Thứ Sáu, 19 tháng 10, 2018

Waching daily Oct 19 2018

Today's video is sponsored by Massdrop, who have just sent me their famous Sennheiser

PC37X gaming headset to show you guys.

You can only get these limited edition headphones from Massdrop and they've been created for

max audiophile quality, whilst also keeping price in mind.

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Sennheiser brand.

It's going to be very hard to find a more quality headset for a better price than this,

so consider checking out the link in the description if you've been looking for a new headset and

know that you'll also be supporting the channel by doing so.

Massdrop have also just launched a whole new PC Gaming Community which you may be interested

in checking out as well.

Here you will be able to discover, learn about, talk about, see, and do more of what you love

when it comes to everything PC gaming and it has all the battlestation essentials, from

headsets and monitors to keyboards, mice, and ergonomic chairs

When the PlayStation 1's Metal Gear Solid was originally released in Japan, creator

Hideo Kojima and the rest of his team at Konami didn't just translate the game into other

languages and then ship the game to other regions around the world.

Instead, the team continued to work on the game and make improvements.

Hideo speaks about this in a Japanese interview for the Metal Gear Solid: Integral strategy

guide, which has been translated by Marc Laidlaw and hosted on the fan site metalgearsolid.net.

To quote: "Under normal circumstances, we would've broken

the team up after the game was finished and everyone would move on to new projects, but

with MGS, we also had the European versions to work on after the American version.

This was actually an industry first, but what we did was make separate English, French,

Italian, German and Spanish PAL versions.

We took the 8 hours or so of dialogue and translated that into each language, then hired

voice actors for each version and re-edited that back into the game.

We also had to fix the timing for the dialogue, though, as in certain languages the speech

will take more or less time to run through a scene.

With all that to do, we found it hard to get away from the game.

Ports like these definitely are a lot of work, but the staff still had more free time during

this process than they did while making the original game, so we ended up fixing all the

parts of it we didn't like.

But we weren't happy with just that, so we played around with various new extras to the

game as well, like more VR stages."

This led to there being various differences between the Japanese and US versions of the

game, and then a few more for the later European releases.

The US version boasted several new additions, including a new difficulty selection option

- with easy, normal and hard being available by default and then Extreme upon completing

the game.

The Japanese release actually has no difficulty options and is based on the US' easy mode.

The inclusion of new difficulties also meant there are 36 more codenames for completing

the game, with 12 for each difficulty.

Alongside this, the demo theatre was added as a reward for completing the game, which

allows you to watch cutscenes and codec conversations from the game in a manner similar to a movie.

And then another bonus for completing the game that was added is Snake's tuxedo costume,

which will replace his sneaking suit on subsequent playthroughs.

The English releases also made some changes to the already existing content.

One of these is to the camera angles during cutscenes, which had various changes in the

US release and then even more for the European versions.

For example, when Snake bends down to use the codec during the intro, the Japanese version

on the left has a completely different camera movement compared to the US version on the

right.

It was likely that these changes were the result of Hideo's vision and him feeling that

they would work better.

Another change was made to the alert modes.

When spotted by a guard in the Japanese version, the alert mode would read "danger" and this

was changed overseas to "Alert".

Following getting away, the mode would then switch to "ESCAPE" in Japan and this was changed

to "Evasion" in the English release.

The English version also changed the names of a few of the items, such as the Cigs, which

were originally spelt CIGARET in Japan.

Hideo also decided to update his credit at the start of the game.

The now famous "a Hideo Kojima game" credit actually started beginning with the US version

of Metal Gear Solid 1, with the Japanese release instead saying "a game by Hideo Kojima".

Another change made overseas was to Psycho Mantis' memory card reading section.

In one of the game's most well known sequences, Mantis will scan the player's memory card

with his 'physic powers' and then say different lines of dialogue depending on what games

are saved.

In the Japanese version though, many games that could be detected were Japanese exclusives

- meaning that they had to be replaced overseas.

For instance, one of these games was Policenauts - an earlier game by Hideo Kojima in the visual

novel genre.

