![]() ![]() The user interface also suffers from a number of problems, most noticeably that the screen simply feels cluttered for a Diablo game. (Emperor Hakan is probably the most egregious offender.) After your first play-through, you’ll find yourself skipping everything story-related, every time - there’s simply no reason or incentive to go back and listen to them again, and if you want to watch one of the awesome cutscenes, you can do it straight from the main menu without being annoying to your group members. With the exception of Jennifer Hale as Leah and a few of the playable characters, the voice acting generally ranges from substandard to straight-up cringe-worthy. That said, the fully animated cutscenes are absolutely stunning, and I think Blizzard’s cinematics team is legitimately the best in the industry. ![]() These cutscenes and conversations are skippable, but that doesn’t prevent their appearance from being annoying, especially when you’re in the middle of vendoring or crafting and are dragged into a cutscene because a party member triggered the next step in your quest. In Diablo II you would occasionally get some lore through a quest, or would watch a cutscene at the end of an act, but for the most part you could move through the entire game without engaging with the lore or narrative.ĭiablo III decided this was a problem, so the game is filled with cutscenes, story quests, and conversations. ![]() Diablo has never had a particularly strong story, but in previous games the story generally took a back seat. By far the weakest part of Diablo III is the story, and this is mainly a problem because, unlike the previous games, Diablo III is constantly throwing narrative in your face. ![]()
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![]() ![]() ![]() We were struck by the masked man and his pet dog, Ruru, in ‘Dog Video’, finding the relationship between this man and his best friend to be particularly revealing when juxtaposed with Kim’s upbringing under South Korea’s autocratic regime. In the second room, a further three films named ‘Dog Video’, ‘Washing Brain and Corn’, and ‘Temper Clay’ play to the by now very inquisitive audience. Crytic allusions are made to a rumoured affair between an actress and a dictator, provoking questions we’re still trying to find the answers to. The smaller of the two rooms hosts ‘From the Commanding Heights’, an intriguing film that explores a story set within the renowned South Korean Hyundai apartment complex. Kim divides one of the former oil tanks into two highly atmospheric rooms ,where light and screened images bounce off mirrors, reflective material and walls, while architectural stage-sets act as platforms for four of the artist’s films. Reflective of an upbringing that was, in some senses, rootless, Kim collages an eclectic mix of encounters, sounds, sculptures and images from his changing homes of Seoul, Amsterdam and New York. ![]() We were immediately plunged into a mysterious, fantastical world of optical illusions and imagery that draws on a rich tapestry of performance and film. Sung Hwan Kim has a unique story to tell, and this womb-like, engaging space is the perfect place to unravel his past. While other exhibitions we’ve visited have directed sole focus to the work on show by providing a clean, unremarkable background, The Tanks actively enhance the artist’s offerings with their absorbing, dark interiors. Walking into the space, we were immediately struck by the creepy, almost ephemeral feel created by its exposed concrete and stark flooring. A key artist of his generation, Kim is forever crossing boundaries in the sphere of interdisciplinary video and performance art. The opening programme in the east tank includes a major new commission by South Korean artist Sung Hwan Kim. The Tanks: Art In Action festival is taking place in the unlikely setting of the gallery’s subterranean oil tanks, which used to hold five million litres of the stuff. For 15 weeks, the Tate Modern is providing artists with a magnificently raw, malleable space in which to experiment with just about anything, from live art to installations or performances. ![]() ![]() ![]() ![]() ![]() “Grandmother’s gardens” were the informal, mixed flower gardens that arose in the late 1800s as a reaction against Victorian carpet bedding. “Even before the coronavirus crisis sparked renewed interest in vegetable gardens,” writes our good friend Dean Fosdick in last week’s column for the Associated Press, there was “a movement toward more traditional gardening aesthetics,” including grandmother’s gardens and heirloom flowers. (April 2020) New Again: AP on Grandmothers’ Gardens and Heirlooms You can walk with him here – and then if you’re feeling inspired, check out the 14 hyacinths we’re offering now for delivery this fall, and stay tuned for more to follow this summer from Noah himself. With his April open house cancelled due to Covid-19, our good friend Alan Shipp has posted a short video-tour of his hyacinth fields on YouTube.Īlthough the eight-and-a-half-minute clip is more of a home-movie than a polished production, it’s a treat to see Alan – who’s been called the Noah of hyacinths – walking through his endless rows of hyacinths and chatting about this variety and that almost as if they were his grandchildren. You’ll also find many books about garden history and heirlooms in the Books section of our Newsletter Archives.īlooming Now: The National Collection of Hyacinths on YouTube To subscribe to our FREE email newsletter, click here. For other topics, please see our main Newsletter Archives page. Here’s a wealth of information about GARDEN HISTORY and HEIRLOOMS from our email Gazette and past catalogs, starting with the most recently published. ![]() ![]() ![]() The signal doesn't explicitly program the living beings to create more markers, but rather just to replicate the signal itself and the first race that was infected just happened to accomplish that by building the Original marker. ![]() Whether its a signal from a cosmic anomaly or something akin to a virus thats alive in the sense that it seems to have a functions that follow some aim, but dead in the sense that it has no sentient will. Maybe somewhere out there is a "natural" source of whatever signal the marker gives off. But then the new virus copies are spread and if they come into contact with new cell's those become infected too. The marker (virus) comes into contact with a planet (cell), infects it, and then hijacks the cell's functions to make it replicate the virus. Their only goal seems to be to replicate. Viruses are kinda in a grey area where no one is sure whether to classify them as living or dead. I simply choose to think of it as the marker being like a virus and a planet being like a living cell. Is anyone else having as hard a time understanding this as I am?Īre these things the result of powerful aliens playing god or could they have once served a noble goal but were eventually corrupted? I fail to see exactly what the point of making brethren moons is and I’m starting to believe that whoever made these things are the most twisted and cruel beings you can imagine. ![]() Like once convergence has completed and an entire planet has been turned into a big ball of meat, what next? The moons send out more markers and the cycle presumably repeats. ![]() They had to have serve some kind of purpose for their species.īut what I wanna know is: why? Why did these beings make these devices to start with? They seem to serve no practical use besides making entire civilizations suffer and die. I think it’s pretty clear that the markers and as a result the necromorphs were created by some highly advanced alien society in the distant past (they couldn’t have just come from out of nowhere right?). ![]() |
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