And I thought, what score could you give this as a reviewer? Eurogamer gave it a no-surprises 8/10; the same score as Shadow of Mordor.
Now 8/10 from eurogamer is so default that it has become a joke. And giving the same 'pretty good by all accounts' score to two games so massively different in scope seems to be silly.
Consider an equation like y = 4x + 2. That's fine isn't it? There's no divide by 0 in there, nothing undefined.
If we differentiate this, to find the gradient at any point, we get dy/dx = 4. Why? Because simple differentiation means knocking the power of x down by 1, and multiplying by that power.
btw, if you don't know your differentiation, and are wondering what happens to the 2, well 2 is 2x^0, so it becomes 0*2x^(-1) - and no matter how difficult that exponent is, the 0 it is multiplied by ensures we can just forget about it.so 4x^1 becomes 4*1x0, and as we know, x^0 = 1, all the time, no matter what x is, because x^0 means x/x = 1.
Except when x is 0, right? Because when x = 0, 0^0 is still undefined, because 0/0 is not 1, it is undefined.
A graph of y = 4 should be a straight flat horizontal line, cutting the y axis at 4. And it is, but if y = 4 is the same as y = 4x^0, then SURELY at the exact moment when x = 0 this graph will become instantaneously discontinuous?
In other words, for any value of x, y = 4; but when x = 0, the power of that 0 leaps into an equation it doesn't have anything else to do with and smashes it to pieces.
Can this possibly be correct? Any thoughts, jot them b'low.
I've got an idea for a game that I'd like someone to make:
You play an infiltrator, a government spy aiming to work your way into an organised resistance force, gain their trust and work your way up their ranks while supplying information to your fence (that's not the right word for a spy handler, but what is?). The higher up you go, the more difficult it is to remain hidden as you have more eyes on you, you're leaking bigger secrets, and you're decisions inside the organisation have greater impact. You'll need to tow the line to a certain extent; at which point are your colleagues going to realise you're deliberately making a hash of their work? When are they going to realise that crushing defeats they face are due to facts only you could have let slip? How can you dispose of people who suspect you without raising more suspicion?
Perhaps it is an evil empire and a heroic rebellion, like in star wars; perhaps a peaceful democracy and a warmongering insurgency; perhaps not even so black and white. Perhaps you could have the choice of infiltrating the government or the rebellion; perhaps you could even have the choice of playing as a double agent and defrauding your fence. I think there would need to be a cut and run option, where you end the game and reveal how close you were to being caught. There would probably be a dwarf fortress style 'built to spill' mechanic, where it's really just a case of not if but when you are caught. Or gain control of the organisation, and set your mining in secret missions against each other and hope they don't talk to each other in the mean time. You'll have to build up enough trust in them, and under mine their trust in each other, to achieve that sort of victory.
I see the game as being fairly procedurally generated, with freeform and unpredictable gameplay emerging from particular choices you make and randomised NPCs. It could be anything from a text adventure to an open world sandbox city/country. There might be structured missions along the way, which might have their setup affected by the current works you inhabit.
What I like is that both stories do something the other doesn't do. Not all of Sirens of Titan is in Watchmen, and vice versa. I like the fact that I know both stories, like both stories, and appreciate the differences and similarities between them. None of that stuff reaches the truth of watchmen, which is all about comics. That's really why it's an unfilmable book, because if you were to adapt it to the screen, you should end up with a film about superhero FILMS. Your reference points become completely different. IT'd be like tarnslating a Russian book into English, that was about the Russian Language itself. Do you keep the references Russian but completely lose their meaning? or translocate the references into analagous English ones? Either way, it's not the same book.
I'm quite anally retentive about key changes. I don't like them for their own sake. If i have two pieces in different keys with similar harmonies, I usually try to align the sections by putting them into the same key.
But I have a part of the 'Kno' album i'm working on that *definitely* works in G#, and then a part that works either in G minor when played in dropped D (on a normal guitar), or D minor when played in dropped A (on my baritone-tuned guitar).
