"File off the serial numbers, change the body lines a bit, give it a new paint job, switch it over the state line, and it's yours! —that's the secret of literary success. Editors always claim to be looking for new stories but they don't buy them; they buy 'mixture as before.' Because the cash customers want to be entertained, not amazed, not instructed, not frightened."
"I know they copy ''WorldOfWarcraft'', and I know they do it because they hope THIS time they will take a slice of WoW market and maybe make everybody there rich. […] I also know with so many MMORPGs doing the same thing, they will be luck[y] if instead of a slice, they get even some crumbles."
Andy Warhol: Everybody looks alike and acts alike, and we’re getting more and more that way. I think everybody should be a machine. I think everybody should like everybody. Q: Is that what Pop Art is all about? Warhol: Yes. It’s liking things. Q:: And liking things is like being a machine? Warhol: Yes, because you do the same thing every time. You do it over and over again.
— Roger Meyers Jr., The Simpsons, "The Day the Violence Died"
"Kerry's image-making stagecraft was amateur compared to that of the Bush administration. In a lame attempt to stage his own version of 'Mission Accomplished' nine months after the prototype, he had traveled to the unlikely location of Mount Pleasant, South Carolina, in September 2003 to formally announce his presidential campaign against the flag-and-veterans-bestrewn backdrop of the aircraft carrier Yorktown … Even hokier was the soundtrack: a recording of a military band playing 'Anchors Aweigh.'"
— Frank Rich, The Greatest Story Ever Sold
"I have all these people trying to hop aboard the Arpa express hoping that they become cool like me or earn my approval which will magically make their M.U.G.E.N video career somehow. That contest I originally held for the lulz might become the mental death of me..."
"Fox Publications was the poverty row of comics, their characters all completely and utterly derivative. I once asked the creator of the Blue Beetle, their most important character, what on earth possessed him to create this character named after a bug. He told me, in two words: Green Hornet. [Laughs''] Well, there you go."
"So getting Soul Reaver in stores around the same time as a bunch of shitty horror movies that have nothing to do with Legacy of Kainor even with fucking vampires was more important to Eidos than releasing a game that wasn't just half-finished. It's a good thing I never quit smoking; otherwise I might be forced to take it up again."
Yahtzee: I do love me that Ragdoll Physics in my 2-D platformers! That's what gets me, though, about gaming these days: Why the fuck does something like X-COM need a Physics Engine? Gabriel: Stuffing a sandwich full of foie gras. You're not helping.
"Ghost in the Shell was great for its lofty ideas and biblical symbolism, and also for its striking visualization of a cyberpunk dystopia; Oni, and we might as well throw Rare's two Perfect Dark games in this while we're at it, sorta nails the latter while completely ignoring the former. Oni's protagonist is like an Americanized doppleganger of Ghost in the Shell's Major Kusanagi, but while Kusanagi personified the series' trademark sense of William Gibson-esque philosophy, Oni's Kusanagi impostor roils about in a boilerplate Tom Clancy novel of gub'mint corruption, replete with your prototypical bullshit backstory."
"Large swaths of the scenes are clearly there to tick off boxes. An entire subplot exists not because anything happens in it but to give the comedy robot, who is easily the worst comedy robot I have ever seen, an appropriate number of jokes. The show is cynical and uninterested in doing anything but stringing together action sequences with a plot basic enough that nobody will fail to follow it.
As with its creator's previous Star Wars ripoff, Battlestar Galactica, the series enjoyed some brief popularity before getting canned. It was in no way what audiences wanted, but rather an attempt to give them something supposedly just like what they had previously enjoyed but, in practice, nothing more than warmed over and cynical attempts at capturing what Blake's 7 can't manage even with some top notch creators on it. For those who want to argue that Star Wars killed science fiction there is little better ammunition."
"This season is the introduction of Cole Turner, a half-human, half-demon lawyer … Since he's half human, he switches between being Julian McMahon and this big, Darth Maul-looking guy. I'm not kidding, that's what his makeup was meant to emulate. You can pick anything to be inspired by, Charmed. Any mythology, folklore, animal or person, real or fictional...and you chose a character from Star Wars: The Phantom Menace. Hat's off to ya."
"The whole idea of CSI Cardiff is laughable, with aerial shots of the city at night looking for all the world like the most chic place to hang out in England…The zooms over Wales between scenes are supposed to be really hip but they just remind me of the spinning cuts between scenes in 60’s Batman."
