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Kobold Cleaver wrote:
When you've finished with Breaking Bad, give Better Call Saul a try. That show is much better, mainly because it much more focussed and has a somewhat likable main character.
I suggest The Americans as replacement for The Man in the High Castle. No Nazis involved, but a couple of Soviet sleeper agents in the US of the 1980s.
A clinically depressed person who has difficulties feeling anything. She tries to find a way to cure her ailment, but it is hard for her to care for anything anymore. The person works with others out of necessity, but would rather remain alone. An Alchemist or maybe a (Transmuter) Wizard would work. (Any sulky teenagers will receive a dose of a mild poison from her so that they finally have a reason to complain about something.)
A person who has lost her memory who is trying to piece together her former life. I'm thinking a Mesmerist trying to find ways to send herself in ever deeper trances.
What do you mean?
Just seeing this now.
I expect older whiskeys to at least have a more complex aroma (if that makes sense) than their younger selves, but the 15-year-old Glenlivet is basically the same as the 12-year-old, although it may be a little smoother.
Still, it is not a bad whiskey. And it beats the Green Spot, which I was looking forward to due to high praise. Maybe pot still whiskey is not for me.
Fabius Maximus wrote:
I wasn't aware that they had trouble financing Arise. That sucks.
I suspect Johansson's presence alone will not help much, though. GitS may be pretty high profile for an anime in the Western world, but the movie came out 21 years ago. I don't think that most people know either the series or the sequel. It's not exactly a household name. I doubt that the screenwriters and the director have the experience to turn this into a success.
People are upset because they took a thoroughly Japanese story set in Japan told through Japanese characters and mainly cast non-Japanese actors without even bothering to change the characters' names. They could have adapted the Laughing Man story by setting it in an alternate universe. There even is precedent within Ghost in the Shell lore, as the series and movies only share characters and themes.
There is also the question that if the filmakers can't even be arsed to remain faithful to the original in casting, how can they faithfully adapt the rest of the material in its complexity to a live-action version?
Nothing against Johansson; she's good, as are a lot of the other actors. But this white-washing nonsense has to stop. I'm getting tired of always seeing the same type of face on the screen. Rinko Kikuchi would have been a better choice for the role of Major Kusanagi, for example.
As for financial success: I couldn't care less. The franchise is not doomed; Arise just came out last year. It wasn't as good as Stand Alone Complex, but good enough.
Same here, although I treat the 'I' as a 'J'.
You have to take into account that the Tales line is not only genre fiction, but sub-genre fiction, i.e. Fantasy RPG novels. They primarily exist to show off the setting. That's why many of the Tales are not great, even when written by experienced, previously published authors. Some of them read as if they were rushed through editing. The best ones probably will not offer you anything new, only refreshed old fantasy tropes. Still, they can be enjoyable to read.
Nightglass by Liane Merciel is one of them. The Worldwound Gambit by Robin D. Laws is basically Ocean's 11 with demons. Death's Heretic by James Sutter deals with an atheist who's working for the church of Pharasma against his will. And Wendy N. Wagner's Skinwalkers has a former pirate trying to protect her clan against raiders.
However, if you want something akin to literary fiction in the fantasy genre, you should check out Steven Erikson's A Tale of the Malazan Book of the Fallen. It is 10 thick books long and the first one can be kind of hard to get into, but I rarely have read anything better in any genre.
I repeatedly found that the general public's sense of enjoyment and mine differ wildly.
No, they are not. They just have different standards than the average member of the audience, whose opinion generally boils down to "I had fun" or "I did not have fun". That does not tell anything to anyone.
Critics are usually exposed to a wider variety of movies (music, art, what have you) than the average audience member, even if their individual knowledge of the matter differs in composition.
So if a majority of critics say that a movie is not that good and qualifies why, I'm bound to trust their verdict rather than the one of the general public.
I'd say don't use it. The whole sequence is - probably inadvertently - created to bore and frustrate players. I suggest simplifying it; get the PCs lost a couple of times, have them meet goblins once or twice, maybe an Armiger patrol, and throw in some encounters of your own. Then get them to the exit.
Drinking ale instead of Irish whiskey on St.Patrick's day makes me just a little sad. Kind of in the same way as seeing Bono singing somewhere back behind the Dubliners in the video.
That's where he belongs, as far as I'm concerned. Way behind Shane MacGowan.
You could drink Irish red ale.
My character's style is determinded by the maneuvers he knows, not by those that he has prepared.
