For me, when it comes to entertainment, the Mass Effect Series is definitely up there with the likes of Doctor Who and Harry Potter. It's deeply laid out universe and lore mixed with compelling characters and solid storytelling makes it the best thing since cheddar cheese. It's well worth the 100 hours of your life that it takes to complete the thing, if you have that amount of time of course. Question is, how do you go about cataloguing all your favourite moments from an experience that is 100 hours long? How do you define what's good and what's bad? Well I could have easily made this list a Top 100, because really every hour of the series holds a least ONE good moment for me to justify. For the sake of sanity though, I've decided to cut it down to simply the Top 10-15:
Discovering the Citadel (ME1):
I remember playing Mass Effect 1 for the first time, not knowing what would come next, or what would be thrown at me. This bit, right at the start of the game, opened my eyes to see just how expansive this game series could become. It's a glorious vista, one that sets the scale and just sheer epic-ness of what's to come in the next 99 hours.
Meeting a Reaper for the first time (ME1):
This is one heck of a reveal. Before this point Mass Effect seemed to be a fairly straight forward Space-opera, one that involved a rogue council agent named Saren gaining the allegiance of the Geth, an army of synthetics in order to (supposedly) find this Conduit thingy and eradicate the human race. Then in the middle of the game it's revealed that Saren is actually just a pawn in a massive chess game played by the Reapers, a species of super sentient life forms that want to eradicate all organic life in the galaxy in order to preserve the 'chaos'. Just imagine a floating army of chuthulu's, each one 2 kilometres wide and wanting to eradicate all life it sees. Now THAT'S a threat. The game suddenly went from being your classic run of the mill save the earth plot to the threat of ALL ORGANIC LIFE IN THE GALAXY BEING WIPED OUT. Now those are some odds. From then on, it was epic all the way...
The Battle for the Citadel (ME1):
A space battle worthy of Star Wars, the final battle in Mass Effect 1 is something to be gawped at, as the Reaper Sovereign ascends upon the Citadel with his Geth fleet to start the mother of all galactic conflicts. Again, it's just the scale of this battle that gets me every time. It also showed just how powerful the Reapers were, and made the prospect of there being an army of them all the more terrifying. This battle wouldn't really be topped til' Mass Effect 3.
Shepard Dies (ME2):
The opening to Mass Effect 2 is one of the best introductions to a video game of all time. Mass Effect 3 tried to mimic it, but lacked the element of surprise that this had. Bioware essentially pulled a twist where your character Shepard, after having been built up over the last 15-20 hours, suddenly died from an unknown threat. Everyone you knew had supposedly died as well and your ship, the Normandy, was completely blown to SH*T. Fantastic surprise, but of course they had to resurrect your character afterwards.
Tali's Loyalty mission (ME2):
For many players like myself, the character Tali holds a fond place in our hearts. A lot of it is because you feel so protective over her, because she generally is a nice, sweet person (that happens to be a suit wearing alien but you get the idea). So when her life on the Flotilla is put at risk, you naturally feel inclined to help her in just any way you can. What follows is an emotional roller-coaster, and Tali is put into a horrible situation by the end of her loyalty mission. I felt for you, Tali.
Garrus' Loyalty Mission (ME2):
The best parts of Mass Effect 2 are the loyalty missions, without a doubt. They offer an insane amount of depth for everyone in the squad roster, and elevates them beyond your average 'Soldier Number 087' type fair that most video games suffer from. A great example of this is Garrus' loyalty mission, where he essentially becomes the Mass Effect version of Batman, in a weird way. Garrus is compelling as a character because he's a wise-cracking always-got-your-back-pal type of guy, but this mission gives him some SERIOUSLY dark undertones, and for a second I wondered if he would turn into a full on cold blooded killer if I didn't restrain him. The video above demonstrates one of two possible endings, and how compelling this 'video game' can become.
The Suicide Mission (ME2):
The ending of Mass Effect 2 is even more bombastic and loud than the ending of Mass Effect 1. It's essentially an hour long Michael Bay set-piece, but one that is riddled with gut-wrenching moments. Depending on your choices throughout the game and during this mission, everyone on your Team could die (including you) or live. This uncertainty makes you genuinely nervous, because you care for your squad so much at this point and don't want to see any of them go, especially since if they die here, they won't be showing up in Mass Effect 3 if you import your save. I've played this mission multiple times on different playthroughts, and whether I lose two, four, or even eight Team members it still has that same effect: dread.