This and all other Japanese-only games were replaced with Konami games that actually were

released overseas - such as Vandal Hearts and Castlevania.

This also meant that Western players missed out a special Easter egg starring none other

than Hideo Kojima himself.

In the Japanese version, if players had save data from both Policenauts and Snatcher, which

is another one of Kojima's earlier games, Mantis will say " So you like Kojima games?"

and then Kojima's actual voice will pop out of nowhere and say " Thank you for your support".

One of the more unusual changes to the English game affects Johnny, the guard who Meryl knocks

unconscious and steals her uniform from early on in the game.

The overseas versions will show Johnny with a blur effect covering his private areas.

In the original Japanese release, Johnny actually wears boxer shorts instead.

It's not known why this change was made, but it's easy to speculate that this was simply

Hideo changing his mind and thinking that the blur effect would work better.

Interestingly though, the later Japanese re-release of Metal Gear Solid, which included most other

Western changes, for some reason decided to go back and add the boxer shorts back in.

This release of the game was called Metal Gear Solid: Integral and, as well as including

the Western changes and additions, also added a whole bunch of other new content to the

game.

However, that's still not all for the English changes.

Despite its overall popularity with fans, the localization of the original MGS also

has its controversial side.

Metal Gear Solid was translated and localized by Jeremy Blaustein, who's worked on a wide

range of other titles - including Silent Hill 2-4, Castlevania: Symphony of the Night and

Shadow Hearts: Covenant.

Despite previously working for Hideo on 1994's Sega CD version of Snatcher, Blaustein upset

Hideo with his overly liberal translation.

Blaustein has argued that a few changes and tweaks were necessary for bringing Hideo's

script to an English audience and have it sound natural.

When Hideo discovered that changes were being made without his consent though, he not only

didn't ever hire Blaustein again - but also clamped down on the translation of the sequel

Metal Gear Solid 2, and tried to ensure that the localizer would keep the script as close

to the Japanese version as possible.

This also led to Metal Gear Solid 1 being retranslated when it was remade for the GameCube

in 2004, a process that also required the English voice actors to come back and record

all of their lines again.

Not all of Blaustein's changes were unwanted though.

Mei Ling's proverbs, which she quotes whenever you save the game, were all Chinese proverbs

in the Japanese version of the game.

Mei Ling would say the original proverb in phonetic Chinese and then repeat the same

proverb in Japanese, essentially meaning she said the same thing twice.

Due to the difficulty in translating this, Blaustein expanded Mei Ling's quotes to include

Western-based proverbs and literature as well - a change that Hideo would later agree was

necessary.

Some other changes however, were much less appreciated.

Revolver Ocelot's popular "silver bullet" line, for example, which is now infamous amongst

fans for its seemingly innuendo-like nature...

This line was actually invented completely by Blaustein himself, as were some other lines

during this battle.

This is also the reason why the line was removed from the retranslated Gamecube version.

Some of Blaustein's changes would also subtly affect plot points, something that Hideo was

likely to be particularly bothered about.

During Psycho Mantis' death scene for example, Mantis' last words weren't "It feels kind

of nice" in the Japanese version.

Instead, they were "It feels very nostalgic."

This is because Hideo intended his final words to be a reference to his mother, who died

during giving birth to him.

Again, this line was removed for the GameCube release and a precise translation was added.

There is also one other interesting point about the English releases and this revolves

around the torture scene with Snake and Ocelot.

In the Japanese version of the game, Ocelot would speak about the French when talking

about his use of electricity for torture.

These lines were voice recorded in English and included in the US version's files, but

for whatever reason, somebody decided to leave the voice file on the disc unused and created

another one with the dialogue altered.

The original lines originally had Ocelot say: "Ocelot: If it's just for a short time, it

won't kill you." and then

"Ocelot: Did you know that it was the French who first thought of using electrical shocks

as a means of torture?"

Snake would then reply: "Snake: I've seen lots of French films, but

I never heard that before."

However, here's how the dialogue plays out in

the US version...

As you heard, the US release removed the dialogue about the French, but this now makes Snake's

comment seem rather out of place.

