#because he's so unpredictable and batshit that he can pretty much show up in any situation

[erosia-rhodes]

Top 9 Newbie thoughts on Supernatural after Six Months of Madness

I started watching Supernatural a week before the series finale, and full disclosure, it was only because I heard about the gay angel. I loved me some Good Omens, so I decided to check out a series my only previous thoughts about had been, "Is that show still on?" In the past six months, I've watched about fifty percent of the episodes scattered across all fifteen seasons. I've also spent time following the bonkers-in-the-best-way fandom on Tumblr, and here is what I have learned:

1) Everyone who loves Supernatural also hates Supernatural

No one is capable of praising this show without also trashing it. Supernatural is as awful as it is awesome. Watching Supernatural is like hate-fucking your nemesis against a wall; you're totally conflicted about it, but it's enormously pleasurable and you know you're going to do it over and over again. No one has a pure, untainted love for this show. They only have complicated emotions. This is because…

2) The fact that the show needs to be fixed is an essential part of its appeal

Strangely, if this show were better, it wouldn't be as popular. If you love a show that is perfect, you watch it once or twice or thrice, make a bunch of memes, and move on with your life two years later when you find something else to hyper-fixate on. If you love a show that's broken, you spend the rest of your life obsessed with fixing it. It's the crooked photo hanging on the wall that yearns to be straightened (because, you know, this show is bad at making things straight). It's the stray dog you know would be adoptable if you fattened it up and socialized it with your other dogs, and just like some people can't stop rescuing animals, Supernatural fans can't stop thinking about how to fix a show that isn't great, but could be with a flea bath and a trip to the groomers. Supernatural fans are not fans of the actual show, but of the show they imagine it could be, one that only exists in an alternate universe. They are in love with the Platonic ideal of Supernatural. That's also the reason why…

3) The fans understand the characters and themes better than 95% of the people who worked on the show

The people who watch Supernatural have thought about it way, way, way, more than anyone who produced it. I have read complex essays about what the color of people's clothing imply and how the state of the Impala reflects the state of Dean's mental health and other things I'm certain this show did not do intentionally. People can find depth in the shallowest aspects of this series. Any random fan could explain the complicated dynamics of the Winchester family and the overriding themes of the series better than most of the people who worked on it. That includes the LGBTQ stuff, which leads to the fact that…

4) The show is simultaneously too gay and not gay enough

On one end of the spectrum are fans who are offended you would dare to suggest one of the Winchesters might like kissing a boy and they'll shove you in a locker and duct tape your butt cheeks together for it. On the other end of the spectrum are fans who think it's odd that every episode doesn't end with two attractive men dry humping in a dark corner of the bunker library. No one is happy with the level of gayness on this show. It's always got too much "No Homo" or too much queer subtext, which is why I've concluded that…

5) The audience this show wanted is not the audience they got and they are resentful of it

The original pitch for this show targeted a male demographic who’s into toxic masculinity in a non-ironic way. It was about bros and beers and muscle cars and shotguns and hot chicks who will be killed to further the man's storyline. However, when making that show, they accidentally created a show that attracted female viewers who liked speculating about the queer subtext of each scene while looking at pretty men with traumatic backstories fight back their man tears. The show depends on the unintended audience segment to survive, but is bitter about it, which they remind you of time and time again by killing the female and non-white characters and toying with endless queer-baiting. It's like the writers got a plane to Rome, ended up in a gay nightclub in Amsterdam instead, and even though the canals and tulips make it a lovely city to visit, they wanted to go to Rome, damnit, and they'll never let you forget it! I also suspect that…

6) The people who made this show were at constant war with each other

This show has such a split personality. Sometimes it leans into the gay stuff and other times it makes fun of it outright. Sometimes they'll introduce an interesting side character that could make the show more diverse and then they'll slaughter that person for practically no reason. Sometimes they praise free will and other times they force people down pre-destined paths. The writers feel like a dysfunctional family stuck at Thanksgiving dinner endlessly squabbling with each other—who then had to write a TV show together over dessert. That's why it's such a weird hot mess. The show's unevenness makes me think that…

7) Some people's attachment to the show can only be explained by the fact that it imprinted on them when they were young

