Lurker > Snake5555555555

https://gamefaqs.gamespot.com/a/user_image/3/9/4/AAR-tQAADwky.jpg

Wait, no, Clock Tower

Shadow Tower

Assassin's Creed IV: Black Flag

Madoka
Ed
Stimpy
TMNT

plasmabeam posted...

Bravo, sir.

Appreciated!

Dido - White Flag

Hey the new Hellraiser was pretty good!

Black Flag

Fantasy

Until Dawn's aspirations of capturing a horror movie feel were definitely fully realized here, the game's self-seriousness belied by its ensemble cast. Everyone from Rami Malek's off-putting Josh to Nichole Sakura's whiny Emily fits perfectly in the slasher space, and the cast in general lends a sense of both real emotion and appropriately made-up cheese. There's quite a ton of red herrings and I feel the game almost drowns itself in twists and turns but it manages to stay afloat through solid writing & direction. If anything, a lot of what drags down the game's story is actually the choice system. Now - the system itself is well-thought out, with the obvious butterfly effect gimmickry, but at least on your first time through playing blind, I feel like you can sometimes make what seems like the correct choice (the part with Matt and Emily dangling precariously from the collapsed watchtower is a perfect example of this) only for it to blow up in your face without much chance to stop it. The game's story seems unfairly torturous in that sense, and the game also doesn't have a great sense of when it's necessary to switch to another character, lacking proper pacing. Sometimes you can play a straight hour as Mike and then switch to another character like Chris which comparatively might only take 5-10 minutes at best. While I understand the need to constantly switch character perspectives, and it's an interesting mechanic, I also feel like some characters are given way more attention and importance in the story over others. Still, the game's main plot line of Josh's revenge mixed with supernatural Wendigo chaos makes up for it greatly. The way Josh's pathos are explored through the wonderfully engrossing psychiatrist scenes and the raw desperation and self-loathing feels genuine and not over-dramatic. Now, I do feel like Josh gets a bit too loopy in later scenes, but just the way everything fit so perfectly together and that there's actually ANOTHER threat out there just kept the tension so high even after the reveal. Ultimately, the game's unique blend of many horror styles and the immersion of being trapped on a mountain of horrors is a lot of fun, and though I have my issues with how choices are executed, it never drags down the game enough to being unenjoyable.

Joker
Marty

Randall Flagg

7/10

Will probably post some thoughts on it later.

Satan (Haxan)

Batman
Powerpuff
Dexter
Looney

Man now that video makes me want to vote for The Devil, y'know, from The Bible.

Yeah Butcher's Block is amazing. One of the few TV shows to genuinely frighten me.

Minion (Twisted Metal)

Bilbo
Jesse

Satan (Haxan)

Pirateking2000 posted...

Plague of Madness (Primal episode)

(4/8/10 = 22)

https://www.adultswim.com/videos/primal/plague-of-madness

Genndy Tarkavosky's adult animated series, spanning across multiple genres, arguably reached its apex with "Plague of Madness", a segment that focuses on series leads Spear and Fang running for their lives from an infected zombie-like Argentinosaurus, hunting them down through the cliffsides of prehistory. The segment can be understood clearly as an allegory; released April 1, 2020, right in the heart of the COVID-19 pandemic, almost as a cruel April Fool's joke, to depict the struggle of illness within individuals, personal responsibility in social distancing, and the end of large swaths of life in the blink of an eye. This sort of horror in not so typically found in an animated piece like this, however "Plague of Madness" thrives in the tradition of horror as social allegory, and is certainly one of the greatest pieces of animated television ever produced.

The episode starts off innocently enough, a tranquil scene of Argentinosauruses thriving in nature, enjoying each other's company, eating well of fruit & brush, before an eerily decayed Parasaurolophus emerges from the deeper forest, writhing and spitting out slime and flesh bubbling like a boiling pot. I love the score throughout this scene; it's peaceful but at the same time you can sense something anxious about it, like the line between sanity and insanity is about to be crossed, a paranoid shudder filling the cracks of the music. Still, one Argentinosaurus remains uncaring of this sight, perhaps unaware of the creature's insane sickness, or more likely, apathetic towards an animal much smaller than himself. Then, just Argentinosaurus goes back to his meal, the infected creature bites the huge dinosaur on the leg, who kicks the smaller dino away. The animation on the Parasaurolophus becomes more and more gruesome to look at with every passing frame; it coughs up blood and dies in a fit of thrashing pain and thankful oblivion.