Due to this, the later European version would remove all of Snake's line, so that the alteration

doesn't stand out so much.

Interestingly, the GameCube release would do away with this change completely and would

include the French lines in the English versions as well.

But that's all we have time for today.

Let us know what you think about these changes in the comments below and please consider

subscribing if videos on regional differences like these are something you are interested

in.

Until next time, thank you for watching!

For more infomation >> How Metal Gear Solid Is Changed In English - Duration: 9:37.

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*NEW 2018* HOW TO GET YOUTUBE RED, AD-BLOCK & BACKGROUND PLAY *NO ROOT*! - Duration: 8:08.

Subtitles are in the video

For more infomation >> *NEW 2018* HOW TO GET YOUTUBE RED, AD-BLOCK & BACKGROUND PLAY *NO ROOT*! - Duration: 8:08.

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The Playful Suspense of Luigi's Mansion | PostMesmeric - Duration: 12:08.

To this day, I consider the Gamecube Nintendo's most experimental system, at least when it

comes to its library.

While consoles like the Nintendo 64 and Wii were blatantly unique in their design, introducing

some very surprising and unusual controllers, the Gamecube managed to show experimentalism

on a game design level.

Zelda went cel shading instead of dramatic realism, Metroid dove into first-person…hell,

even Mario himself took things into a more interlinked and contiguous direction in his

own debut.

With the Gamecube, Nintendo's properties were beginning to step into unfamiliar territory,

but Nintendo themselves were leading the charge from day 1.

What had grown to be a launch day tradition, a Mario platformer to go with a shiny new

console, had an unlikely stand-in in its place.

An Italian plumber didn't make his debut on the Gamecube with an enthusiastic leap

out of a warp pipe, but a timid, nervous "hello?"

Luigi's Mansion was the first game I got for the Gamecube in 2001.

Bitter over my local Wal-mart selling out of Super Smash Bros. Melee, I settled for

this unusual game, solely because Luigi was a generally familiar figure to me.

I had no knowledge of Wave Race and Pikmin was something new I had never heard of before,

so…it was Luigi's Mansion that I stuck with.

To my surprise, this bizarre little "tech demo turned launch title" was one rich with interesting puzzles and

honed adventure gameplay.

Luigi's Mansion, despite how different it is from a typical Mario title, is a pretty

simple game.

Mario goes missing, Luigi wins a mansion in a contest he never entered, and ghosts have

overtaken the premises.

Luigi meets Professor E. Gadd and learns to use his Poltergust 3000, a suspiciously familiar

vacuum pack that Luigi can use to suck up ghosts.

E. Gadd also details the missing Portrait Ghosts, stronger spirits that escaped E. Gadd's

facilities and entered the mansion.

It's up to Luigi to find the Portrait ghosts, discover the mansion's secrets, and rescue

his brother.

Luigi's journey through the haunted halls of the mansion feels pretty familiar for a

game themed around ghosts and the supernatural.

In a way, Luigi's Mansion feels like Nintendo's answer to the mansion-crawling horror genre

that had risen in popularity with games like Capcom's Resident Evil.

The creeping darkness and oppressive atmosphere are all there.

Even the detailed animation of Luigi grabbing a doorknob mirrors the door-opening cinematic

of Capcom's acclaimed series.

It does seem weird to call Luigi's Mansion a horror game, because it's actually very

different from the Resident Evils and Silent Hills of the age, but aesthetically, is difficult

to argue otherwise.

From its eerie lighting effects and almost realistic environment design, Luigi's Mansion

adopts plenty of presentation elements (and even tropes) from the genre.

Of course, it doesn't do everything in a horror-esque way.

The Poltergust 3000, Luigi's main weapon against the non-living, is a pretty odd ghost-catching

tool (well, for anyone who hasn't seen Ghostbusters).

Luigi must suck the ghosts up with the Poltergust, but not before stunning them with the light

from his flashlight, so it's a dynamic little back-and-forth that can make tackling ghosts

a slightly more complex affair than you might think.