Some fans have mentioned they started watching Supernatural when they were kids. It's a pretty common experience to go back and watch things you loved when you were a kid and realize they were…not so good. Your memories of them are far better than the reality of them, but you cling to them anyway. The shows you watch when you're young imprint on you in a way you never forget. Supernatural fans are like a baby duck who looks up at a cat and assumes it’s their mother. Then that cat slices open their poor little hearts, leaving them wounded but not dead, forever be toyed with in agony. The only relief is that…

8) The fandom is batshit insane in the best way

I started following the Supernatural fandom on Tumblr in November of 2020 and OMG, it was AH-MAZE-ING. It was total insanity. I didn't understand half of what was going on, but it was more fun than a yard full of puppies doing zoomies. People were posting detailed PowerPoint presentations theorizing how the series would end, citing extensive physical evidence like the background in Misha's hotel room. People learned election results through Supernatural memes. Destiel went canon every other week. When the Spanish dub was released, Tumblr literally crashed! Obama's Twitter was following a Destiel account. There was a Twitter wedding for Destiel on Valentine's Day, which made the one-month anniversary on Pi Day.

It's been a ride, y'all. I have no idea how you guys survived fifteen years of this. The fandom has been so much fun that I actually sat down and watched more than 100 hours of this show so I could understand everything better. It's like the show is an extension of the fandom instead of vice versa. If anything sums up Supernatural for me, that's it. It's all about the fandom and the show is secondary to that. It's like the fans willed the show into existence as part of some partially botched spell. And part of that twisted spell is that…

9) The show will never die until someone finds its bones and burns them

This show has been off the air for more than six months now and it keeps trending on Tumblr consistently. Misha recently trended on Twitter simply because he was at the Oscars. That was it! He didn't even do anything there, he just attended, and some people figured it out by the reflection in a photo posted by someone else! And just as I was proofreading this post, Destiel started trending again because John Cena is a stan or something? This fandom is crazy and unpredictable and I love it like Dean loves pie! If there ever does come a time when this show stops trending, that will be the moment when they decide to reboot it or revisit it.

There is a lot more I could say about this show, but these were the elements that seemed most unique and bizarre about it. I wouldn't say Supernatural is a ride-or-die fandom for me, and I have no intention of watching another 100 hours of this series, but it's been hella' fun to drop in for a while. The show is just as much a dysfunctional mess as the Winchester family and I guess that's why people love it, right?

#supernatural #spn #dean winchester #sam winchester #castiel #jensen ackles #jared padalecki #misha collins #destiel #the cw #tv #television

[kogo-dogo]

i’ve never heard of the video game series u talked about in that last ask, but i loved ur character analysis for torque! i’m very curious to hear abt dr killjoy if you want to share ur thoughts there too? even just the name dr killjoy is bitching as HELL

You do not know how happy it makes me to talk about Dr. Killjoy.

Torque may be one of my favorite characters of all time, but Dr. Killjoy is… he’s up there. And he’s a lot more fun to talk about because he is a fabulous disaster, as well as the poster child for the phrase “the road to hell is paved with good intentions.” Since Torque is such a vague character, whose personality and backstory are revealed gradually and oftentimes subtly over the course of two games, Killjoy is really the motherfucker who steals the show and is very obviously the favorite of the creators. Even the other sentient spirits on Carnate Island take a backseat to him, and he ends up being a massive driving force in the plot and the one who actually helps the player unravel the man they’re playing as.

(I can’t even say “the guy who you’re put in the shoes of” because Torque doesn’t wear shoes.)

Spoilers follow, but I’ve already told y’all you probably don’t wanna actually play these games. 

Dr. Killjoy is the most well-intentioned, terrible person you will ever see in a video game, probably.

Dr. Killjoy is the spirit of a deceased alienist who was the head doctor at a facility known as The Carnate Institution for the Alienated in the late 1800s/early 1900s. Basically, he’s a psychiatric doctor who hails from a time when lobotomies were still in high fashion and experimental procedures on the mentally ill were less than savory, to put it lightly. Killjoy specifically was known for being rather extreme even at the time, having a very experimental mind and extreme delusions of grandeur. While it’s never outright said he was anything beyond “insane,” he operates in a perpetual manic state and is very, very animated and melodramatic.

How melodramatic? He acts like he has a live studio audience at all times. His whole schtick is that he appears from old film projectors. In a game that is mostly mired in the realm of realism (barring the ghosts and monsters), he creates a fucking weird-ass magic machine that lets you cast spells and basically says, “Ta-da! Look! I made brain magic that will cure your psychosis, Torque!”

