Prevent piracy? They’ve literally just created another legitimate use case for homebrew. This will cause piracy

Will likely change course next election due to the bullshit loophole in the electoral reform bill now in effect where multiple donations below the new cap can be spread across different branches of a party, disproportionately impacting minor parties and independents with few or one branch

Yeah fair enough, again I feel like Gommage isn’t far off of that. Obvi it’s

I just one-shotted

with it yesterday, after being unable to beat the fight without it

I thought Gommage was OP lol, never even tried Stendhal

It will likely be sent to the UK, but still handled in accordance with their Swiss privacy policy. The UK entity should be well versed in operating under GDPR and the Swiss entity would be liable under Swiss law in the event of any breach related to mishandling.

Afaik if there was a Swiss-originating alternative it would still operate under anti-money laundering legislation and as such your info would still be shared internationally in various circumstances determined by them. You would only be able to unilaterally revoke permission to use your data and therefore lose access to the service.

This is inherent to this kind of service, not any particular company.

Besides the obvious massive cost of the nuclear plan (which would certainly blow out to much more than anticipated) I feel this actually is a pretty good look for LNP. Dangles a carrot in the form of a cost of living payment, uses Labor’s clearest policy failure to its advantage (vaping reform) to the degree that Chalmers responds by directly comparing apples to oranges; relying on vibes (return to surplus “faster than Labor”) will probably work well for them.

God help us.

You might be right, but basically everyone is expecting there to be significant features of MKW which are as yet unannounced but will be featured in the upcoming Nintendo direct which is focused on that game specifically.

There is certainly an argument to be made about DLC cost being included upfront (and Zelda was already $90 on Switch 1 including the DLC) to avoid splitting up the player base for a game with an online focus. That might not be what they’re doing, but my point is there are things they could do to justify the price increase for many players.

They also might just do nothing more than what’s already been announced, but I doubt it because why then would they do another reveal later?

Fair enough. I think it subverts the genre tropes enough to keep it interesting. More so than The Boys for example.

Plus I still get plenty revved up over a good action sequence featuring an indie band I like, like Amyl & The Sniffers (whom it seems Black Mirror just discovered as well)

Invincible?

It can be funny as like a case study in emotional manipulation by producers.

And then you realise people actually are gullible enough not to see through it and it’s not funny anymore.

I’ve just been replaying it again since it was included in gamepass - already have hundreds of hours racked up between PC & Switch.

Definitely my favourite roguelite. And the soundtrack is so good. Haven’t tried Exit since I heard bad things, and I never really got to the point where I’d fully completed the first. But that teaser got me super pumped.

You can’t really have a ‘flagship series’ with 6 episodes per season. By the time weekly viewers have determined it’s worthy of water cooler conversation, it’s finished. Bingers blast through it in an evening. What a waste of talent and resources.

I think the trope developed over the course of the TV renaissance period post-early 2000s. At the time The Sopranos S1 was released, it didn’t exist. The most interesting season of The Sopranos is S6, because it subverts expectation of a series runtime to experiment as a kind of celebration of the established universe and characters and their interactions. It is more than a pastiche of itself though, as it goes in genuinely new directions. 21 was the number of episodes which naturally suited the creative direction of the season and series, within reason of course. Not an even number or multiple of 5, not a number designed to perfectly fill a network timeslot.

GoT (earlier seasons) & Better Call Saul are great examples of shows that effectively harness the 10-episode constraint and deliver great story arcs in spite of them, as I recall. The Wire is another. I think Mr Robot S3 is harmed by the same constraint, where focus was diverted away from storytelling and toward marketability, both to studios and audiences. A different runtime could have improved the show, but by that point in the industry & culture that isn’t something that would reasonably be on the table. The more modern version of what Sopranos S6 was is Ozark S4 - forced. Format is now restricted to a ‘full length’ 10-episode season or fewer, or it is purposefully different as a contrivance of industry. And I highly doubt that was a boon for those highly rated & popular full length series, good as they are.

Shrinking S2

The Devils Hour S2

Teacup

Constellation S1

Mr & Mrs Smith S1

Boy Swallows Universe S1

I think most series are constrained to their respective runtimes and while those constraints do shape the nature of the themes they have the capacity to explore, it isn’t always a problem even for series with fewer than 10 episodes. I haven’t watched either of those recently enough to speak on them, but I think 10-episode series have become a de facto standard that is problematic for many shows and seasons. Severance S2 and The Bear S3 come to mind as recent examples. Both tend to experiment with the form of episodic storytelling in a way which, while interesting and worthwhile in my opinion, ultimately serves to make their respective season arcs less cohesive as a direct result of that constraint.

The same can be said for many episodes in 10-episode seasons, and due to that constraint those examples are more disruptive to plot progression and tend to be counterbalanced with episodes which rush progression but aren’t actually good.

I’m a millennial and always felt this way, but after my industry of expertise was recently shut down domestically I moved into an entry level role elsewhere and it’s now much worse, even with semi-decent labour protections in my country

It’s already down for me

I don’t want to know this, but it’s cinnamoroll

This one & LaD Gaiden (The man who erased his name) are more story DLC’s for Yakuza 7 & 8, respectively. Just, they are big enough to merit standalone releases in RGG’s opinion. LaD Gaiden was essentially an experiment in releasing this way, and it went well. But the new game isn’t Yakuza 9, if that makes sense.