no more than dissatisfaction in ostentatious dresses?
Its immediate sequels (II & III) would miss this appeal, either from the ridicule reaching an excess that it no longer can have any human grounding (this entry is absurd though, let that be clear), or from the epic centering even more scarcely in the psychological complex, making its delving to such unearned. Yet this one still holds weight in the progression of the flashbacks, each taking us closer to the painful truth, and its understanding of the Greek tragedy being personalized to the protagonist's vices; the tale functioning in pedagogical terms due to how the punishments of the Gods feature a cautionary lesson; the inevitability of the conclusion as all has been precedingly rigged (and how the flashbacks here play a role in realizing this dynamic).
Some gets lost in translation due to how troubling is to pull off its contradiction, of being satisfying while enjoying a sense of banality and transmitting it in terms of interaction with systems. Nonetheless, it remains interesting and surprisingly well designed to evade monotony in our player disposition. It takes some time to get truly engaging with the challenges, yet everything involving, for example, the three stages of the finale I found immensely gratifying in how it forces genuine attention for the enemy patterns and a pragmatic usage of our special abilities. Definitely better than the sordidness of God of War III.
Es a Vascolet: La Máquina del Tiempo lo que Mega-Man X es al Mega-Man original.
¿Esa frase significa algo?
No. Pero a este le pusieron mucho más onda al nivel final.
El primero era rarísimo que, después de su primer nivel, los dos siguientes tuvieran un cierto concepto de exploración y una cierta complejidad en lo laberintico de los escenarios para que, sin ningún aviso, tiren a la basura dicho paradigma de diseño, hasta el punto que los vascolet que te dan poder en ambos niveles finales te los otorguen en la misma zona del nivel, sin más. Acá al menos el nivel final sigue una de las reglas de vídeojuegos pa' boludos 101 de que la conclusión tiene que poner en práctica todo lo que el jugador ha aplicado durante la aventura. Incluso, para que lo que dije de Mega-Man no sea tan sacado del orto, cierran el nivel con una batalla contra todos los jefes anteriores. Salvo el dragón por ser una cagada, supongo.
Igual le quita onda que, de cinco niveles, uno sea un mundo de agua horrible y otro uno de vuelo con dragón. Medio te introducen la novedad del poder correr y no te la dejan exprimir del todo hasta los últimos dos niveles.
El diseño de niveles está mejor pero los controles se hacen muy torpes, y lo del boomerang es una pelotudez cuándo siempre el juego te incentiva a saltar sobre tus enemigos. Más que nada sirve para cuando te sumerges.
¿Tan mal estoy para rejugar estas cosas y escribir algo posta a las dos de la mañana?
Probablemente. Pero la verdad acompañé la jugada escuchando Dawn FM, que está increíble.
No fue una pérdida de tiempo tan grande. Énfasis en tan.
¿Esa frase significa algo?
No. Pero a este le pusieron mucho más onda al nivel final.
El primero era rarísimo que, después de su primer nivel, los dos siguientes tuvieran un cierto concepto de exploración y una cierta complejidad en lo laberintico de los escenarios para que, sin ningún aviso, tiren a la basura dicho paradigma de diseño, hasta el punto que los vascolet que te dan poder en ambos niveles finales te los otorguen en la misma zona del nivel, sin más. Acá al menos el nivel final sigue una de las reglas de vídeojuegos pa' boludos 101 de que la conclusión tiene que poner en práctica todo lo que el jugador ha aplicado durante la aventura. Incluso, para que lo que dije de Mega-Man no sea tan sacado del orto, cierran el nivel con una batalla contra todos los jefes anteriores. Salvo el dragón por ser una cagada, supongo.
Igual le quita onda que, de cinco niveles, uno sea un mundo de agua horrible y otro uno de vuelo con dragón. Medio te introducen la novedad del poder correr y no te la dejan exprimir del todo hasta los últimos dos niveles.
El diseño de niveles está mejor pero los controles se hacen muy torpes, y lo del boomerang es una pelotudez cuándo siempre el juego te incentiva a saltar sobre tus enemigos. Más que nada sirve para cuando te sumerges.
¿Tan mal estoy para rejugar estas cosas y escribir algo posta a las dos de la mañana?
Probablemente. Pero la verdad acompañé la jugada escuchando Dawn FM, que está increíble.
No fue una pérdida de tiempo tan grande. Énfasis en tan.
increíble el análisis genealógico de lo humano y lo más allá de lo humano cómo meditación de la evolución cómo camino inherente a la destrucción debido al estancamiento neoliberal a menos que, a partir de la introspección histórica, se imparta acción desde el presente para salvar el futuro.