Jay Cutler is out, and former Buccaneer Mike Glennon is in.
The Chicago Bears have wasted no time in making major roster shake-ups in the 2017 off season. In a long-overdue move, Chicago finally released quarterback Jay Cutler. He was still under contract, so the Bears will suffer a salary cap hit, but it shouldn't hurt their ability to sign players at needed positions.
Hoyer and Barkley will still
be teammates in San Fran.
To replace Cutler, the Bears signed two-year Tampa Bay backup quarterback Mike Glennon to a 3-year contract worth roughly $45 million. It's a high price to pay for an unproven player who's already been benched in his career. Glennon has been praised for his arm strength and intelligence, but he hasn't handled pressure very well and his accuracy is questionable. Pressure will be a problem too, as the Bears have been in the bottom half of the league in sacks allowed for quite a few years now. Though at least some of those sacks can probably be attributed to Jay Cutler holding onto the ball too long. But Glennon is young and has plenty of room to develop; whereas, Cutler has been a pretty known quantity for quite some time now
The Bears also lost backups Bryan Hoyer and Matt Barkley to the 49ers, leaving Connor Shaw (who was injured last preseason) as the only current backup going into the NFL Draft in April... [More]
I just don't understand how CD Projekt Red can be such masters at world building and quest design, but are completely inept at everything that involves Geralt drawing a sword or throwing igni. I almost gave up on Hearts of Stone because the beginning of its main quest just put me into a controller-throwing rage.
Geralt is tasked with killing a mysterious sewer monster who has been killing women who go into the sewer hoping to find a toad who can be turned into a prince with a kiss. One of The Witcher III's long-standing annoyances for me is that it makes such a big deal about Geralt being so analytical that he prepares for every monster hunt with potions and so forth, but whenever a quest boss comes along, the game decides to just throw the player in with no chance to prepare. This quest provided no opportunity to investigate to learn what the toad monster is or what its weaknesses might be. When you hit an arbitrary point in the sewer, the game triggers a cutscene that just throws Geralt into the boss arena, so you can't re-equip yourself, respec, or otherwise prepare.
To make matters worse, the game checkpoints you inside the boss fight, instead of prior to the cutscene. If you die, you have to wait for the game's god-damned-bloody long-ass load times before having to go through the trouble of resetting your equipped potions or any other preparatory activities, only to survive for thirty seconds before the fracking toad kills you again and you have to sit through another two minutes of load screen before having to start it all over again. Just unacceptable, CD Projekt Red; absolutely unacceptable.
In order to beat the damn thing, I had to reload from an autosave earlier in the quest (fortunately, I didn't lose much progress) and use the Potion of Clearance to respec Geralt to take points out of my [currently useless] support skills and put them into abilities that buffed my attack, defense, and the two spells that are actually useful for this fight.
The boss fights in Hearts of Stone seem to break the game's rules, and frustrated me to no end.
To add insult to injury, this boss fight ends with a cutscene, and the next playable, non-dialogue sequence is another boss fight, this time a mage with an entourage of soldiers. Without any of my support or crowd-control spells, I ended up having to replay this fight several times as well (it didn't help that the mage seemed to have a one-hit kill area-of-effect tornado attack). At the end, I thought I would be able to respec my character back to the way I had him, but apparently that potion is only a one-time use. I had to fast travel around to several merchants to try to find someone who would sell another copy to me (because Kiera disappears after you finish the main story, so I couldn't buy it from her). It cost 1,000 gold! Then, after finding my way back to the original quest-giver, I got stuck in yet another obnoxious boss fight.
All three of these boss fights seemed to break the game's established rules. The first one kept hitting me with poison, so I tried using a potion that was supposed to allow me to heal from exposure to poison. Except the potion didn't work. Neither of the other two bosses were vulnerable to Yrden or to dimeritium bombs to block or negate their magic abilities. This all was incredibly frustrating, as one of my biggest pet peeves with video games is when the developers give bosses immunity to all the fancy support items and spells that the player has, which you've been saving up for just such an occasion - a boss being the one place where such tools are actually useful or necessary. On top of that, all three fights are needlessly long endurance matches that quickly devolve to repeating the same few actions a hundred times in a row. Absolutely, unforgivably terrible boss fights, the whole lot of them! Needless to say, this DLC did not get off on the right foot with me - much like the base game didn't.
But I grit my teeth and played through the base game, only to find some of the most outstanding quest design and characters that gaming has to offer. So I would do the same with the Hearts of Stone DLC. And once again, I was rewarded for my patience with a quality storyline.... [More]
You've probably already heard this, but Logan is not a typical comic book movie. In fact, this movie feels less like a comic book movie, and more like a western combined with Terminator 2: Judgement Day and The Last of Us. This last analogy is particularly apt, considering that Logan deals with the extinction of mutants from the X-Men film universe.
The X-Men comics and movies have always been known for being topical, with their themes of racism, bigotry, and so forth, and Logan manages to to also be surprisingly topical regarding its storyline of a child fleeing [what amounts to] a violent drug cartel in Mexico, being unwelcome in the United States, and having to flee even further to Canada.
And this movie is laden with so much more possible metaphor. Logan's rejection of the comics' fallacious telling of events may symbolize our own need to let go of our childhood nostalgia regarding these fictional universes and characters and accept new and different interpretations. The final scene, with the child clutching the action figure, just so perfectly captures this bittersweet sentiment. And thank goodness that there isn't an end-credits scene, because I would have been pissed if anything had come up to ruin that perfect final shot. Or maybe it symbolizes the gradual and steady loss of our own real-world heroes. The last astronaut to walk on the moon died this year. We've lost civil rights leaders, WWII veterans are becoming increasingly rare, our 20th century pop culture icons are slowly kicking the bucket. What kinds of heroes will replace them? There's a lot to unpack here.