"What they can’t destroy, they absorb. They’re like Dracula (DraCula?)…'Aha!' says this imaginary version of DC, 'I get it now! The reason they liked Marvel, which was going for a slightly older audience, the reason I had competition that cut into my sales after bestriding the Earth like a mighty colossus for three solid decades, was that they wanted things that were mature. All that stuff that I used to do that was for kids, about cartoon characters with superpowers facing down weird situations, that wasn’t mature. They want violence and blood and cusswords and crying and moping and boy howdy they definitely want a whole lot of rapes. And since I can only do one kind of thing, that is what I must do.' Seriously, they have been chasing that dragon so hard that they actually did more Watchmen comics in an effort to drum up past glory."
"The success of Marvels showed the Big Two that there was a market for stories set in the past starring characters that the audience had grown up with. That (Kurt) Busiek is a fantastic writer who can push characters into the future even while tying everything into older continuity (as he did in Avengers Forever) was largely ignored. All the Big Two saw were dollar signs in stories about the past. Naturally, they went too far in one direction, and now we're inundated with these kinds of comics. It's not Busiek's fault (hence the "unwittingly" in the title), but he definitely pointed the way."
"Marvel has had some success with darkening up their universe and giving away secret identities like SweetTarts on Halloween, so DC is looking to do the same. And here's where I can't help but feel a little insulted. In looking to draw new fans more interested in a darker, more bloodthirsty type of comic, DC is willing to alienate the older fans who've been with them all along."
"Eragon is, bar none, the most complete and shameless rip-off of Star Wars ever xeroxed. Not even Turkish Star Wars stole as brazenly … The meanie in me says that Lucas could probably be accused of stealing the plot for that from half a dozen samurai movies, but the fan in me still doesn't care if he did. They didn't have hyperdrive in Hidden Fortress!"
"Jerry Bruckheimer tells me, 'No, we can’t do 2 ½ hours of things blowing up.' I defended, “Well, we could, actually. See, here’s what I’m thinking: ‘Titanic.’ Huh? Over a billion dollars worldwide. Three hours…love story…human tragedy…only nothing blew up. WE can blow things up!”... “Who’s gonna play the chick?” someone asked. I hadn’t thought of that. Cameron had Kate Winslet, whom nobody ever heard of. So I thought, ‘let’s get another somewhat obscure art-house non-American actress named Kate and see what happens.’ To make a long story short, we got Benny Fleck and Kate Beckenslavage, or something like that."
Jay: Well, this is a case of somebody in the studio system, some executive saying, "Who's hot right now? Oh, John Stamos!Vanity! Let's get all these people in a movie. What is popular right now in movies? Oh, Mad Max and post-apocalypse movies are popular, too! So our villains will inexplicably be Mad Max villains even though it doesn't make any sense!" Josh: Right at the beginning, they're starting off with scenes of Gene Simmons, and he's leading this broken-down amphitheater full of freaks, and I was like, "Oh, it's gonna be post-apocalyptic." And then they just cut to John Stamos doing gymnastics.
"Bemusing, how much money and effort go into the making of such a movie, and how little thought. It's months of hard work—for what? The movie is essentially an Alien clone with a fresh paint job. You know something's wrong when a fearsome tentacle rears up out of the water and opens its mouth, and there are lots of little tentacles inside with their own ugly mouths, all filled with nasty teeth, and all you can think is, 'Been there, seen that.'"
"This helicopter footage is accompanied by really bad ‘operatic’ music, no doubt intending to recall Apocalypse Now. And to the extent that I find myself muttering, 'The horror…the horror…' well, mission accomplished."
"This movie aims to be a comedy, but ultimately, the real punchline is that it got made in the first place. It’s based on a comic book published by Dark Horse, so I’m guessing someone somewhere thought, 'it’s a comic book movie, and people love comic book movies, so it’s gotta make money!' They should have run that idea past the makers of [[Scott Pilgrim or The Losers to see what they thought."
"The original Alex's face was pinned over the machinery, a human face stretched over the corporate machine to make it more acceptable. The new face looks like someone wearing a face-forming helmet, because Iron Man really made a lot of money and Hollywood really is that blatant."
It's just that the actual solid models for that don't actually exist yet, so Hollywood opts to use stupid models to try to achieve the same results.
For instance, if Johnny Depp clowning around in makeup and/or some kind of a stupid hat was the main shared element of three big-budget effects-driven movies based on well-known but questionably-viable nostalgia properties, then clearly this big-budget movie based on a well-known but questionably-viable nostalgia property also requires Johnny Depp and a stupid hat!"