However, this bite was no harmless bite. The Argentinosaurus transforms into the same sickly color of the Parasaurolophus, with startling speed; the smart transition is so jarring and reflects the uncertainty of time - whether the transformation was mere seconds or days, to the victim, it mattes not. With bones now protruding from the back of the neck and a futile attempt at relief by gulping down large gallons of water, the poor, flesh-rendered dinosaur vomits its contents of blood straight into the glistening pool. Its herd looks on in sheer, movement-freezing horror; the infected Argentinosaurus rampages, slaughtering its former friends and family one by one. It's a bloodbath typically reserved for John Wick films or the senseless body counts of B-shlock like Demons or Dead Alive. Here - it's different. There's a sense of desperation, of sheer hopelessness, each death more disgustingly brutal than the next, as the infected animal completes its transformation into something more akin to an eldritch ghoul, tearing its prey to shreds in a downward spiral of unstoppable violence, brutally and mercilessly attacking until only IT remained with even eggs of the next generation not being spared. Spear and Fang emerge on the scene - their gaze, wide-eyed. Two characters, haunted by the violence and tragedy of their past, now face down an enraged creature of unimaginable power. The two bear witness to the eternal struggle of survival and nature against a force none can understand; bearing down on them, a hellish predator, a beast no longer with soul, the only thing the Argentinosaurus can do is wipe out everything around it.

I'd rather not spoil how the rest of the episode ends. The episode is in essence a commentary on the destruction of civilization, how one's own apathy and uncaringness can be just as dangerous as an infected animal. The animation is fantastic, with plenty of gore and blood, and the mid-part is a thrill ride, a visceral sequence that gets increasingly more hectic with each passing moment. The episode offers no explanation, no answer, and it doesn't need one. It really poses the question to the audience - do you wish to live in a world where people act like this towards each other? Do you want to be like the Argentinosaurus, when something so seemingly benign can be driven to murderous insanity, driven to kill to escape the misery inside its own body? Thats the kind of mood and setting that makes this an engrossing horror experience I think everyone should watch.

Sailor Moon
Danny Phantom
Justice League/Unlimited
Cowboy Bebop

jcgamer107 posted...

You mean when he says he's the devil, he's LYING?

I know it's hard to wrap your head around!

Yeah Mephisto is functionally enough of Satan to qualify. Only someone that evil could make One More Day happen!

I personally wouldn't consider Blackheart a Satan stand-in at all. He's the son of Mephisto, and effectively has similar abilities and traits that make him a Satan-type, but I definitely wouldn't call him Satan or the Devil.

To make it more confusing Marvel also has a real real Satan however! The Christian Satan.

DoctorBIind posted...

M83 - Car Chase Terror

https://youtu.be/ALBJsKpt7Kg

(2/7.5/9 = 18.5)

Damn this is cool. It definitely captures the feeling of a scrap of a film scene, an in media res gag, and its very effective. It's a track filled with mystery, suspense and dread, and it paints the perfect picture of what the title implies - a terrifying car chase, a mother and daughter in vehicle driving away from an unknown threat, replete with appropriate sound effects, pulse-pounding dual dialogue performed solely by Kate Moran, and the rising action portrayed by increasing the layers and layers of synths, guitars, and percussion, melding post-rock and electronic with class 70s horror-thrillers. You can literally feel the power of the engine, wind rushing by, and tension level rising as the car tries outrunning the pursuing vehicle and potentially barrels off the road.

However, depending on how you interpret the track and its place within the wider concept of the full album, the intended effect is very different. If, on first hearing, you assumed that it was the sound of a simple car chase; you'd be correct. However, with repeated listens, it quickly transforms into different meanings - you notice the voices are suspiciously similar, echoing against each other; as if it's only one woman, talking to her self. You get a distinct impression that the woman is fueled more so by paranoia than self-survival, phasing in and out of fearsome lucidity and comfortable illusion. Perhaps it's a post-death hallucination, perhaps it's all too real.

The ambiguity of the song is what gives it its power. Its a startling sonic experience of horror and intensity that I think will leave a lasting impression on the listener. Whatever your interpretation, the track is another example of how conceptual and multi-layered M83's works are; far from being an alienating thematic void, this song is entertaining, thrilling, and terrifying, much like the many horror movies it takes inspiration from.

