Of all the things to come out of the new Star Wars film - the good, the bad, and everything in between - my single favorite aspect of it all has to be the character of Rey.  And I mean this both as the character in it of herself, but also equally important, everything that she represents.
And on top of all the joy and goodness to come from those original three films, if there's one thing I probably could - and would - have asked for to be added to the whole, it would've been a character like Rey. Equally important is also what Rey represents - and in this sense, I mean how she's being presented and utilized in a prominent genre franchise. Let's put this into context: compare Star Wars to the Marvel Cinematic Universe (arguably the most successful continuous franchise outside of Star Wars) in which we now have a dozen films - all of which have white male characters are the fore.
May Rey be the face of more greatness to come, and may she be the first of more great female characters to come. But wow, it is so refreshing to see an out-and-out superhero show that is so female driven. No doubt there are people who were bugged by the number of times the show kept pushing the fact that this is a woman here.  Constantly referring to her as that "female" figure, the villain-of-the-week saying that women bow before men on his planet, and the like.
But I've feel like I've spent so much of the last few years arguing with people about this topic, reading articles about tv and film execs who don't dare take a chance on female-led properties in the genre because "it doesn't sell" - the constant back and forth of whether or not women should really be in the genre, how well they're portrayed, if women even like comic books, and so forth. There are so many great male characters in the genre - so many to idolize and look up to.  And by compare, we still have so few great women. While iZombie is relatively decent fare, it still bugs me how the show overcompensates for its female protagonist by having pretty much all the most important characters be male and so she basically has almost no female relationships (let alone interactions). But it's the pilot.  I feel like I can forgive a lot for a show just starting out - especially when it has so much potential to be so good.
I will agree that there's a degree to which the minimalist approach (as reflected in the lack of handholding) does work for the Souls titles.  But there a few vital reasons why - and it doesn't necessarily have to do with a 'better' or 'worse' way of making games.
I really don't enjoy horror, in pretty much almost any format.  For all the grim monstrosities, it's largely not my genre - and I credit BioShock in particular with teaching me what exactly in gaming my own threshold would be.
Objectively, I can see why it gets a lot of the praise that it does - and there's pretty much no degree to which I would criticize any of the inherent design as 'flawed' or 'bad.'  The graphics are crisp, the visual design is consistent, the combat system is smart and dependable, and each build of the atmosphere and level design is everything you could hope from a Lovecraftian Victorian-setting horror.
It's almost impossible for me not to compare to previous Souls games (especially Dark Souls) - but I feel that tendency is rather deserved.  There are still enough similarities in the fundamental fabric that I would easily describe this as being part of the overall series - even if it does stray much farther from the other three. Overall, I feel like a From Software experience breaks down into two key factors: gameplay and environment. Having a shield gives me a bit more of the time that I need to focus up - I can pull back, take a couple seconds to reassess, and then move back in.  Bloodborne's combat is so fast and so furious that such allowances are pretty rare - particularly with the more vicious bosses.
And it's not just the visual aesthetic - though that is a vital component.  Dark Souls is rife with majesty and awe, even as the world itself has gone mad.

I've already read half a dozen interpretations of the story - and the nature of religion here is a fascinating one, especially as you start to unravel details that perhaps alter earlier encounters in the game.  Those corpses with their heads in cages?  Maybe they weren't victims - maybe they were just driven mad in their attempts to touch divinity.  All those people literally petrified while trying to escape some horror in the street?  Was that just part of a ritual itself?  Someone trying to become a Great One?  And what even are the Great Ones themselves?  Is 'deity' or 'alien' a better word to use here? It's the ending of September, which means only one thing: it's the most wonderful time of the year!  (Christmas?  Pfft, who cares about Christmas?)  Because the fall TV season has begun and that means presents for everyone! Here's my outlook for all the continuing, returning, and new shows I plan to watch in the upcoming months. With continuous interconnectivity between Arrow and promised setup for Legends of Tomorrow, it's doubtful I won't watch.  At the same time, if Iris doesn't get a new plotline that doesn't involve romance or being the object of Barry's desire (and if they don't move away from meta-humans-as-a-plot-device) I will cry buckets. Nothing in the marketing looks remarkably promising, but the presence of Greg Berlanti, a female-led comic book show, and the casting in general means there's absolutely no doubt that I'll be watching  If it's good - and if it finds its own niche - it could very well serve as a perfect companion series to Arrow and Flash. And better yet, good characters that turn evil - who make for pretty entertaining villains themselves.
And though it's a decidedly different format from what was accomplished on The Daily Show and Colbert Report, it's already very much its own thing: Oliver's 20-minute takedown segments are all kinds of brilliant.
And really, why would I want to?  Peter Capaldi is fantastic in the role, Clara's one of my favorite Companions (I'm already dreading the inevitable tragedies surrounding her departure) and the show is consistently its own unique brand of imaginative, daring, and fun.  While I hope Moffat steps down sooner rather than later, I'm still watching ninth season with rapt attention. But season two of Agent Carter and season one of Legends of Tomorrow are going to be great.
With the ninth season of Doctor Who recently underway, it's never been a better time to celebrate the series.  And by that I mean, pick out my very favorite episodes of modern Who. It's worth noting that I largely didn't enjoy the Matt Smith era of the character and show (too much trauma and grief over the loss of 10) so none of my picks will be from those seasons.
Steven Moffat has become known for his love of playing with time mechanics, and this remains my favorite of his experiments.
But one of the things it's got me thinking about is the differing kinds of relationships that fans have with these products - with these universes.  And trying to balance what is, in a sense, owed to them when adaptations into other formats are being made.  Should you adhere only to those in the know?  How do you achieve that balance - not just in terms of appealing to a mainstream audience, but also creating accessibility for potential new fans? But at the same time, I would bristle at anyone who insinuated that my relationship with the franchise is somehow less real - less valid - because my actual participation with the comics has been minimal. I already knew a substantial amount going in, but even then the sheer volume of what's needed on behalf of the reader in terms of knowledge can almost be rather overwhelming.  I can't even imagine what this must be like if you go into it blind.  Do you just dive into the deep end and - with the help of online wikis - do your best to keep up? So if I take a step back and try to let the objective part of my brain take over, there's a part of me that must recognize that these fans who came to the franchise exclusively through the JJ Abrams films have a valid relationship.  Even as it shatters other parts of me because Into Darkness went so very much against everything that I - as a lifelong fan of Star Trek - believe the franchise is and should be.
I imagine there are fans of ­X-Men and Green Arrow who feel somewhat similarly about Arrow and the current slate of Fox X-Men films that I do about Star Trek under the reign of Abrams and co. And it's kind of a shame that DS9 was overshadowed by all the other Star Treks around it, even as I suspect that its hiding in the shadows was precisely what allowed its writers to take such daring and interesting risks.