The kid dies (ME3):
A brilliant scene, one that kicks Mass Effect 3 off with an emotional punch and sets the stakes for the rest of the game. The fact that this is the only kid seen the Mass Effect universe makes it even more poignant. The music is what sets me off though.
Discovering Project Overlord (ME2):
Oh god, the ending to this Mass Effect 2 DLC left me shattered. It just messes with your head, it's so awful. I can't even begin to describe this one, it's just heart wrenching. Poor David...at least we see him again (and well) in ME3.
Liara becomes the Shadow Broker (ME2):
Another powerful moment, one that stems from the DLC 'Lair Of The Shadow Broker' in Mass Effect 2. Liara as a character has evolved tremendously over the course of three games: she was shy and rather socially awkward in ME1, but the two year gap between ME1 and 2 evolved her into an emotionally cold, revenge fueled blue chick with a lust for blood. Well okay, maybe not that extreme, but she was pretty cold-hearted this time around. This moment marks another turning point in her character, revealing her more human side once again. It's nice to see her overcome a massive burden as well, not to mention the scene is reallllly epic.
Mordin's death (ME3):
What makes this so heart wrenching is that Mordin is so accepting of his oncoming fate, and he can finally put his guilt over making the Genophage to rest. Plus the song, a callback to his character in ME2, turns something originally humorous into something really sad and touching. Mordin, you really are the model of a Scientist Salarian *SOB*.
Anderson's death (ME3):
Oh god every time I watch this scene I want to tear up, it's just so PERFECT. Anderson is such a father figure to Shepard in this scene.
The final goodbyes (ME3):
After 100 hours of playing as Commander Shepard, this hit me the most. Why? Because it was the last time I was going to talk to these characters, and I knew that I wasn't coming back for another mission this time. This was the end, and no matter what choices I made during the Series, nothing would change that. So bitter-sweet, and so sad...
The fleets re-take Earth (ME3):
Just amaze-balls. I'd like to see Star Wars match a battle of this scope of size. It's pretty much every ship in the galaxy vs every Reaper in the cosmos. Pure epic-ness on a scale never seen before in both movies AND video games. SO MUCH PRODUCTION VALUE!
Well those are my favourite moments from the series, I would have made a list with the worst moments on it but to be honest, I can't really think of any bad moments that stick out like a sore thumb. Again, I'm just sad that my Shepard's journey is finally over. I can always start again from the beginning though, and make different choices than the first time around.
'Earth is burning. Striking from beyond known space, a race of terrifying machines have begun their destruction of not only the human race, but the entire galaxy as well. As Commander Shepard, an Alliance Marine, your only hope for saving mankind is to rally the civilizations of the galaxy and launch one final mission to take back the Earth and destroy the Reapers once and for all.'
The Mass Effect franchise is something that has always been close to my heart. When I bought ME 1 & 2 back in the summer of 2010 I was immediately enraptured by it's sense of story and direction, not to mention it's lofty ambitions that wouldn't be fully realised until now. Bioware released Mass Effect in 2007 claiming that it was not only the first in a trilogy of games, but would also see the choices that the player makes in the first game affect the other two games as well, forming a personal, deeply layered experience. Now while the first ME had a few issues (mainly to do with the gameplay), it's epic scope coupled with a gripping story more than made up for it's shortcomings. ME2, was to but it bluntly, was one the best video games I've ever played. It had improved combat, a kick-ass roster of squad mates to choose from (each one of them were fully fledged, deeply interesting characters that I could fully get invested in) and to top it off it even had improved gameplay over the first Mass Effect, opting for a more third person shooter focus. Of course there were still a few niggles to be found, the planet scanning was a MASSIVE borefest (more so than the Mako in ME1) and there were a few presentation issues here and there but hey, nothing is THAT perfect I suppose. I should also mention that my choices from Mass Effect 1 did affect my play-through, and it gave the game a much more personal slant than say....the sequel to Batman: Arkham Asylum: in other games you feel like you are inhabiting a character, Mass Effect creates the illusion that you are the character. So after what felt like a decade of waiting, Mass Effect 3 finally came out last Week. To say I was giddy with excitement was an understatement, hell I couldn't wait to pop that sucker in and finish the story of MY Shepard.
