least obvious rage bate be like

let’s hope 🙏🏼

i’m sorry but nah, it’s a broken mess

I was going to say "this comment aged like milk" but you wrote it yesterday. What rock have you been living under?

Most people play it on console ma guy😂

@@almostblackbelt oh Is that your excuse for low player count on 2042 aswell?? Haha idiot it’s dead on pc less than 2k active

Never going to happen

I know but it’s worth a try

i couldn’t find a good place to put it 😞😞😞

Halo reach

Assassins creed Brotherhood ❤

it’s an old video, i don’t even remember why

are you talking about battlefield or battlefront 2 😭

@@Sparkedout I made myself clear

@@dancingvalkyrie there’s multiple modes aside from 20v20, but i respect your opinion ❤️

@@Sparkedout Ah yes theres also the 4v4 mode. Very fun 😴

@@dancingvalkyrie or ewok hunt, or showdown or the countless co-op modes

I never gave EA a pass, but you make some good points. Although i do wanna stress that toxic fandoms do play a big role; others have already discussed the effects of toxic workplaces in the gaming industry so I wanted my video to focus on a different aspect of

@@Sparkedout the point I’m making is this- the expectation should be to have a functional, desirable product at launch, not months later. It is naive at best to treat every game as a live service, and even more so to treat live service games as acceptable. You need to advocate for yourself as a consumer, because no one, not even the well intentioned developers, will.

When I made that remark, I was not criticizing SW77 but analyzing how because of the risk it proposed to George, how he had to keep it in line with what mainstream audiences could enjoy. Also Empire does lean on the original as every sequel does; but empire doesn’t do it nearly as much as any other movie. It fleshes out the original rather than relying on it. Thanks for the feedback though ❤️

@@Sparkedout truth be told. I'm constantly on the lookout for a debate on this subject because most Empire fans casually imply that Empire's superiority over SW77 is obvious. Anyway, thanks for the polite response!

Thanks, yeah sadly I just missed out on the prequels even. Glad to see Star Wars bring people together

I still have to watch that one ❤

Thanks so much, it really means a lot ❤️

If actually been planning on a binge of all 3 :)

@Sparkedout Regarding the third one-- despite what you may have heard, it's not terrible. It's a solid film with a terrible performance. Coppola should've left his daughter out of it and cast a different, more experienced actress in her place. Does it reach the heights of the first two? No, but what film could? Is it good on it's own terms? I think so. If the characters were not named Corleone, and if the film didn't have "the Godfather" in the title, and if it didn't have the baggage associated with either, it would be considered an excellent gangster film.

It's okay. Not as good as Peggy Sue Got Married. I've watched that way more than the Godfather part 2.

Beauty is subjective, and I'll take Hans Zimmer's scores for both Dune films, Trent Reznor's and Atticus Ross' score for the Girl With the Dragon Tattoo, or Jerry Goldsmith's score for the 1968 Planet of the Apes over John Williams's derivative oh-golly-I-wish-to-jiminy-I-was-Holst windbaggery any day of the week.

And another thing-- I'm a composer, and I still say the less music in a film the better. John Williams fills the films he scores with so much music at no point does the audience have a moment of silence to reflect on what it's seeing without being told second-by-second how it should feel about it. His film scores aren't scores so much as they are wall-to-wall carpeting.

​@@StratmanableWhat a great insult, and you call yourself a composer, you must show at least some respect, Williams is a master of his craft, he's 92 years old and still conducting professional orchestras, he is even well versed in jazz since a young age, he met the greats such as Henry Mancini and Miklos Rosza, he's probably the last of his kind when it comes a to a post-romantic composer in Hollywood (I know about the Holst thing, but that's because Lucas originally wanted a type score alla 2001: A Space Oddysey), there are moments of silence in Star Wars, especially in the original movie, like the trash compactor scene, which originally had music but was cut. "The less music in the film, the better", you want a film with no score? There you have, The Birds, and even still, Bernard Hermann helped in the sound design. Shame on you, really, cause I agreed with your comment above on The Godfather Part 3.

@jesustovar2549 He's also as predictable as the alphabet. The use of music in a film isn't binary. There is a wide spectrum between constant glop and no music at all. Eric Rohmer rarely uses music in his films, and Bergman has made several where the only music is played by a character on an instrument, or coming from a radio or record player. Both are better filmmakers than George Lucas. Of course, so's a hammer. The trash compactor scene is the exception that proves the rule. The wall-to-wall music is more of a bad directorial decision than that of the composer, I suppose. Just because I'm a composer doesn't mean I share everybody else's taste. In fact I think it safe to say that since I am a composer my tastes are a lot more varied because my frame of reference is more broad than the average listener's. Most fanboys pull John Williams out of their asses because they've never watched anything that isn't a science fiction, fantasy, or comic book film. Talking of Bernard Hermann, his score for Citizen Kane is only about 20 combined minutes of music, and the scenes without it provide a context for the scenes with music to really pop. The same with Mancini's score for A Touch of Evil. It's no coincidence that both films were written and directed by Orson Welles, who is to George Lucas what a fine Bordeaux is to grape Kool-aid. Akira Kurosawa, a filmmaker much admired by Lucas, also used music sparingly. Watch both Ran and Throne of Blood to see how less music heightens drama better than when it's ejaculated onto every frame. For contemporary film, watch Lars and the Real Girl. David Torn is a master of placement and dynamics. His score is intimate, and quirky, and the cues are well-placed by the director. That Williams is 97 years old has no bearing on the way directors use his music in their films. That he met Henry Mancini and Miklos Rozsa isn't the same as having studied with them. David Torn didn't just meet Leonard Bernstein. He was actually one of Bernstein's students. I'm not going to slag John Williams. He's great. I guess what I'm not always enthusiastic about is how his work is used by many of the directors with whom he's worked. My other point is that there are other composers whose work is comparable in quality but whose efforts are better utilized by the filmmakers with whom they've worked.

@jesustovar2549 Also, regarding 2001: a space odyssey, THAT film is mostly silence, and what music there is was not written for the film, but rather pre-existing pieces of orchestral music. None of them by Holst, incidentally. If you're going to cite an example please try to cite one that supports your position rather than undermines it.

That’s so cool!

LOTR is so peak; might have to make a video on that too

Just finished, you made several points that are hard to compare as they are rather different, both are great. I personally prefer LOTR as I think the general message and story is better, also because of all the background that Tolkien put into middle earth. And the movies did great at referencing the lore.

@@kiddo-mostlygames great points; appreciate the comment!

Really appreciate it bro, got some stuff cooking up soon 🔥🥰

Great points! I’d recommend going to my full video essay where I break down my argument a bit more but thanks for the input!

Cool!

isnt that a show

That’s fair enough