You're pathetic. You'll never catch up... Maybe you should try something more of your speed, like Freddie
A fact-sheet is available for people who've never heard the show before.
The military put a chip
in Spike's head so he couldn't hurt anyone. Giles:
And that would be the abridged version. Buffy:
But he wouldn't hurt anyone anymore because he has a soul now. Giles:
Unless the First
triggers him again. Robin:
Triggers the chip? Buffy:
No, the trigger's a post-hypnotic thing
. The First put it in his head. It was...It made him...He was killing again. Robin:
So, he has a trigger, a soul, and
a chip? Giles: (scoffs)
Not anymore. Buffy:
It was killing him, Giles! Robin:
The trigger? Buffy:
No, the chip. The trigger's not active anymore. Robin: Because the military gave him a soul?
Because I'll be damned if anyone will ever have to pull a Crisis on Infinite Earths
to understand the continuity of my superhero stories, that's why.
In my humble (koff)
opinion, Bob did as much to help destroy the comic book industry during the 1990s
than any other single human being alive... For years and years and years, the editorial philosophy at Marvel
was to make each and every comic book as labyrinthine and confusing as creatively possible
. Marvel had the single highest-profile comic book in the Western hemisphere — X-MEN
— and Bob did everything imaginable to make it completely incomprehensible and inaccessible to new and/or casual readers. Everything. 'But, Mark...' I hear the whine. 'But, Mark, Bob kept the X-books best-sellers in the industry during his tenure.' Technically true — but let's look at the sales figures. Over the last six years, the sales margin between the X-books and their nearest competitors has dwindled from about three-to-one to barely 1.5-to-one. Woo-hoo. Cigars, everyone.
— Mark Waid
on former Marvel Editor-in-Chief Bob Harras
Fuck the casual viewer.
Seriously, who wants a casual viewer? If you’re a writer do you want a casual reader? I don’t want those people. Don’t want ‘em. Throwing them back. They’re like little fish on the hook. Throw ‘em back. I want the guy who’s come in who wants to be told a story. A story has a beginning, middle and an end.
I get the feeling Sonic is doing the Resident Evil
thing. That's where you spend years cluttering your game universe with characters and backstory, until it becomes to new
players about as penetrable as a stone slab that doesn't believe in sex before marriage.
Even facing death the Doctor manages to slip in a continuity reference (‘Not again!’). He knows what is expected of him in the JNT
I’m not going to bitch about dense continuity. I love references to past stories. The problem here is that there’s not any actual references. I mean, just look at the scene where Omega’s backstory is explained so that viewers know who he is and why they care.
Oh right. There isn’t one. There’s one line from Chancellor Hedin about him, and that’s it. It’s difficult to stress just how idiotic this is. This is a character who has appeared once before in the series, a full decade prior to this story
... The show spends more time doing exposition dumps
to help people that might have missed the Monday episode get up to speed with the Tuesday episode than it does catching up viewers who might have missed the episode that aired over a year ago on a different channel
... Omega was an unthinkable menace that negated the very fabric of Doctor Who
. This is just a pub quiz answer — 'who was the masked villain in The Three Doctors
"Too much of the Colin Baker era felt weirdly continuity-heavy, as if the people behind the show expected viewers to have an in-depth knowledge of the show’s extended history. For any show, that sort of expectation is toxic, but it’s particular damaging for a family show which is older than its target demographic."
The men in charge here are Watchers, men and women who observe and record the history of the immortals. If you'd seen the TV show, you'd know this. If you hadn't, you'd be a very confused audience member. Pat: I'm
confused, and I know
who they are!
: Before we start in with the actual episode, I just want to point out that the “Previously on Smallville
” segment during the opening is maybe the craziest 64 seconds of television I’ve ever seen. David
: It’s like Friedberg and Seltzer
putting on a Passion Play. Chris
: Seriously, I thought we were starting to have a pretty good handle on this show, but it is one solid minute of “haha, wait, what?
"You can see the effects of the sluggish start in the show’s viewership: After months of ratings freefall,
Agents of SHIELD eventually stabilized in March at about 5 or 6 million viewers per episode. But despite the improved state of the show, it stayed right at that number until the end. Even the big season finale barely saw an uptick from the previous week.
The problem is that the show getting 'good' coincided with it becoming completely impenetrable to new viewers. We went from episodes where nothing happens, to episodes where you needed to tack up index cards on a corkboard and string them together with yarn to make sense of everything. That’s just poor planning on the part of everyone involved, plain and simple."
As much as I have complained about having to watch this show as an adult for three solid seasons now, when I was a kid, I loved it. I had a paperback reprint of the Claremont
story where the team gets trapped in Murderworld that’s one of my formative comics experiences, but the show hooked me and made me the kind of kid who begged his parents to go to the comic book store so that he could get the latest issues. I dove right in, and was thrilled by this new, complicated side of Marvel superheroics. Until, that is, we got to Age of Apocalypse
. I went to the comic book store and heard that all the X-Men
comics had been replaced with alternate universe counterparts and that this was going to continue for four months
, and decided to just read Gen13
—Chris Sims on X-Men
, "One Man's Worth Pt. 1"