IlyaP

Are they hand-drawn ones, as in Diablo: Immortal?

There's no need to be mean. It's a well-known fact that Rafe is a giant WoT fanboy.

Do we know if this was in part due to the multiple Covid lockdowns the production crew experienced and the challenges that the shutdowns/lockdowns imposed on filming, special effects rendering, etc.?

SHUT UP AND TAKE MY MONEY!

Oh gods, you lost *both* your theaters? Damn dude, that legitimatelly sucks! (We're lucky that a lot of our cinemas, including the art house ones, managed to survive Covid down here in Sydney.)

Heh, two sites I never check, because I find it patently uninteresting and unhelpful. I watch films regardless of aggregated and excessively mathematical ratings. Art isn't mathematics, nor should it be. And just because something doesn't speak to one person's tastes doesn't mean it won't work for me. De gustibus non est disputandum.

And it's not for everyone! If it ain't your jam, it ain't your jam. And there also some people who don't like the movies for entirely legitimate reasons.

I think it was an interview with Ben Browder back during his Farscape days that taught me this concept as a kid, but in any case, there's a difference between What something is and How something is. A story can be immensely simple but incredibly amazing, and a story can be incredibly labyrinthine and complex and ultimately underwhelming. For something like film, it's all the parts that make up the film - the acting, the score, the cinematography, the lighting, the effects, the audio, etc., all coming together to make a thing that can only be experienced by actually watching the thing. A plot summary can't convey interesting cinematography, or invisible (and thus good!) ADR work, or good sound mixing, or memorable framing in a scene. Hell, using Indiana Jones, the movie Raiders of the Lost Ark, on paper, is ridiculously simplistic. A guy is hired to find a thing, and keeps losing it to the bad guys, and in the end, the bad guys lose regardless of the efforts the protoganist. It's still a great film despite the rather straightforward story. But it's How It's Done that makes it work. And that's something that can only be discovered by watching it. (I...watch a lot of movies, if you can't tell. I love cinema and used to work in TV for a little while, so it's a passion of mine.)

@Ran, @RumHam is being mean to me! (Congratulations, you have learned how to properly torture this Absolute Nerd of a Film Lover)

OH MY GOD NO. DON'T YOU DARE! *cries in film nerd tears*

TBF, we did have Chinese-styled fight sequences in movies that came from China before the Matrix came out. But on the bullet time front, the closest we got to anything like that in English-speaking films were in Lost in Space and Wing Commander, both of which featured ideas that were similar to but not quite the same thing as bullet time (slowing motion, cameras spinning around people whilst they were frozen in space). (Apparently the Wachowski sisters were influenced heavily by Michael Gondry videos, though which I've never found out which ones.)

So they're pulling a Tad Williams circa MST.

...You're like Harry in When Harry Met Sally, who reads the last chapter of a book first!

A rather impressive retrospective of sorts on the System Shock series was published this morning on Rock, Paper, Shotgun, for anyone who might be interested.

@Ran you mean that Abercrombie wrote the Love, Death, and Robots script? Or Tim Miller?