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Joined 2 years ago
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Cake day: June 13th, 2023

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  • It hasn’t been decades. Maybe 15 years, though. It’s coincided with the ubiquity of streaming.

    Before Netflix was everywhere, a movie could bomb in theaters and still make up the difference on the back end. Kevin Smith’s Clerks and Mallrats are great examples of movies that absolutely cleaned up on DVD sales. Comedy Central using advertising money and licensing Office Space for 20 hours per week is part of why the producers trusted Mike Judge enough to make Idiocracy.

    But steamers don’t pay nearly as well as direct-to-consumer home video or as well as advertising-supported licenses. So producers are disincenrivized to do mid-budget movies or take chances on new IPs, because if it doesn’t do well in theaters then they’re not making the money back.



  • Jaffe always struck me as a perpetual adolescent. The two GoW games he worked on were great for the time, but the stories were shallow excuses to showcase as much gore as possible. His other big property, Twisted Metal, was genre-defining gameplay but any narrative was just edgelord violence and/or crass humor.

    The last “big” project I remember coming down the pipe from him was Drawn to Death, which took his signature juvenile tastes and combined them with horrible gameplay and eye-blistering art direction. As far as I’m aware, he hasn’t worked on a game since.

    I’m not saying the new GoW games are perfect, but I wouldn’t say Jaffe has a trusted critical eye.




  • Historians: All histories are fiction. Objective truth is illusory. Every narrative is the subjective product of its author and context, with no tangible bearing on reality.

    Historians watching any film remotely connected to their field: Well that never fucking happened!