Get Even
Get Even is a first-person psychological horror game that showed quite a bit of promise pre-release, but the final version fails to capitalise on what it does differently and, in amalgamation with a number of other flaws, none of its potential is anywhere near realised. The title attempts to blend your typical shooter with a detective tale that tasks you with searching for clues, à la Condemned 2, but neither concept complements the other in this case, which is then worsened by the fact that both feel a little unfinished. This culminates in an experience that we think even the most devoted of horror fanatics should stay far away from.
Get Even
Another flaw present in Get Even is its presentation, as the title looks like a mid-gen PlayStation 3 game. A dreary colour palette, poor texture work, and an overall crummy graphical appearance means the game plays badly and looks even worse. To make matters worse still, we experienced numerous cases of screen tearing, and texture pop-in is a common occurrence even on a PS4 Pro.
@naruball Yeah it's always going to be a tricky topic. Like music, visuals are obviously very subjective - all depends on taste. And even then, some people care a lot more about visuals than others. I know people who won't play games unless they look absolutely cutting-edge, for example.
Loss aversion rears its ugly head through several types of unhelpful behaviors. One such behavior is the reluctance to sell an investment that is trading below the original purchase price. There is often a strong desire to hold the investment until it gets back to even. I call this Get Even-itis.
I admit to cherry-picking GE stock as an example to make my point. Yes, there will be stocks that bounce back to new highs, but there is no guarantee this will happen to your stock, even to stocks that have bounced back for you in the past, and yes, even for stocks of great companies.
get even (third-person singular simple present gets even, present participle getting even, simple past got even, past participle (UK) got even or (US) gotten even)
All stories involve a degree of misdirection by definition, but it often feels like misdirection is the only card Get Even has to play. Even the game's cast seem frustrated by its taste for obfuscation. Following one particular breakthrough, Cole Black, the (yes, ironically named) ex-military roughneck who serves as protagonist for most of the tale, asks his enigmatic associate "Red" why he couldn't have just given everything away upfront. Red and developer The Farm 51's answer is that you have to experience some events as they unfold in order to grasp their import - and there are times, during the game's final moments, especially, when this hoary old maxim rings true. But Get Even's twists and turns are more often evasive and defensive than tantalising or engaging. It has the mildly frantic air of an emperor who's just noticed a bit of a draught around his nether regions.
Get Even isn't an awful game - indeed, it suggests a team capable of making a great one. The title is pleasingly double-sided, for one thing. It evokes the kind of cheesy, on-rails revenge fable Midway might have shipped in the mid-noughties, and there's certainly a B-movie pong to the "cornergun", a weapon you acquire early on that folds 90 degrees to let you snipe from safety. But as the boxart's inverted lettering implies, the title also refers to the act of evening out discrepancies between accounts, reconciling versions of reality - a process elegantly summarised by one, later puzzle, in which you must arrange a room's contents to mirror that of another room through the window.
The plot takes place in modern-day England, and begins with Black failing to save a kidnapped girl from an explosion (a premise that saw Bandai Namco delaying the game to avoid releasing in the aftermath of the suicide attack at the Manchester Arena). On regaining consciousness, he finds himself in the grounds of a ruined asylum wearing a sinister-looking headset. It's here that Red pops up, a grainy silhouette on a flatscreen, to explain that Black is undergoing a form of virtual reality therapy, having been left in a coma by the blast. To wire his brain back together, you must search the asylum for photographs that unlock flashbacks of the events leading up to the explosion, and repair those memories by recovering or restoring the key artefacts and conversations while fending off (or hiding from) various gun-toting jarheads, representative of Black's mounting anxieties.
As enjoyable as these motifs are to peel apart, however, none of them are as spectacular or intriguing as the setups you'd encounter in a pure-bred horror game like Silent Hill, and all of them are ultimately just camouflage for a bloated, self-indulgent tale of masculine inadequacy. Stories about failing masculinity are almost as common in video games today as, well, stories about being trapped in simulations, and Get Even's take lacks the intelligence of The Last of Us, or even Bioshock Infinite. Think brittle cliches such as predatory career women or lairy, hard-drinking Irishmen, and mawkish scenes of domestic bliss contrasted with graffiti that screeches "it's all your fault". The ending does throw the plot into a new light, particularly its female characters, but it also makes the entire narrative feel like groundwork for a game that isn't caught in the mesh of one man's vapidity, a game you never actually get to see.
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After decades of coaching powerful executives around the world, Lolly Daskal has observed that leaders rise to their positions relying on a specific set of values and traits. But in time, every executive reaches a point when their performance suffers and failure persists. Very few understand why or how to prevent it.
Hello Lolly, as usual, short and sweet message through your article. There are two faculty of our mental section. (a) Intelligence (b) Emotion. A good balanced combination of this works well for us. Too much of either (a) or (b) results into even way of thought process. Thank you for the article.
Hi Lolly,Thanks for sharing your wisdom. This resonates with me as I am coming closer to ending a partnership. I have done everything to end it amicably to no avail. I have been staying true to my heart even when I have screamed out loud in frustration. I know this is a huge lesson for me and I see a very bright light on the other side of all of this chaos. Your #leadfromwithin tweetchat and community has helped me compassionately deal with a very difficult issue.
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The COVID-19 pandemic has already caused financial disruptions for millions of Americans, and many more will probably face hardships in the coming months and years. Federal Reserve data shows that 40% of low-wage workers lost their job in spring 2020 and unemployment claims exceeded 40 million at the end of May. And even as Americans recover from these challenges, they may encounter high mortgage application denial rates unless lenders adjust underwriting standards to account for the impacts of the pandemic. This, and the structural characteristics that make smaller mortgages less profitable for lenders than larger ones, may prevent creditworthy households from obtaining financing to purchase a low-cost home.
Today, the stakes for North Korea would be even higher. For one thing, above-ground nuclear tests just aren't done anymore. The U.S. and more than 100 countries, including the then-Soviet Union, signed a 1963 treaty banning atmospheric nuclear testing, a treaty that is still in effect. The last atmospheric test anywhere in the world was conducted by China in 1980.
"My money is on them not doing it," says Alex Wellerstein, a nuclear historian at the Stevens Institute of Technology. "There are other ways to demonstrate their capabilities that do not involve so much risk."
Initially, it all seems a bit random and disjointed - especially since wonderfully sinister music enhances the feeling of creeping unease - but slowly, the disparate strands draw together to form a coherent whole. At which point, realisation begins to dawn, and Get Even reveals itself as a disturbing but thoroughly thought-provoking meditation on the nature of guilt and the unreliable nature of memory (even Alzheimer's is touched upon).
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