Pretty awesome news, and unexpected... Konami made the best beat 'em ups, and this one never got any kind of a home port. Even The Simpsons had a DOS version, though they couldn't do console versions because of licensing, but X-Men had nothing, until now. It's awesome that that's changed. It is only 4 player on a single system (6 player online, drop in drop out), but you can't do better than four on a single system on the 360.
Gothic 3 was terrible, absolutely terrible. I tried to play it several times, but the combat is just so utter atrocious that it's horribleness bled into everything else and just made me hate the whole package.
On the other hand, I tried the demo for Gothic 4 today, which is done by a different company [the Gothic 3 developers went on to improve with last year's Risen], and they've done a very good job here. Combat is definitely improved, and even better than in Risen, it feels smoother and more intuitive and only slightly frustrating in some aspects. Writing is decent and doesn't feel too stilted or anything, although the voices are a bit hit and miss.
Overall, I like what I've seen so far and I'll definitely be picking this up after I finish New Vegas.
This is a model of my hand I made in 3D..
I think it's a pretty good first try considering I eyeballed it with out a reference photo (like I should of used)
This is pretty cool, and bigger, it's relatively close by. However, before you get too excited, this planet is in the right size and location range, and stable, but no one knows what sort of environment it has yet.
Quote:Like one of those fake-smart, middlebrow TV shows, the speciousness of The Social Network is disguised by topicality. It’s really a movie excusing Hollywood ruthlessness. That’s why it evades Zuckerberg’s background timidity and the mess that the Internet has made of cultural discourse. In interviews, Sorkin brags about the multiple narrative and Fincher has even invoked Citizen Kane—both are grandstanding excuses for Zuckerberg’s repeated masturbatory request for friendship—a mawkish George Clooney ending. Here’s the truth: Kane was not about a brat’s betrayal, but about a sensitive braggart’s psychological and philosophical shift inward. The Social Network is more like Hollywood’s classic film industry selfromance The Bad and the Beautiful. Yet that Kane-lite film never excused its bad-boy protagonist’s sins and ended magnanimously by converging his three injured parties’ points of view into one beautifully clarifying narrative. It admitted our cultural compromises; this is TV-trite. In The Social Network, creepiness is heroized.