TNG and TOS were more self-contained stories, ultimately idealistic and optimistic, and generally leaned more on the conceptual side of the coin rather than the character.  And DS9 challenged all of that - all the while keeping to the spirit of Star Trek, but finding ways to test out its true limits. Nearing 20 years after the show's debut, Buffy the Vampire Slayer still boasts an enormous following - from both fans and critics alike.  Not only did it vaunt Joss Whedon into the ranks of most-loved-among-nerds, but it's deservedly credited as being one of the most important and influential tv series to come out of the 90s. And it kind of makes me sad that Angel never gets quite the same love.  Even though it deserves every bit as much praise as Big Sister Buffy. Still, there's one change I wasn't anticipating - that I haven't really seen anyone make mention of. See, in the early portion of all the Souls games, as well as Bloodborne, the player is given a rather typical, low-leveled foe to contest with.  The weakling lackeys which aren't powerful on their own, but appear in just large enough numbers to offer the kind of learning curve challenge that enables the gamer to grasp the basic combat mechanics. But there's one key difference here in Bloodborne: none of those weakling lackeys in any of the Souls games ever talked.
And it certainly enhances the twisted realities already present in the early exploration of Yharnam.  Many of these weaklings wield pitchforks and torches, thrusting the flames forward while screaming "Away! But in none of them, even if I wasn't necessarily the 'good guy' (in so much as there might have been one) I certainly wasn't the 'bad guy' either.
Are there any good guys or bad guys in these games?  It could be argued that simply by virtue of being on Jack's side in that game (and as we see, ultimately going up against the likes of Lilith and Roland) that these mercenary characters could be painted as something of bad guys.  Even though they're the playable characters. In Shadow of the Colossus, the primary gameplay element of defeating each of the game's Colossi slowly unravels a troubling story that makes protagonist Wander look worse with each passing kill.  He's willing to not only slay these majestic creatures that are seemingly of no harm to anyone, but also unleash a potentially terrible god-like being in the process all for the selfish act of reviving one woman.  At the end of that story, could anyone say that Wander was in any way the good guy in the story?
Which also rather begs the question, if we were playing as the villain in a game, would most of us notice?  Especially if the game went out of its way not to explicitly tell you? The rise of morality systems in gaming certainly plays an interesting hand in this - even if a fair few largely boil down to: be a nice person vs. On top of that, introduction of the Ood is used to great effect (acting as the voice for this devil creature) with some absolutely fantastic tension and pacing.  What's more, all the elements at hand are used to challenge the notions of faith and belief - even for the Doctor himself - and further solidify the absolute trust that he and Rose have in one another. Away!" as though I am some conjured spirit in need of banishment.  Some of these foes even refer to me as 'cursed' or indicate my presence spells the end of the city - while others outright beg me to leave.

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  1. 09.09.2014 at 11:15:44
    surac writes:
    Hosting residential retreats year i just lately sit.
  2. 09.09.2014 at 20:56:59
    kursant007 writes:
    About using meditation and mindfulness false impression, since you.
  3. 09.09.2014 at 23:55:58
    X_5_X writes:
    Thought of mindfulness is to focus in your psychology and.
  4. 09.09.2014 at 11:16:38
    vefa writes:
    The teachings of mindfulness and perception (vipassana) meditation, that means of conscious breathing, you need to use how?everybody?can.