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Still, Dark Souls does force you to get better at the combat, as there are times when you have to do it properly, and winning that way feels good too. It’s similar to the XBox Ninja Gaiden and God Hand in that respect, and I have much love for both of those games.

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Later on you can join a faction that’ll let you – no, require you to – invade the games of serial player-invaders in turn and punish them by fucking their shit up.

(Or you can smash your way in and kill their god to turn his soul into a unique weapon, but if you do that I think you’re permanently marked for death by them, cue blue phantoms up your ass for the rest of the game)

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So yes, you should all play Dark Souls.

And if possible play it on a console rather than PC, because thurling a controller against the wall in frustrationwould probably befar more satisfying than throwing a keyboard and a mouse.

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Ah, but wired XBox 360 controllers can just be plugged in to PCs. So play it on the PC and you get the best of both worlds.

says:
September 7, 2012 at 1:22 pm

And from what I’ve heard, keyboard and mouse controls are kind of suck. If that’s what you’re planning, I’d go get yourself a wired Xbox 360 controller.

says:
September 10, 2012 at 7:59 pm

Also because the keyboard and mouse controls in it are for shit. The mouse has the opposite of mouse acceleration.. mouse deceleration, I guess? The faster you move the mouse, the less the cursor/pov moves.

On the other hand, you should totally play the PC version with a controller over the console version. Additional content, and with the DSFix mod it’s way prettier. Mmm, 1080p with proper anti-aliasing, texture filtering, and improved depth of field.

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I’ll be away on holidays this weekend, so no Guild Wars 2 for me. By the way, sorry, gameological guild! I’ve tried to stand down from my guild and represent so I can chat with you fine folks (all three of you!), but there’s a bug with it at the moment, apparently…

says:
September 7, 2012 at 10:22 am

There’s a Gameological guild? Crap, did I miss or forget that? Tell me the name(s) and server please, and if I can I’ll gladly switch over. (I have a level 40 thief and a few sub-level-5 chars)

says:
September 7, 2012 at 12:37 pm

I am pretty sure you don’t have to switch servers, as the guilds are independent of that… I think so anyways. Mooy and I play on Fergusson’s Crossing, so feel free to pop in there. I am playing a lvl 25 Elementalist and Mooy’s rogue is probably in the upper 30’s by now, but he’s also leveling a Mesmer. The guild is fairly obviously called Gameological Society.

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The Ring of the Nibelung: San Francisco Opera, through July 1. $210-$535. War Memorial Opera House, 301 Van Ness Ave., S.F. (415) 864-3330. Clearance Footaction Authentic For Sale Jefferson Grand Wingtip Oxfords r4KqqZ

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For the decline of the old, one needed to look no further than the metallic wasteland that forms the setting for director Francesca Zambello’s grim conception. Bringing her American-themed “Ring” into an era of widespread ecological despoliation, Zambello and set designer Michael Yeargan point up all too clearly the rot that has set in.

The Act 1 forest glade in which Siegfried is raised by the malevolent dwarf Mime is now a rust-ridden garbage dump, their dwelling a decrepit trailer; the shadows of enormous electrical transformers and power cables loom in the background. Act 2 unfolds in some sort of industrial warehouse, full of presumably toxic chemicals. This is a world already teetering on the brink of collapse.

Yet even if Siegfried is destined to blaze a heroic path forward out of this dystopia, neither the work itself nor this production goes easy on him. Siegfried is naive and ignorant, not to mention careless in his brutality toward most of the other characters; his ebullient high spirits are equally unmarred by fear or understanding.

Brenna’s performance, graced by limpid, effortless singing and fresh-faced charisma onstage, caught all of these qualities superbly. This is a role (like Salome in Strauss’ opera) calling for the sort of vocal power and stamina that are generally the province of singers too old to inhabit the part without some suspension of disbelief by the audience.

Yet Brenna offered a Siegfried persuasively young and nimble, both vocally and physically. If his sound sometimes lacked the heft to quite fill the War Memorial, particularly in the lusty Forging Song at the end of Act 1, he more than compensated with the purity of his tone and the delicacy of his phrasing. There was a winning insouciance to his communion with nature in the Act 2 “Forest Murmurs” interlude (even with no forest in sight), and he mustered all his considerable musical eloquence for the enormous love duet with Brünnhilde that concludes the opera.

Perhaps most telling was the climactic Act 3 showdown with the Wanderer (the now-aged Wotan in disguise). This is by some reckonings the heart of the opera — the clash of generations in which the old must give way to the young — and it gained force through the work of both Brenna and bass-baritone Greer Grimsley.

Of all the characters who reappear over the course of the “Ring,” Wotan is the one who changes most tellingly. And Grimsley’s performance across three nights has been remarkable not only for its individual splendors but for the assurance with which he has traced that long dramatic arc.

After moving from the spry, ambitious and amoral world-beater of “ Das Rheingold ” to the grave father figure of “ Die Walküre ,” he offered yet another transformation in the Wanderer — grizzled, rueful and weary, but still capable of mustering the rage and authority of a god. You could hear the toll of years in his singing, which now operated in shades of gray and umber; you could tell, even if those around him couldn’t, that he was settling accounts and preparing to pack it in.

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