Castlevania

Minion (Twisted Metal)

Venkman
Walter

jcgamer107 posted...

where's Pazuzu

Pazuzu is his own demon!

Satan (Haxan)

Oh lol I didn't hear about that, so when do we expect the Puppet Master or Demonic Toys crossover?

I think it deserves the remake tag because Isaac is voiced which will change the story at least a little bit, it's going to better incorporate itself with the latter games, will have cut content re-introduced, and it's an entirely new engine.

Took that musical test:

Personality Traits:
Openness | Very High (92 to 97th Percentile)
Conscientiousness | Average (25 to 75th Percentile)
Extraversion | Average (25 to 75th Percentile)
Agreeableness | High (76 to 91st Percentile)
Emotional Stability | Average (25 to 75th Percentile)

Musical Preferences:
Mellow | Low (9 to 24th percentile)
Unpretentious | Average (25 to 75th Percentile)
Sophisticated | Low (9 to 24th percentile)
Intense | Average (25 to 75th Percentile)
Contemporary | Average (25 to 75th Percentile)

haha The Boy jeez how did that movie of all movies get a sequel?

South Park
Beavis and Butt-Head
Kim Possible
King Of The Hill

Every other year was a long time coming I feel. Vanguard just sealed the deal. The cracks in the franchise became too obvious at that point.

Place posted...

Perfect Blue (soundtrack)
https://youtube.com/playlist?list=PLG4ENma2RvT4_nBU6aTFqW_iLYfOe2ges

(5/7/10 = 22)

Perfect Blue's eclectic mix of J-pop and dark ambient industrial music is one of the most unconventional to ever emerge from a mainstream motion picture, but is a true testament to Masahiro Ikumi's creative spirit. It is as the film - blurring celebrity fantasy with its equally seedy underbelly, yet totally unique within its own different art form. Obviously, since the soundtrack is meant to accompany the film, they would have not too dissimilar themes, yet there's something about it being portrayed totally in sonic form that stands on its own as an alarming piece of horror.

Of course, an experiment like this only works if the music is good first and foremost. Luckily, Ikumi has created one of the most brilliantly minimalistic scores in Japanese film, stripping it back to the bare bones with gentle, contemplative, and thoughtful electronic instrumentation, such as on Mina's Theme which reflects her insecurities and anxieties, immediately AFTER two absolute bops in Angel of Love and Alone But at Ease - from the group she used to be a part of. The juxtaposition is obvious, but it's the care Ikumi puts into both parts of the score that make it work so well. I mean, you would never know those two songs are from an animated horror film.

Despite this being one hook of the soundtrack, I'd actually say the album focuses way more on the industrial side. The latter half becomes very Nine Inch Nails inspired, and are certainly the most challenging pieces. "Nightmare" and "Virtual Mima" both go hand in hand as some of the most audibly disturbing tracks on the whole album. Ikumi pulls off a very unsettling work with both his sharp looping of menacing electronic flourishes and that haunting vocal chorus in "Virtual Mima", with spine-chilling percussion. They have a very dark feel, and "Uchida's Theme", reflecting his twisted world view corrupted by mass media and his own obsessions, completes the haunting trilogy before dovetailing back into the soft jazzy piece "Cherish These Moments".

Basically, if you can push through Ikumi's reticent world of ethereal sound, you'll get a vivid picture of the film to go with it. I personally think it's a challenging soundtrack to listen to, but one of power and atmospheric importance. He somehow finds a way to give a music soundtrack a sense of the real, without actually describing it concretely. For a straight hour you are transported into the minds of strange, brooding and isolated people; a troubling but intriguing study of fame and apprehension whose contradictions leave you questioning everything you thought you knew about Japanese pop music and maybe even your own self.

Saw it live, it was awesome!

Minion (Twisted Metal)

Skater

Satan (Haxan)

definitely going to make time to watch Chucky this year.

Castlevania
Batman: The Brave And The Bold
Megas XLR
Infinity Train

It's definitely an acquired taste. I always say there's a fine line between horror and comedy since they come from the same place of surprise. The way the track steadily builds though and just the sheer sound quality and recording of it is perfect to me though.

Yes barely

Farnsworth
Hannibal

Satan (Cuphead)