The rapid tug-o-war after you activate the Poltergust on a ghost mirrors reeling in a

fish with a fishing rod, quickly adjusting your angle while also forcefully pulling back

on the control stick.

They're intense moments that act as culminations to the escalating tension of wandering the

dark hallways.

The payoff is definitely satiating, capped off by treasure appearing in view to buff

Luigi's bank account, along with potentially opening new areas of the mansion to explore.

From a pacing perspective, they work very well, and can even make more rudimentary ghost

challenges into something pretty damn satisfying.

Exploring the halls of the mansion takes up a majority of the player's time, but these

are easily the best moments of the entire game.

Each room has its own quirks, usually in well-designed, but accessible puzzle structure.

There's an intuition to Luigi's toolset and how it can be used to interact with the

environment.

Blowing out candles by using the suction from the Poltergust, spraying water on a plant

seed for it to grow, or even just tapping on a bookcase can lead to both treasure to

collect and direct confrontation with the ghouls of the mansion.

The rooms are also pretty different from each other, so there's all the more reason to

keep your eyes open for items or furniture that can be used.

Even things like chandeliers on the rooms' ceiling can be interacted with, if you notice

them, along with hidden passageways that can lead to entirely different areas.

The attention to detail in Luigi's Mansion does so much to sell the game's world building,

and it brings the environments to life in such a subdued, but very attentive way.

But, from a design perspective, Luigi's Mansion doesn't tread much unfamiliar territory.

It's a relatively linear game, and while there are optional ghosts that can offer ample

cash rewards, there aren't too many detours throughout.

Some ghosts can be damaged by elemental bursts, some ghosts have puzzles that require multiple

rooms to complete; not too many of these twists really set the bar in terms of adventure game

design.

Earning money is a cool incentive, and the game does give a ranking at the end of the

story highlighting how much cash you grabbed, but despite this system, multiple playthroughs

aren't really encouraged.

Luigi's Mansion is, sadly, a straight-forward game that I think could've used a bit more

open-endedness to make the mansion feel as oppressive and labyrinthine as a haunted mansion

can feel.

There isn't too much variety beyond the claustrophobic design.

Well…there are the Boos.

Boos are a topic of contention for me, because they don't really act as sources of atmosphere

or even interesting game design.

While looking for them with the Game Boy Horror's radar, it's pretty cool to hunt around items

in a room, but with Boos having the ability to cross over into other rooms through the

walls, it quickly drains away any anxiety the game has.

It devolves into a mindless scavenger hunt, especially when it involves rooms that aren't

directly linked with a door or passage.

For what it's worth, it would really be weird if Nintendo didn't include Boos in

a game featuring Luigi and a haunted mansion, but the way the Boos were implemented feels

mishandled, and with 50 of them to find, it can get a bit tiring, even if the mansion

has a surprisingly small amount of backtracking to it.

But the parts that really stand out in Luigi's Mansion aren't the intense tug-o-wars with

Portrait Ghosts or chasing Boos from room to room.

It's those more subdued moments, where the game can really revel in its suspense.

THAT is Luigi's Mansion at its absolute best.

When a room or floor is free of ghosts, the lights turn on and Luigi walks with a perky

step throughout, even going so far as to cheerfully whistle the musical theme of the game.

Contrast this to when the floor's hallway is still dark and haunted; Luigi hums nervously

and the ambient sound is drowned out by loud, imposing music.

But in a dark ROOM, the music is often produced much more subtly, lowered in volume, creating

a thick atmosphere of nervous anticipation.

This is brilliant, because most of the setpieces occur in these dark rooms.

The puzzles require you to examine the room and understand what could possibly be interacted

with to solve them, so there's an ominous nature to it all, forcing the player to look

closely, unknowing of what could happen next.

But if there's one place where the suspense is at its highest mark, it's in the Portrait

Ghost sections.

A pretty sizable number of these sections begin with simply observing the ghosts'

behavior and finding out how to capture them.

The ghosts go about whatever business they're doing at the time and some don't even acknowledge

Luigi at all.