The X-Men are revered, mythical figures within the film's universe.
And by avoiding any strong, direct connections to other X-Men movies, Logan not only allows non X-Men fans to get into the movie without all the extra baggage, but it also kind of implies that maybe the previous movies aren't to be taken seriously either... [More]
I saw Moana in theaters back in December. My girlfriend and I took our six-year-old to see it. I had meant to review it at the time, but it sort of slipped through the cracks of a busy holiday schedule. Well, now the movie is available for digital viewing and is going to be released on home video on March 7th. I'm already having to sit through it again, and will probably have to sit through it some more, and the six-year-old has been insisting on listening to the soundtrack in the car whenever we've driven anywhere over the past month or two. And you know what? I don't have a problem with it, because I really like this movie (and its soundtrack).
In the meantime, I've talked about this movie a lot. Everyone seems to like it, but I've found that I seem to like it for reasons other than the people who I've spoken to, which is why I decided to go ahead and write the review.
Most people seem to enjoy Moana for its progressive feminist messages. This is certainly true. She is the heir to her village's chiefdom, and this fact is taken completely for granted by the community. No one seems to question her ability to lead or her claim to authority based on her gender. Her ascendancy to authority (or a villain trying to prevent that ascendancy) isn't the central conflict of the movie. She isn't looking to marry in order to legitimize her claim. The idea of a woman being chief seems completely normalized in this society. There's no reason to believe that this village hasn't already had female chiefs (perhaps Moana's grandmother was a chief?), nor does anyone seem to think it would be unusual for the village to have a female chief in the future. The dispute between herself and her father are more ideological and practical, as she's drawn to the ocean by her desire to explore, while her father is committed to remaining on the island where it is presumably safe.
Moana is an excellent female role model, though at the cost of Maui being reduced to a narcissistic jerk.
There's also no silly or forced romance subplot, which is a huge deviation from the norm for the Disney princess archetype (and Maui even jokes that Moana is a princess). There's no romantic or sexual tension between Moana and Maui, nor does Moana feel any pressure to find love in order to make herself whole or validate her authority as village chief. She is a completely independent person. It is a shame that her strength as a character has to come at the expense of Maui (a beloved figure in the mythology of Polynesia) being portrayed as narcissistic jerk for most of the movie. But he does redeem himself at the end and is still a likable character.
The feminist and female empowerment messages are all well and good. But I think that my favorite element of the movie is that there's no traditional villain. There's a few incidental antagonists, but no central villain who directly opposes the heroes throughout the movie. There's no Maleficent, no Scar, no Jafaar, no Prince Hans. The big bad monster at the end of the movie is the closest thing the film has to an overarching villain, but even that isn't so much a genuine villain, as it is simply a misunderstood force of nature (and a rather obvious metaphor for human-induced climate change and ecological destruction).
There is no true, singular villain. The big, bad monster at the end is more a misunderstood force of nature.
Moana's central conflicts are person versus self and person versus nature... [More]
Sumer is one of the oldest civilizations known to have existed. The first permanent cities may have been settled along the Euphrates and Tigris rivers of Mesopotamia (modern day Iraq) as early as 5500 B.C., and written records date back as far as 3300 B.C.. The Sumerians were among the first adopters of agriculture, as the fertile floodplains of the "cradle of civilization" allowed for an abundance of food that enabled large, urban population centers.
Gilgamesh is an epic hero and king in Sumerian mythology. The Epic of Gilgamesh (transcribed in cuneiform on stone tablets) is the oldest surviving work of literature, and is credited as the world's first work of great literature. Copies of the poem were discovered in the ruins of the royal library of the Assyrian king Ashurbanipal. According to the epic poem, Gilgamesh was a demi-god who is best known for taming the wild, feral man Enkidu and forging a lasting friendship with him. The two adventured together many times before Enkidu was killed by the gods for defying their will and helping Gilgamesh to kill the sacred Bull of Heaven. The death of his friend sent Gilgamesh into depression, and he dedicated the rest of his life (according to the poem) to a futile search for eternal life. Scholars and historians originally dismissed Gilgamesh as a mythological figure, but archaeological finds suggest that he may have been a real historic king of Uruk sometime between 2800 and 2500 B.C.. Whether the stories are based on true events, or are purely myth, they can be seen as an allegory for civilization itself, which Sumer, and Gilgamesh, helped to establish.
Civilization VI is still very early in its life-cycle. Strategies for the game (and for specific leaders and civs) may change as Firaxis applies balance patches, introduces new features, or expands the game through DLC or expansion packs, or as the Civ community discovers new strategies. As such, the following strategy guide may change from time to time. I will try to keep it up-to-date, and will make notations whenever changes are made. I'll also post links in the official 2K forums and CivFanatics, where I'll also report any changes made. If possible and practical, I will try to retain the original content of the strategy for posterity.
I welcome any feedback or suggestions that readers wish to offer. Feel free to post on the linked forums, or by posting a comment at the bottom of the page.
This guide is up-to-date as of the December 2016 patch (ver. 220.127.116.11).
Gilgamesh might be a very good leader for beginners to the game. Gilgamesh encourages making friends and allies, and his uniques grant early game bonuses that will help new players get off to a good start. The bonus reward for clearing barbarian encampments will also help teach new players to build a sizeable early military and go hunting for barbarians, which is a good strategy for Civ VI in general, regardless of your leader or civ. So I recommend Gilgamesh as a good place to start, and he will be the subject of my first Civilization VI strategy guide! [More]
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