Mass Effect 3

exste je napisao(la):

vec vidim totoalno iskomercijalizovanu glupost...sa igrom je malo drugacija stvar jer je interaktivna i u najmanju ruku moze biti (i jeste) zabavna, ali film...to je umetnost...i ako bude kao Iron Man onda cu...:vomit:

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Vlada>>> je napisao(la):

To bi bilo lepo da izbace uskoro, ali ono kopanje po planetama u dvojci je jedared idijotski odradjeno. To je glavni razlog zbog cega joj se teze vracam nego li prvom delu! Voznja onim bagijem koliko god da je bila smesno odradjena, makar je bila zanimljiva... ili barem zanimljivija od besomucnog skeniranja planeta na nacin kako je to u dvojci odradjeno. Da budem iskren, nadao sam se da ce u dvojci jos makar za nijansu pospesiti ovaj deo igre, ali ne... oni su ga ucinili totalno idijotskim... bilo bi lepo kad bi trojka bila postedjena takvih gluposti! Mislim krajnje je vreme da odarde konacno jedan deo kako treba skroz do kraja!

U principu ovu igru su izdigli na ovaj nivo dobro osmisljeni karakteri i intrigantan zaplet, a ne izvodjacki deo same igre. Kad se malo proanalizira cela stvar, ispada da je izvodjacki deo najslabija karika u tom lancu, dok su likovi i prica oko njih najjaca strana. Kazem prica namerno i uprkos cinjenici da su dijalozi srednje zalosni na momente, bas kao i gluma jer cinjenica je da ovu igru svi jedva cekaju da odigraju ne zbog nekakvog neznam ni ja kako nezaboravnog adrenaliskog okrsaja (jer toga i nema) vec iskljucivo zvog price i onoga sto ce se desiti na kraju. To me pomalo podseca na Resident Evil, koji je takodje svojevremeno imao taman ovako izbalansirane stvari i mozda malo vise adrenalisnkih momenata sto uopste nije losa stvar! No dobro... Ajd da vidimo sta ce da kaze trojka!

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nano.tube je napisao(la):

Znači, igre ne mogu da budu umetnost jer su interaktivne?

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nano.tube je napisao(la):

Znači, igre ne mogu da budu umetnost jer su interaktivne?

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exste je napisao(la):

naravno da mogu budu umetnost ko je rekao da ne mogu?
...igre vecinom , ogromnom vecinom...najvecom mogucom vecinom sluze za zabavu jos uvek...

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exste je napisao(la):

kod filma duh komercijalizma i instant sadrzaja intezivnije smara i mala prisutnost je dovoljna da ceo film posalje u kantu...kod igara se taj instant sadrzaj utopi u poentu a to je zabava...igre vecinom , ogromnom vecinom...najvecom mogucom vecinom sluze za zabavu jos uvek...

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Pleasure, after all —

"the performance of pleasure — is in essence perfectly immoral." (Baudrillard)

Thus Kael's intellectual journey comes to an end here — at a point, that is to say, an immense distance ahead of our modern pseudo-intellectual videogame artfags. For Kael, at least, had the courage for her instincts (which in every living thing are constantly screaming out for pleasure), despite not being able to dialectically justify them — a courage which the artfags lack to such a degree that they've gone as far as to convince themselves that art does not need to be enjoyable — that it does not have to be "fun". Worse: They are claiming something even more absurd: that art, and even more so great art, is not even supposed to be fun. What they would like with all their might to convince us of, what they expend all their energy, cunning and ingenuity to prove (which is why they have none left to pour into real problems), is that

"we're getting art for our money when we haven't even had a good time". (Kael)

For Kael here simply takes for granted that the purpose of art is to give pleasure. Pleasure, as far she is concerned, is a prerequisite, an absolute minimum requirement for her to consider anything art — and she was far from alone in espousing this quaint notion. Didn't Stendhal, the nineteenth century's greatest connoisseur of art, describe beauty as "a promise of happiness"? Didn't he faint from pleasure at the sight of Florence's artistic treasures, in what later became known as history's first recorded case of Stendhal Syndrome? (One should not, by the way, confound the cause of Stendhal's fainting with that of the American exchange students — relatives of the game journalists and pseudo-intellectuals, no doubt — who every year descend on Florence by the thousands, stumbling drunkenly along and passing out in the city's deserted sidewalks every day between midnight and 6 am.)

The artfags, then, have somehow managed to convince themselves that art is not supposed to give pleasure — or at least not necessarily so; that, at any rate, the question of whether art gives or does not give pleasure, or perhaps even gives displeasure, is an entirely subsidiary one — perhaps even irrelevant. And our question now, as we attempt to psychoanalyze them and descend, as it were, into their souls is: how did they acquire this unfathomably absurd notion?