(It does not, in fact, cure his psychosis.)

The problem with Dr. Killjoy is that he’s very much a product of his time, and obsessed with the idea of scientific progress over all else. He firmly believes that what he’s doing will further a cause that will eventually work out to help people, but the lives lost in the process are just par for the course. The remnants of his hospital (still used as of the first game, albeit as a hiding spot for COs to smoke, drink, and party) are littered with the mummified bodies of former patients and captured corrections officers that Killjoy decided to experiment on.

He will gladly tell you about all of the dead shit laying around his house, too. He loves to hear himself talk.

In the first game, he fixates on Torque as a special interest case and is absolutely obsessed with figuring out how to “fix” him. Most of the time this involves testing him in positively batshit ways. Sure, it probably seems like bad form nowadays to lock a guy in a burning cafeteria or a room full of monsters with shivs for hands, but to Killjoy? Makes perfect sense, since you can really see a man’s character based on how they react to high-stress situations, and what’s more high-stress than a near-death experience?

But whenever he shows up, whenever he has anything to say, whenever he decides to grace Torque with his presence, it’s always under the belief that he is doing something good for the guy. While he never outright says anything to the effect of “I care about you,” his chipper attitude and his absolute determination to coax Torque into doing what he feels will be for his benefit makes it obvious. He’s adamant about every death trap he lures Torque into or every “diagnosis” he tosses out or every “treatment” he devises, and is even the only character from the first game to follow him into the second…

… Because he feels like Torque isn’t well yet, and he cares enough about this random guy that he’s just going to tag along and try to find a way to help him out. In all the worst possible ways.

He’s equal parts a perfect foil to Torque and a driving force to the narrative, being the one who lays down most of the scraps you get about Torque’s mental health (though a lot of it is conjecture, outdated, and wrong), the island, the monsters, and even the drama in Torque’s life. He’s like a weird, gossipy old lady with a very out-of-date medical degree, and he is delighted whenever he sees his favorite patient and excitable about pretty much every goddamn thing he sees.

And it’s funny to watch Torque and Killjoy interact because Killjoy is so exuberant and loud, and Torque is just Very Done With This Shit. In the first game, Torque mostly responds to him by glaring at him stone-faced until he stops talking, and in the second game he seems actively annoyed whenever Killjoy has the audacity to open his mouth. And Killjoy? Does not give a single iota of a shit, and will just gleefully quote Othello at Torque as he’s trying not to get himself killed, or idly chit-chat with him while he’s struggling to figure out how to get out of a room Killjoy locked him in.

But I cannot overstate that despite how annoying, how unpredictable, how dangerous, and how utterly in love with himself Killjoy is, he is absolutely dedicated to the idea of curing Torque. There is actual good intent in what Killjoy is doing, and he seems to legitimately give a damn about Torque and vouch for him to pull through all of the trials thrown at him. Again, this man essentially built a magical machine to try to cure schizophrenia and, even if it worked about as well as shining him with a UV light, that’s some dedication.

Hell, when Torque escapes Carnate Island, as previously stated, he follows him just to double down on helping him understand what is going on and making sure he gets a shot at treatment. He’s so fucking flippant and apathetic with literally anyone else he encounters (all the people Torque is trying to save mean nothing to him), but he is rooting for this man so bad. So bad. 

There are hints dropped that Killjoy has known Torque for a while longer than even Torque was aware of (and even an implication that he was acquainted with Torque’s dead mother), and he’s just so disdainful of Blackmore, Torque’s nebulous nemesis, and when compared to the other spirits across both games, he’s actually the only one attempting to offer any assistance at all. Horace Gauge (the “good” spirit) mostly just whines about how much pain he’s in and how unfair life is, and Hermes (my EXTREMELY PROBLEMATIC THIRD FAVORITE of this series) is actively trying to kill Torque or convince him to kill everyone around him. Creeper and Copperfield in Ties That Bind are just irredeemably awful and… yeah.

Yeah. Don’t look up either of those last two.

Killjoy is of the mind that he and Torque are a team, it seems, and this ghost would follow him to the ends of the earth for no reason other than to make sure he succeeded at defeating his inner demons, basically.