This being a post-prog album, you can take it as a given that I want to use severely down-tuned guitars where possible. But transitioning from G# to Gminor follows the melody of the G# section; while modulating from G# major to D minor is a horrendous leap, both in terms of distance and harmonics. It's a key-change across a tritone, and while metal is all about tritones (the two notes used in 'black sabbath' from the album 'black sabbath' by the band 'black sabbath' are a tritone, which pretty much define the genre), that key-change would be a jarring non-sequitur.
I was fiddling around and realised that the key of the G# section, is actually Eb. It resolves to this very briefly in the middle of what one might call the 'chorus' of this section, in a sequence of simple, in-key major chords. Although the verse plays around in a scale of G# major with an augmented fourth (a 'lydian' scale), this makes sense come the chorus as the resolution shows that it wasn't in G#, it was in Eb all along; but it doesn't show its hand like this very often.
So then I realised that finally resolving the piece to Eb, then falling down to D minor (a semitone below), actually really nicely mirrors the G# major falling onto the G minor below that makes up most of the verse of this section, and this would be a really canny way to make the key change work.
maybe... too neat. Maybe too well worked. We'll see what sounds best in the long run.
With this kind of progress, don't expect this album to be finished any time soon.
The mp3 download was free for a while, although since they signed to Season of Mist it how seems to be 10 dollars.
Or you can buy it with some nice postcards for less than that. the digital economy is wierd.
Anyway, I would have quite liked it on vinyl - as I do with all the records I really like. But OK have made it prohibitively expensive; it comes up to 30 quid including postage.
For a double album that you really like, 30 quid isn't too bad. As I said, I only reserve that for records I really enjoy and want to experience the most fully.
This would be one of those records. It's perfect me - from satisfyingly chunky metal, to post-rock that sounds almost exactly like the my song 'the girl in the kid a top'. I love it.
but it's only 47 minutes long, just short enough to fit on a single 12" (Tubular bells track 1 is over 25 minutes long, proving it can be done). Given that the record is continuous from start to finish, splitting it into four sub-12 minute segments isn't going to improve the listening experience.
I'd happily pay 30 quid for a double album I loved, assuming it clocked in over 60 minutes. Other double records I have didn't even cost that much.
So I've only bought the cd, Which at least will be good to put on in the car. which only adds another bloody complication to the 'what format to buy things on' debacle.
There's something else that's been on my mind. You see, no matter what format you buy music on, you still have to have some equipment to play it, whether it's a turntable, cd player, computer, phone, or whatever. I do think vinyl sounds better, having made the comparison. It's not only the sound, but the way that the sound gets into you. The sounds seem to gel better on vinyl, and the music washes over you more. It actually makes it easier to feel the music and not listen to it.
But books are different, because you don't need hardware to run books on; you've got everything you need. I know that sounds obvious, but it's why ebook readers and the like are a harder sell - you don't actually need them to read a book. They need you more than you need them.
Only Connect is moving to BBC2.
They've stopped making original drama as cut backs; An Honourable Woman, which feels totally like it should have been on 4, has been on 2.
Jacques Peratti's adam-curtis-lite 'the men who made us spend' has been airing on Saturday Nights on 2. Intelligent documentary on primetime saturday night? bbc 2. So what's on bbc 4 at the same time? Inspector Montalbanal. This is my main problem. Saturday night on bbc4, and they're showing an Italian detective show that, if it wasn't for the subtitles, would be considered at about the level of Midsommer Murders. They're trying to fill the gap left by The Killing, sure, but 'just being foreign' does not a quality drama make.
So I'm worried. I actually went as far as not watching bbc 2 for quite sometime; now it seems like all the good stuff is on it, while bbc4 turns into totp2 on friday nights. It's being shut down by increments.
XKCD: Clumsy foreshadowing