As for the rest:
1. Choice is inherent to the system, yes. I'm fine with that; implying I'm not is just a strawman you're putting up, right next to the one that I don't see the balance in this system (I do; I just do not agree with the manner how it is achieved) and the strawman where your imagination about my concept of balance ran away with you and that I should play something else. The last one you coated with extra BS and it stinks to high heaven. If that is what you call reasoning, please leave me alone.
2. Throne, that Warder ability comes at level 7 and requires a full-round action of being completely useless to activate. The other classes still don't have a similar way of switching readied maneuvers on the fly. And yes, I don't like the rest of the mundane 1/day abilities either, but I can chose not to take any of them. They are a core mechanic in ToB/PoW, however.
3. iDesu, the Brawler can use a move action to change their combat feat. That's exactly what initiators cannot do. It can be seen to represent thinking about what tactic would be useful next. Essentially, the Brawler knows all combat feats, but has only access to a limited amount at the same time. Initators have to think hard about why they forgot to use their tricks mid-combat to regain the same ones they prepared before.
4. Aksess, I agree that using the same trick over and over would get one killed quickly. But that only applies if fighting one opponent. The next one in an encounter would not be ready for the same trick. Also, using the same ability again and again becomes boring really fast.
To re-iterate: I do not want my characters to have unlimited access to all maneuvers at all times. I have never said that. If I did, please point it out to me. I am suggesting a different kind of resource manangement.
I'd like initiators to have access to all the maneuvers they know, like a spontaneous spellcaster. Right now, they use a prepared spellcasting mechanic, which I think does not represent a flexible combatant well.
What do they have? An in-game reason?
I had a look. For starters, every class doesn't have all known maneuvers available to it at any time, which is simply inacceptable. They also can only ready any given maneuver once, to boot. That's part of why it is a variant spellcasting system.
The recovery mechanics are part of the problem, actually. All three classes have to either only move or be passive to recover one or more maneuvers. In know that is better than in the ToB, where you had to stand still for a round being useless in the midst of battle (and only the Warblade could do that), but it still is disappointing.
And that includes only the maneuvers they had previously prepared. They can't change them on the fly. You can probably take a feat for that, which is frankly ridiculous for an ability that should be a class feature.
The system is really rigid. I had high hopes that DSP would fix that.
Disclaimer: I never played with the Path of War rules. I have only read some of the playtest documents and never bothered to dive further into the system because it uses the same basic mechanics as described in the Tome of War, with which I am familiar.
I have a problem with the system because of its dissociated mechanics, i.e. the vancian fire-and-forget approach for something as mundane as combat abilities that are acquired through training. There simply is no in-game reason for a non-magical character using an ability and then not having it available for the rest of an encounter.
A quick and dirty fix for that problem with my Warblade was making a Sorcerer out of what used to be a Wizard before. The spontaneous spellcasting system emulates fatigue better than the memorisation system while keeping the spellcaster flexible in the application of his maneuvers. It worked equally well.
Kirth Gersen wrote:
True, but it is not based on a comic book, and you really would be missing out. Fargo might be the best series currently on TV, but Utopia is the best series of the decade. Where is Jessica Hyde?
The Sword wrote:
The show has also already been cancelled and John Constantine relegated to a third-rank character on Arrow.
If you're looking for a big reveal, Leftovers might not be for you. The story gets more focussed, though, as the Guilty Remnant starts to play a big role. It is what drives the story, but you have to be patient.
The Leftovers is about many things: how to deal with loss (especially when you don't know what happened to the missing person), religious fanatism, why life is worth living, mental health, etc. It is a but slow, but I think it's worth it.
Fargo is probably the best series on TV right now. Everything about it is top-notch and season 2 is probably even better than season 1.
Rectify is superb, but really depressing. Thankfully the seasons are relatively short.
In the same vein is The Leftovers, a Damon Lindelof show about how 2% of Earth's population just vanishes into thin air. It deals with the effects on the eponymous people that were left. Christopher Ecclestone, Liv Tyler and Justin Theroux are part of the cast (the latter is suprisingly not bad).
The Americans is about two Soviet sleeper agents in the 80s. Excellent writing and great performances all around.
I agree with Imbicatus that James Spader is the best thing about The Blacklist. The rest of the show is a big pile of hot garbage, however.
I'd like to remind you that Berman and Braga also "only" were (executive) producers of the latter seasons of Voyager and the first three seasons of Enterprise and they pretty much ruined the franchise. And yes, Kurtzman will be executive producer (aka showrunner), sharing the position with Heather Kadin.
On Fringe, he shared that position with 6 other people. There are even more of them working on Sleepy Hollow, so you can't pin any success (in the former) or going-off-the-rails (in the latter) on him.