… Ugh. Okay. I can’t really do Killjoy any more justice in words. Here’s every cutscene involving him from the first game. Ignore how ugly this game is. Also, I know I linked it before, but he also has a really good boss theme. 

[starwarsnonsense]

Top 10 Films of 2018 (So Far)

Since I quite like continuing old traditions, I wanted to do a post rounding up what I consider to be the ten best films of 2018 so far. This list includes a few films that came out in 2017 in the US, since they were only released here in the UK this year.

Have you seen any of the films I cover below? Have I piqued your interest in a title you might not have heard before? Let me know, and do share your favourites too!

1. Annihilation, dir. Alex Garland

This was my most anticipated film of the year, and my hype for it was more than rewarded. This is a marvellously rich and transporting science fiction film that isn’t afraid of taking the viewer to some very weird places. However, Annihilation doesn’t simply rely on its strangeness to succeed - it is also firmly rooted in its characters and themes, which has made it incredibly rewarding to return to. Natalie Portman is fantastic as Lena, and Annihilation is a brilliant showcase for her - Lena is a complex and frequently self-destructive character, riddled by guilt and regrets that shape the pulsating, luminescent world of the mysterious ‘Shimmer’ that she has to venture into. The Shimmer might seem like an environmental phenomenon at first, but it’s really more psychological, being a space that adapts according to the people who enter into it. This film overflows with fascinating and thought-provoking ideas, and it was entirely worth the hike I made over to Brooklyn to catch one of the final showings at the theatre (since Annihilation was denied a theatrical release in the UK, I made a point of seeing it while I was on holiday in New York). I think it will go down as one of the great science fiction films, and it belongs in the same conversations as 2001: A Space Odyssey and Solaris.

2. Beast, dir. Michael Pearce

This little British film - shot mostly on location in Jersey by a first-time director - was easily the biggest (and best) surprise I’ve had so far at the cinema this year. I literally had no idea this film existed until a day or so before I watched it, and that made the experience of viewing it even more wonderful. Moll (Jessie Buckley) is an isolated young woman who is stifled by her controlling family and quiet life on a remote island, as well as a secret sin that bubbles away underneath the surface. Her life is predictable - safe, repetitive and dull - until she meets Pascal, a mysterious local man who she finds she has an affinity with. However, there is a murderer haunting the island, taking the lives of young girls in the night. Who’s to blame, and what impact will the killings have on Moll and Pascal’s swiftly escalating romance? While that is a synopsis more than a review, I felt it necessary to explain the premise to try and compel you to seek this one out. Beast is raw, woozy and utterly absorbing - the love story between Moll and Pascal is one of the most passionate and gripping you’ll ever see on screen, and their chemistry is simply sensational. There’s a real gothic, fairy-tale edge to the story which appealed perfectly to my (admittedly rather niche) tastes. This is a real hidden treasure of a film - do yourself a favour and make it your mission to watch it.

3. Lady Bird, dir. Greta Gerwig

This film was so, so relatable, despite my not really having experienced an adolescence anything like “Lady Bird’s”. While the details of her life are very different from mine, I think anyone can relate to the sweeping brushstrokes - the tensions that can arise between parents and children, the thirst for freedom and independence that builds the closer you get to the final days of school, and the feelings of love and loyalty that are always there even when they’re unspoken. Greta Gerwig captures all of this and so much more with marvellous delicacy, balancing little moments that add colour and spark with more serious scenes so deftly that it’s amazing to think that this is her first feature. Lady Bird is a very specific and very beautiful film, and it’s special precisely because it feels universal even as it feels small and personal to its director. 

4. Eighth Grade, dir. Bo Burnham

This is the perfect double bill with Lady Bird, and the people who have dubbed this film “Lady Bird Jr” are right on the money. Elsie Fisher has a real star turn as the heroine Kayla, who is a very special child - she’s kind, sensitive and thoughtful, which basically means she’s my kind of superhero. But even as she is a good and sweet person, she is also going through all of the trials you’d expect a 13 year old to be facing in 2018, as she wrestles with acne, confusing feelings about super-dreamy boys, and the escalating anxiety that comes with a comment-free Instagram post. Like Lady Bird, this film succeeds in being both very specific and highly universal - the only social media I had to deal with as a teen were MySpace and Bebo, and I found that seeing Kayla wrestle with a whole kaleidoscope of feeds, devices and platforms made her strong grip on her integrity as a  funny and deeply warm-hearted individual all the more remarkable. Bo Burnham, as with Gerwig, made a pretty incredible film here - in particular you should watch out for the father/daughter dynamic, which is my favourite part. Eighth Grade is funny and generous, and the perfect medicine if you’re feeling demoralised by the state of the world right now.

