Fatal Frame has gotten lost to history a bit, but I remember those games having the reputation as being the scariest that games have ever gotten when they were new.

There are exactly two games that my kids have played consistently for two straight years: Lego Marvel Super Heroes and "Robot Game" (Astro's Playroom).

100%. I was just reading this week due to the Concord fiasco about how disastrous many of the live service initiatives have been and Jim Ryan's misguided influence in that regard.

I am very relieved to see games like these succeed so spectacularly. Here's hoping the sales numbers follow.

Personally overjoyed that it's scoring so well. Incredible success for PlayStation and Team Asobi - I hope they're celebrating well today/tomorrow.

Thanks, I still can't wrap my head around how it makes sense to pull the game and issue auto refunds. Unless PlayStation thinks it's so toxically bad that its mere existence is damaging to the brand.

I'm OOL, what happened that was this bad? I'd heard it wasn't popular, like it just didn't latch onto the market (reasonably, due to oversaturation), but was there something functionally wrong with the game?

The turn-based with real-time elements reminds me of Sea of Stars and Shadow Hearts, which are both excellent titles in my mind for this game to associate itself with. Looks really flashy too with the menu, camera movement, and slowdown effects (hopefully that wouldn't get old with too much repetition).

Same here. Loved the setting and style, and the story and characters were admirably close to (the good) 3rd-person bioware stuff.

I don't usually pay full price for games, but I was thinking of buying Greedfall 2 near release to support what they do. This puts a real taint on things.

Thought this looked pretty interesting, but the gameplay trailer looks pretty rough. Reminds me of a 2010-era mid-budget action adventure. I'll keep an eye on it though, I'm not terribly picky about entertaining single-player games.

My patience with Cult of the Lamb finally pays off.

It's worth mentioning that article is from 2020, around the time she had started pivoting from TERF-lite to TERF-MAX. It was...reasonably possible to assume at the time, for someone who wasn't paying close attention, that her opinions were still rooted in misguided concern rather than open bigotry.

She had only just posted her manifesto a few months earlier, according to Vox's helpful timeline, which reads reasonably if you're unaware of the multitude of false and misleading claims she parrots.

Same, though interested is an understatement. Prey is one of the greatest games I've ever played. I enjoyed Weird West, but it left me feeling more like a POC of what the studio wants to do than anything up to the actual standards of Arkane's best.

If WolfEye fills the void of Arkane's deplorable closure, they'll get all the support I can give.

Personally, I am excited about Ender Lilies, it was on my wishlist, but don't care about other games.

100%. I vaguely remember hearing about Ender Lilies a while back but it fell of my radar. I watched some videos after this announcement yesterday and it looks really great. I'm excited to try it out.

As for the other two, I think I am permanently Lego-gamed-out, and I don't really understand what FNAF...is, and I haven't the motivation to bother. What little I do know doesn't seem up my alley.

Deadline is a film industry trade paper, so success metrics like Box Office are of interest to it, especially insofar as those metrics guide the trajectory of industry trends.

Tried The Ascent because of just how slick it looked in the previews I saw. And you're right, the atmosphere is great. But I have a low tolerance for the looter shooter format and I don't play much online coop, so I got real bored of it real fast.

I view the first in a vacuum because the others actually harm it

Lol I do the same thing! If I watch any of the sequels I view them essentially as fanfic. Your point about emotional payoff in the first is really good too. It's easy to forget watching the sequels that the dramatic core of the first movie was John's grief for his wife. The dramatic core of the sequels is little more, as I remember, than the convoluted bureaucracy and politics of John trying and failing to be left alone.

The best moment in the entire franchise is after the assassination squad is sent to his house in the first movie. I saw it in theaters and fully, unconsciously anticipated that when the police strobe lights started flashing through the windows, that we would get a tense scene of John Wick attempting to distract the cop and send him away without the bodies being discovered.

When instead he opens the door wide, and the cop casually peers past his shoulder, and just asks, "you working again?", it's such a delightful, comical, surprising reveal. The concept worked best when we as the audience expected the world to function familiarly, and it could playfully subvert those expectations in small ways. They dove so deep into the capital-L lore beginning in the second movie, that we no longer expected the world to function familiarly, and thereafter stopped being surprised.

The first flick is a bonified good movie. The rest are, varyingly, titillating scenes of artfully choreographed and executed action set pieces loosely strung together by indulgently juvenile nonsense.

forecasts ad revenue to hit $1 trillion

I didn't go to the theater for a few years due to both the pandemic and a new baby. When I did return for the first time last year, I was truly shocked at how many ads there are now at the major chains before curtain draw. It used to be ads before showtime, then trailers when the lights dimmed at showtime. Now it seems like there are just as many trailers as there were before, but intercut by an equal number of ads, so the time between showtime and actual movie start is ridiculous.

I've had a Miele for 9 years. I don't know if anything's changed recently, but based on my personal experience, that's a hard recommend.

Best theater experience I've had by far was seeing The Descent on release. In that crucial mid-movie moment, the whole theater freaked out, and after things settled down I saw someone climbing back over the seat they'd apparently jumped over when it happened.