Between the Portrait Ghosts' autonomous actions and their almost mannequin-like visual

design, these initial moments of observation are rich with suspense.

There's something truly unsettling with the ghosts just existing so silently, like

they're a piece of the background, only acting when Luigi performs a specific

confrontational action like using the Poltergust or even just interacting with the environment.

Despite years of genre-defining horror titles since the game's release, these ice-cold

moments of pristine suspense still manage to unsettle.

You can cut the atmosphere with a knife.

And I think this couldn't have been pulled off as potently without Nintendo making this

an all-ages game.

Nintendo could've made this even darker to match the game's more violent and adult-focused

peers, but they didn't.

Instead, Luigi's Mansion is intentionally playful.

It doesn't take itself nearly as seriously as any other horror game does.

This silliness and whimsy make the game feel unpredictable and unhinged in its tone.

It's a Pandora's Box, like an empty house that a kid might pass on their walk to school

or an abandoned carnival whose once-lively attractions are shut down.

It's not something life-threatening or heart-attack-inducing, but it is unsettling, and in most

cases, that can be so much more interesting than a jumpscare could ever be.

For all I've criticized about the Boos from a game design perspective, they do fit the

tone of Luigi's Mansion.

They're spontaneous and teasing; Luigi's Mansion's aesthetic and location feel as if

Nintendo made an entire game around the concept of a Ghost House from Super Mario

World.

And very much like in that game, the world is rich with confusion and unpredictability.

Rooms can appear in off-kilter states, Portrait Ghosts appear in and out of vision depending

on what Luigi is doing…Luigi's Mansion occupies such a unique horror space, one that

feels both scary and provoking at the same time.

It's not an "I'm afraid for my life" horror.

It's a "what in the world is going on?

I need to find out" horror.

Luigi's Mansion is such a curious game, one rocking back and forth between thick,

lingering suspense and mischievous playfulness.

But it does this with a spring in its step; instead of keeping the moods separated by

pacing, it subtly blends them into one of the most original horror experiences I've

seen in ages.

Sure, it doesn't have many moments of explicit, heart-pounding horror, but it never needed

that.

Instead, the ambiance is so calculated and visceral, that the nimble trickery is able

to sneak in almost undetected.

What's left is a game that simply couldn't compare to anything Mario's face was on.

It's an original experience, one that was destined to be a cult classic to Nintendo

fans and video game fans alike.

Is it flawless?

No, it's not, but it has its place, made clear as day with Nintendo's enthusiasm

to keep this franchise going.

Luigi's Mansion is a horror game, one untouchable by peers and even influences.

Beneath its cartoony playfulness lies a concentrated, totally suspenseful endeavor that, to this

day, has yet to be successfully duplicated.

Happy Halloween, everyone.

For more infomation >> The Playful Suspense of Luigi's Mansion | PostMesmeric - Duration: 12:08.

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神準占卜|什麼時候你會對愛情「認命」? - Duration: 4:50.

For more infomation >> 神準占卜|什麼時候你會對愛情「認命」? - Duration: 4:50.

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Incontro co'l Trimuziat / Meeting with Trimuziat - Duration: 1:48.

Hi, dear Veneti

I'm read an article which tells you about the Trimuziat

I don't know if all of you knows what it means

A divinity who was worshiped mainly at Lagole (Calalzo di Cadore)

For the ancient Veneti people was extremely comun the water rites

Trimuziat has 3 heads

Like the greek, Cerberus

But if you think clearly we can see it too in the three celtic x venetic dogs

and according the venetic pagan religion, before you ask for something, you need to give something

Religious objects consecrated to Trimuziat.

A slovenian researcher translated the most part of the religious texts which were found at Lagole.

All the texts deciphered by Matej Bor tell you that the thermal waters, associated with Trimuziat, have the power to heal pains, especially the cure of rheumatism, but you also have to give something for the Trimuziat.

We can keep up this Venetic tradition. Do you feel well where? Is there anything that can bring you "healing"? Nature has always been important against the diseases of mankind, but you need to be reciprocal. Try to find the Trimuziat.

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