5. The Breadwinner, dir. Nora Twomey

The Breadwinner is a really lovely animated film telling the story of Parvana, a young girl living with her family under the Taliban. When her father is taken off to prison, Parvana sees no other choice but to dress as a boy to provide for her mother and siblings. But how long will her disguise last? The story here was what really gripped me - it’s very simple, in both the telling and the themes, but it is truly beautiful in that simplicity. The emotions are very raw, and this film goes to some shockingly dark places at times - while I think it can be watched with children as long as they are mature enough for some challenging themes and upsetting moments, it’s likely to speak most strongly to adult audiences with a fuller appreciation for the context in which the film is set. It’s a great and moving alternative to more mainstream animated efforts, and is well worth your time.

6. Phantom Thread, dir. Paul Thomas Anderson

This was a delightfully twisted film with an absorbingly complicated and twisty relationship at its centre. Vicky Krieps is an absolute marvel as Alma, and it’s wonderful to see how she battles to bring the fragile and austere designer  Reynolds Woodcock (Daniel Day-Lewis) to heel. It’s also a beautiful film with rather fabulous fashions - if you love couture, particularly from the ‘50s, this will be a real treat. I also appreciated the many allusions to classic cinema - there are strong shades of Hitchcock’s Rebecca, as well as the underrated David Lean film The Passionate Friends. Check this out if you like your romantic dramas weird and entirely unpredictable.

7. Revenge, dir. Coralie Fargeat

Revenge is angry, sun-soaked and batshit insane - and it is pretty great for all of those reasons. It follows Jennifer, the teenage mistress of a sleazy married man. After a horrifying assault Jennifer returns, phoenix-like, to wreak her revenge upon her attackers. This movie was very much inspired by exploitation flicks, with their penchant for showing scantily clad (and frequently bloody) women wielding shotguns to hunt down the brutes who did them wrong. However, first-time director Coralie Fargeat takes every one of those tropes and owns them, ramping up the blood and giving the action a propulsive energy that keeps you gripped even as you know exactly where things are going. The soundtrack here is also one to look out for - it’s all pulsating synths that do a great job of building the suspense and tension from the get-go.

8. Lean on Pete, dir. Andrew Haigh

This is a very painful film in many ways, but it’s only painful because it does such a great job of earning your emotional investment. The lead of this film is Charley, a sensitive and quiet teenage boy who becomes attached to an ailing race horse as he seeks to escape his troubled home-life. When he finds himself in crisis, Charley takes the horse and they head off on a journey across the American heartland. Charlie Plummer is extraordinary as the lead here - Charley is the kind of character that makes you want to reach through the screen so you can offer him a hug of reassurance and support. The photography of the American countryside is exquisite, and means this film really deserves to be seen on the big screen - the breadth of the landscape gives all of the emotional drama some (richly deserved, in my view) extra punch.

9. You Were Never Really Here, dir. Lynne Ramsay

This is a very weird film (you’re probably noticing a theme at this point) but it’s completely absorbing. It’s very much actor-led, and the film rests on the shoulders of Joaquin Phoenix’s gripping and unpredictable performance - in some scenes he’s muttering in deference to his mother like a modern-day Norman Bates, while in others he’s portrayed almost as a lost boy in an overgrown body, disorientated by his environment and engaging in acts of extreme violence as if in a sort of trance. The narrative is fuzzy and unfocused, but I didn’t find that mattered much since I was too busy following every evolution of Phoenix’s face.

10. Thoroughbreds, dir. Cory Finley

Olivia Cooke and Anya Taylor-Joy make fantastic foils to one another as two appallingly privileged teenagers whose obscene wealth is only matched by their resounding lack of morals. This is a film that plays with your loyalties, trying to wrong-foot you at every turn - it’s frequently difficult to figure out what’s genuine here, and while that did sometimes leave me feeling a bit emotionally detached that’s usually the point. This film is more of an intellectual puzzle than a lean, mean, emotion-extracting machine (see: Lean on Pete), and it succeeds brilliantly on that level. The simplicity of the story means the fun lies in picking apart lines and expressions, so go in prepared for some close viewing.

