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Cake day: July 2nd, 2023

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  • I think he said multiple times that he found it very hard to spend his money (for good things) faster than he’s still earning it. He was the poster boy for capitalism in the booming tech market when it happened (with all the shitty business practices you can think of), but after he left Microsoft, he’s been doing good things and trying to throw as much money as possible on it. He’s at a level where his wealth hoarding happens on its own, even if he’s not greedy for money. He’s not trying to hoard it, he’s part of the group of billionaires who keep saying they need to be taxed more.




  • The ending theme already shows the main team, it’s just Goku, Vegeta, Bulma, Piccolo, Shin, so another 3 people in the second ship. I guess Kibito should be needed because he knows how to get to the demon world, but he’ll probably stay back with both ships and not come along (unless Bulma turns it into a capsule first).

    Glorio learned about the Z team and Gomah’s wish by spying on him, yet he claims he heard everything from another demon king. It’s a very odd lie, he doesn’t want them to know he was spying? We don’t know why he was spying on Gomah in the first place, or if he does come from another demon realm at all, but I expect simple politics between demon realms at this point; if not, he’s looking for something by himself and everything is a lie. Other than that, I think Shin is just overly suspicious because Glorio is a demon: Glorio never met any of them anyway, he shouldn’t know that anything changed. It may be odd that they are kids (or look like kids at least), but he shouldn’t have anything to compare to anyway, so Shin shouldn’t have a reason to get suspicious - if not for the fact that we know he’s right and Glorio is lying for some reason.

    Gomah might be a threat but he doesn’t look like final boss material. He might have more political power than actual power, and he’ll probably serve to move the plot, like with that third eye thing. The doctor sister is more suspicious, Shin just doesn’t know she’s involved yet.




  • It’s well known that Marvel has done a wide variety of genres. The period piece/war movie, the Shakespearean drama, the heist movie, the space opera, the mystic stuff, the ethnic sociology piece, the spy movie - and then there’s the TV shows like Wanda’s literal sitcom, the mental drama in Moon Knight, surviving with general trauma in Hawkeye, a bit of classic horror with Werewolf by night, Agatha is doing pure witch drama, Falcon and WS was an international buddy cop show… Black Widow tried going hard as a super spy thriller (the Soviet style sleeper cell family that breaks up then reunites, the international assassin syndicate), it was just terribly done.

    A lot of these do have their own genre and just happen to feature someone with superpowers. Is Winter Soldier (Cap 2 I mean) not just James Bond with a frisbee and the muscles to hold a helicopter or punch a car? Is Ant-Man 1 really a superhero movie if you take him out of Civil War and Avengers? Sure, there’s some overlap, and it’s never really “pure so-and-so genre” but always in the context of this shared universe. But it’s definitely more varied than some give it credit for.

    It’s only in the latest phases that they don’t know what else to do while still introducing new faces (yes, there’s been a bunch of misses, but some are still working well). Would Blade as a gothic horror romance work? Is too much special effects the problem?



  • I can’t believe we haven’t learned anything since “it’s about ethics in games journalism”. “It’s about monetization in AAA games” now, apparently.

    I totally agree that there has been a hate campaign about DEI right-wing complains, but there’s two subjects that came to head at the same time here because it was on the same big title:

    Star Wars Outlaw and AC Shadows had the same business model, Star Wars showed that it failed, and Ubisoft got spooked and said they’d have another look at the monetization model for AC. People did get pissed at both games when their business models with passes and editions everywhere were revealed.

    It’s just that AC also had at the same time the matter of racist and misogynist hate because of the protagonists. I don’t think this happened on Star Wars, and the fact that it failed too shows that it isn’t the only complain people are having against Ubisoft.

    Apparently the monetization guy is stepping on the minority hate campaign subject, he’s the one conflating the two problems here just because his job title. We shouldn’t forget that Ubisoft did pull an infuriating and deplorable stunt with that monetization model.


  • I’m not reading the article but why does the title still need to phrase it like the devs are the ones who need more time, suggesting they haven’t finished making the game a month and a half ahead of release? We already know that investors got spooked by Star Wars exploding because of its sales model with special editions driving up the prices for some bullshit, and we know AC was supposed to do the same but now won’t. They literally just said “actually we’re going back to simultaneous Steam release and we’re dropping the special editions and we’re rethinking the season’s pass from scratch and so-and-so will now be free instead of paid DLC” like a couple weeks ago. I can see that they did that following devs advice, but it wasn’t that the devs needed time, ever since the advent of DLC there have been multiple games from big companies where we’ve heard that the dev team fought against garbage DLC and sales practice but were told to fuck off and do what they were told and then the game exploded. The sales department is the one that needs more time to rethink the worth of cutting this down and selling the pieces, and then have the devs adjust all that.


  • I’m on the side that a remaster of a PS4 gen game dumb, but HZD was always the butt of the joke in regard to those awful generic bobblehead animations during every single dialog. It was laughably bad. With the reveal trailer, it does make a pretty big difference. Everything else? Not so much.

    If this had been a PC game all along, these animation overhaul would have been a patch of the original game, but since the trailer insists that they re-recorded all motion captures for the dialogs of the whole game, they get to sell it full price again.



  • That was a little ambiguous, because he said that after London was the major city that voted against Brexit, he was saying it was more foreign (European) than English. Schroedinger’s asshole type of comment.

    Also he said that because he was pro Brexit (which is already not good), so it might not have been about skin color at all, just international European culture.

    He did get caught in the Rowling shitshow, early on when he started saying “I just hope (trans people) are treated kindly” but slowly admitted that he only had surface knowledge and let it slip that he thought the whole trans thing was an act or a choice. I don’t think he was malicious or aggressive about it, but he was called out on propagating transphobic messages.

    And he spoke up against cancel culture.

    It’s possible that he doesn’t understand that even if he doesn’t mean bad things, he’s letting bad propaganda slip out and repeating a language that hurts easily targeted people without understanding the scope. But he doesn’t seem very willing to learn quickly about it.

    I haven’t heard anything recent if he changed his mind or double down about any of this.


  • Sales expectations here don’t mean “we think this game is so good it will move x million units,” that thinking doesn’t exist anymore. It starts from the money they put in it, and they deduce “we’ll need to sell x million copies to get the money back with the profit we want.” There have been a few interviews specifically about these two games saying that.

    It’s the same old idea that AAA products (movies, games, same excuse) cost more to make than they bring money back - although we never know exactly how much of that is actually “investors expect an x% return by week y” where x is just too high and y too short and they never want to think longer term, and we never know how far an investment actually goes. Especially in the case of the Remake trilogy where keeping the same engine and world is supposed to drastically reduce the cost of the last game compared to if they had started a new game from scratch with the same content - except part 3 is unlikely to sell more than part 2 given that it’s a sequel.

    At any rate, we all know it’s true that development time and costs keep going up exponentially, and no one likes it (and yet everyone wants 4k 60fps somehow).