One has to always keep in mind the kind of people we are discussing. Kael is a genuine intellectual, the real deal — every line she ever wrote betrays it — her reviews and essays sizzle with perspicacity and wit: there's not a single pseudo-intellectual bone in her entire body. She simply refuses to allow anyone to tell her "what is good for her". If she's not enjoying herself she is not enjoying herself, and you can take your "art" and stick it up your ass.

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In summa: The purpose of art is to give pleasure, full stop — and this applies even to the tragedy, the most extreme seemingly "pessimistic" artform. Tragedy gives pleasure, first: to strong and fearless natures (including the tragic artist himself) by challenging them to imagine themselves in situations they could barely deal with (in which all of their "dammed-up strength", as it were, i.e. all of their energy, could be discharged — energy discharge being quite simply the essence of pleasure). Then, it gives pleasure to the lower species, to the weak, the sick and the suffering by giving them an opportunity to invent for themselves a noble interpretation of their condition, thereby offering them a measure of relief in the form of an invitation to "resignation" (to their fate, as it were, in the manner of the doomed characters in the tragic play). And finally, to the physiologically and/or spiritually exhausted it provides a much-needed stimulus for their frayed and diseased nerves — an artificial path to psychological excitation, to rare and elevated feelings, which, being exhausted, they could not have achieved by natural (i.e. non-artistic) means. — Conclusion: There is, therefore, not the slightest doubt that the purpose of art is to give pleasure, and indeed a videogame can even be defined in such terms as "a machine for giving pleasure" (a definition that should be kept in mind, for we shall be returning to it). Consequently the claims of the artfags and the pseudo-intellectuals that as regards their "artistic games" the issue of pleasure is irrelevant, are naive, i****ic and preposterous — a game that fails to give pleasure is quite simply a bad game.

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Spojler

- Game begins with Shepard on Earth
- Shepard is on trial in regard to the events of Arrival
- Reapers invade while the trial is happening
- Prologue: Shepard’s escape to the Normandy, off to start finding allies, fighting Reaper troops
- Squadmates include Liara, Ashley/Kaiden, Garrus, James Sanders
- Screenshot shown of Ashley with her hair down
- Confirmed appearances (may not be squadmates): Wrex, Mordin, Legion, and Anderson
- Game will show a “previously on Mass Effect” comic to make decisions if you’re starting from scartch
- The Illusive Man plays a big role
- Cerberus is out to kill Shepard

- Enhanced RPG elements
- More freedom with character skills
- Larger skill trees
- Powers will evolve several times, not just once
- Weapons are like the ones in Mass Effect 2, have a set list
- Mods returning, swap out different parts such as barrels, scopes (effect both the weapon’s combat performance and its appearance)
- All classes can wield all weapons unhindered now,
- There will be limited slots to carry these weapons
- Soldier can carry all weapons at once
- Adept, Engineer, and Sentinal will likely be limited to two weapons, three for Vanguard and Infiltrator
- Numerous endings
- Who you have in your squad and which allies you recruit greatly impact the endings that are available
- No multiplayer

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You’ll be able to pick up enemy weapons in ME3. The battlefields are also going to be much larger, with more varied combat than in previous games.

There’s a larger skill-tree on offer, and you can expect the RPG elements to be more integrated. There will be multiple ways to obtain species’ loyalty, and you won’t only be restricted to obtaining them via quests.

There are no railroads to the end of the game: you will be offered multiple options to take back earth.

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djomla.fon je napisao(la):

Uf, pa ne bih se ja baš složio sa tim. Mislim ta vremenska odrednica "još uvek" - ako malo bolje razmisliš, mislim da ćeš uvideti da u poslednje vreme igre sve više i više teže ka tome da postanu zabave bez uplita ozbiljnog. Odnosno da su ranije igre u većoj meri imale poruku, pouku i dublju ideju i kompjuterske o kojima ovde pričamo, ali i one pre pojave računara. Voleo bih da grešim, ali čini mi se da će, makar kao opšti trend za sledeći period, nastaviti sa štancovanjem fun fun fun igara, a retko ćemo imati prilike da se oduševimo nekim naslovom koji pored toga što nas zabavlja u slobodno vreme, ima da ponudi i neku dodatnu vrednost.

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Tandy je napisao(la):

Jedna od najkvalitetnijih gejmerskih serijala!

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shin-bojan je napisao(la):

Mass Effect 3 tweaked for "larger market"

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shin-bojan je napisao(la):

Mass Effect 3 tweaked for "larger market"

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undefined je napisao(la):

Za još veći "appeal to mass audience" ja stvarno ne znam šta mogu da urade.

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rAMA je napisao(la):

Zar je ostalo nešto da se prilagodi "larger marketu"? :O

Pa već je prvi deo bio prilagođeniji širokim masama u odnosu na KOTOR

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undefined je napisao(la):

Samo ne shvatam šta im je ostalo da urade. Jedino da bude čist Call of Duty sa dijalozima i romansama.

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undefined je napisao(la):

Dobro, za neku nedelju će Wišizovni 2 da pokaže Biowaru kako se prave sex scene.

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