#annihilation #films #cinema #movies #list #movie recs #beast #lady bird #lean on pete #the breadwinner #phantom thread #Eighth Grade #you were never really here #thoroughbreds

[theofficialautisticgamer]

To Hell and Back A "Doom (2016) Review" Played on PC Beat in 5 Hours, 22 Minutes, 6 Seconds Review by The Autistic Gamer (Michael) PROS AND CONS DOWN AT THE BOTTOM This is the definition of an overhyped game. I was unfortunately part of the huge hype train when Doom (Now implanted in our brains as Doom 2016) was announced. A True Successor to Doom 1 and 2 and Final Doom, the game was met was overhwelming praise and many calling it one of the best old school FPS Games EVER. However, I would say that's bullshit. Doom 2016 is a good game, don't get me wrong, I don't hate it by any means, but this mentality that it's better than Doom 3, a shooter inspired by Half-Life while still being Doom is true? I don't think so. The thing that made Doom 3 one of the best shooters ever was it's groundbreaking new version of the ID Tech engine that was mindblowing using dynamic shadows and lighting making for an eerie atmospheric game that is unforgettable with some of the best gameplay imaginable. Doom 2016 doesn't do anything revolutionary with it's new updated ID Tech Engine. It looks better than RAGE, don't get me wrong, but the entire point of ID Tech was to push the limits of gaming. How is this pushing the limits of gaming? I don't think it even is. So what is Doom 2016 improving? While, I wouldn't say improving, but it refines what made Doom 1 and 2 great classics. That becomes a contradication of itself throughout unfortunately. Basically, each level consists of Doomguy (Who is now pointlessly named Doom Slayer) trying to eliminate the threat of demons in the UAC Mars Research Facility. He goes from trying to cool down some reactors, to destroying a dangerous hell energy, to going to hell and back and fighting many bosses throughout. Doomguy's weapons are what you would expect, a pistol, a shotgun and super shotgun, plasma rifle, chaingun, rocket launcher, of course, who can forget the BFG (Or the Big Fucking Gun as Dwayne Johnson put it in the Doom 2005 movie?) But there are some new weapons as well, mainly the Gauss Cannon and Light Machine Gun/Heavy Assault Rifle. The Heavy Assault Rifle is ass and gets replaced with the chaingun later due to it being much more reliable. The Gauss Cannon however, was the big surprise of the game. It's super fun to use in most cases. Doomguy also has a progression system. Now, he can use suit tokens for his Preator Suit (Which is a stupid name, why not just call it the armor or space armor?) to upgrade a bunch of things, he can find robots carrying weapon upgrades that change how weapons work and of course, Argent Energy Balls that upgrade Health, Ammo and Armor. This works out pretty well for the most part and I really enjoyed getting more ammo along the way. The Chainsaw is also back, but here is the difference. In Doom 1 and 2, it was useless to me, the purpose was just to kill Pinky demons. That's it. Doom 3 had you using it to get out of corners before the enemies gang banged you to death, here, it's a gas fueled chainsaw that is a ammo drop machine. Basically, use it on small enemies, the less gas it uses, this also is part of the ammo upgrade system as you get more gas later on. There are also a bunch of secrets to discover like hidden throwback levels like Underhalls and Live Moving Models of Enemies throughout the game. Super Turbo Turkey Puncher 3 from Doom 3 also makes an appearance which is great and one of the highlights. There are also easter eggs to be found including one of the Dragonborn from Skyrim. So all together, this comes to a highly frantic action gameplay which is very good. There is much more of a challenge to the game than Doom 3 as the enemies are unpredictable. Enemies include Possessed, Imps, Pinky Demons, Revenants, Hell Knights, Barons of Hell, Soldiers, Lost Souls, Mancubus bosses including Spider Mastermind and Cyberdemons, and a new boss called Hell Guards and new enemies like Cyber Mancubus and Summoners (WHICH I ABSOLUTELY HATE) but gone are Arch Viles and Pain Elementals and Chaingunners. Also, power ups are back like Berserk and Quad Damage. Glory Kills are one thing I forgot to mention and this is where we will start getting into the negatives of the game. Basically, these Glory Kills can be performed to get more health and a tiny bit of ammo in gruesome ways, but the problem is because there are a limited amount of ways to kill demons, you'll be seeing the same Glory Kills over and over and which gets incredibly tiring and redundant. The boss difficulty is also a problem. Boss Fights should at least get progressively harder and harder. challenging, hard as ass and then a total pushover. The Cyberdemon fight was perfect, but the Hell Guards sucked ass and were totally cheap and then the Spider Mastermind was too easy. If the bosses were actually balanced, this would make for some fun challenges. The story is my biggest problem. Doom should not have much of a story, it should just throw you into the action and keep going and never stop. But somehow, ID Thought that throwing unskippable in game cutscenes that last way too long would be a totally okay idea. It's not. The beginning is a good example of this, you kill three possessed after getting out of chains, you put on the space armor and then a 90 Second unskippable cutscene occurs that you can't skip. The point? To show a satellite is off. Another good point is in the third level the Foundry, where the main villain of the game, Olivia Pierce, (Who is incredibly useless and is barely in the game and is a stupid villain) tries to prepare a portal to hell. All you needed was for VEGA to say that Olivia Pierce is fucking something up and you need to stop her. THAT'S IT. What Happens instead? A two minute unskippable cutscene of her preparing a hell portal then walking..... super..... duper.... slowly.... out the door. Don't even get me on when you go into Samuel Hayden's office, it's another two minute unskippable self monologue he does and is incredibly annoying. This shouldn't be happening in a Doom game. Doom is about being awesome and splattering demons into thick red paste. "BUT MICHAEL. HOW CAN YOU DEFEND DOOM 3 WHEN IT HAS THE SAME PROBLEMS!?!" You bellow. Because while Doom 3 is still technically a Doom game, it takes many other story elements and gameplay inspirations from mainly Half-Life. So the story was a bigger part of Doom 3 because it was inspired by Half-Life and it's expansions. Plus, Doom 3's story is campy, fun and compelling while Doom 2016's is boring, unnecessary and not fleshed out. Also, Doom 2016 tries to be like Doom 1 and 2 but keeps on ruining that promise with horrid amounts of story and in game cutscenes. So yeah, the story in Doom 2016 kind of sucks, it's just ripping off the story from The Lost Mission expansion from Doom 3, you have to shut down a teleporter and kill a shit ton of demons. There is some stuff about a artifact here and there, but overall it's nothing special. Also, compare Olivia Pierce to Dr. Betruger. Betruger was a menacing villain who cackled evilly and was a total insane man who wanted nothing more than for all of Mars and Earth to suffer, Elliot Swan and Jack Campbell coming to Mars to investigate pushed his buttons so hard that he said fuck it, and went completely batshit crazy and started a portal to hell. He was a fun villain and one of the most memorable parts of the game. Olivia Pierce? Her motive seems to be becoming a cult leader because she doesn't like Samuel Hayden. That's it. Also, you don't see her at all again after the fifth mission is over until the very end of the game. Also, what does opening another portal to hell benefit for you? What? Are you just going to ruin the UAC even more by opening another portal to hell? What the hell is her motive? But there is one shining light in this beacon of a dark story. Samuel Hayden. The over seven foot tall robot man is incredibly interesting to look at character wise, but he has some of the best moments in the game. He wants the best for Earth, but Doomguy's awesomeness ruins that, so in the end, he has to send Doomguy away to try and fix his own problems. He isn't a good guy or a villain, he is just some person trying to do his job as the head of a huge base. And that my friends, is all I have to say. Doom 2016 is a very good revival of the Doom 1 and 2 formula, with classic throwbacks, great weapons, awesome hell levels, some decent music (Although Iron Maiden or Dream Theater is more appropriate listening for this game), highly frantic action and is a good challenge throughout. I recommend it to people who liked the older Doom Games. 8.2/10 PROS: -Highly Frantic Action Throughout -Better Challenge than Doom 3 -Samuel Hayden is very memorable -Great Weapons that feel good to use -Lots of gore and blood for a Doom game -Lots of Secrets -Good Progression System -Decent Music -Callbacks to previous Doom games -Good Length for the campaign NEUTRALS: -Story is just borrowing from The Lost Mission CONS: -Story feels the need to stop dead in it's tracks with unskippable in game cutscenes -Boss Difficulty is all over the place -Olivia Pierce is a stupid villain

#doom 2016 #game review #the autistic gamer #how long to beat