...But things started out badly. You see, for people that have played both ME1 and ME2 without altering their characters faces in any way like me you'll get a nasty surprise when you try to import your character from ME2: all your decisions and experience will carry over just fine, but the game won't be able to recognise your characters face and revert to the 'default' Shepard. So you either play the game with an entirely different face (that will completely destroy any sense of immersion held by the previous games) or try to reconstruct the face the best you can. While I chose the latter option it wasn't a perfect reconstruction so for the first few hours of play I felt extremely alienated and detached from the experience. After that though, I slowly forgot about what my character looked like and more on the highly addictive way of Storytelling. While the story of Mass Effect has always been consistent in it's quality, the level of stand-out moments have been increased two-fold in this game. This time it even gives a more involving look into your Shepard, you definitely see the more human side of him/her in this game. There's one particular moment in the beginning of the game where you see a boy (the only depiction of a kid in the ME universe) hiding in a nearby air vent. The boy is scared and no matter how hard you try, he won't be persuaded into coming with you. We then see him being blown to smithereens by a Reaper a few minutes later, as he's trying to escape the earth in a shuttle and I saw the look of disgust and utter horror in my Shepard's face. Then later I experienced his nightmares, all of them depicting him running towards the boy before bursting into flames. In the final nightmare I even see Shepard burst into flames as well, this time while holding onto the boy. So the death of this one kid will have a deep effect on your character, and the dialogue options have changed since the second game to reflect this. For me, it's these details that make the story of Mass Effect 3 stand out. Everybody you talk to has this underlining grim tone, and the effects the war is having on everyone around you is apparent, as is the main theme of sacrifice. The game is packed full of heartbreaking moments, you'll deciding the fate of an entire species, sacrificing one character to save another (now that IS heartbreaking, especially when they're two of your most beloved characters) and even determining the future of all life in the galaxy going forward. Each of these moments have impact, and are beautifully done. If it weren't for the combat aspects, you'd think you're watching an interactive movie. It's still fascinating to see all your decisions from the previous games add significance to this one, whether they impact in small (sometimes unnoticeable) ways or alter some moments entirely. Your actions at the end of ME2 in particular will definitely alter this game, because a lot of your squad mates could have died (or lived) depending on your actions. If I was to find a fault I'd say there were a few balancing issues though, because some of the smaller decisions you've made in the last two games will have bigger impact that most of the 'bigger' decisions! Remember the fate of the Collector base in ME2? Almost completely ignored, and yet a decision you made on a whim in ME1 could completely change the dialogue for some of the characters. Still, it's nice to see that people remember what you've done, and act accordingly around you because of it. Still, the story in ME3 is both epic in both scale and scope (more so than the previous entries in the franchise), you see entire worlds being devastated right before your eyes, not to mention some awesome space battles that could rival anything that Star Wars and Star Trek could throw at the big screen combined. It also wraps up all the major story arcs that have been slowly burning in the background since Mass Effect 1: In Act one you escape Earth and cure the genophage, Act 2 resolves the big Quarian/Geth conflict and Act 3 wraps up Cerberus and the Reapers. It's perfectly paced throughout but to be honest with you, I actually think the Reaper storyline has the worst resolution out of all of them (despite being the most important one), but I'll get to that a bit later. The other arcs are well handled though, each of them are capped with an emotional punch that will suck your eye-balls dry. Oh god, a nickle for every time I felt like crying...there are some really sad cut-scenes in this game! Cudos to the Cerberus arc in particular though, Martin Sheen voices the Illusive Man perfectly and it's a fitting end to a character who really did keep me guessing till the end. Wow...just wow. Speaking of the voice acting, can I just say that it's one the best casts I've seen in ages. On par with Arkham City I'd say, and if you've played that game then you know how big a compliment that is! A few questionable decisions of course, like hiring Freddy Prince Jr and Jessica Chobot (seriously, WTF?) but I welcomed the new characters with open arms by the end as they slowly (but surely) won me over. It's nice to see that Keith David's character Anderson got more screen time as well, he turned into quite the father figure for my Shepard. Even though ME3 is one of the most epic things in existence, the best moments in the game are still doing a tour of the Normandy (your ship) and having conversations with the different characters and just generally chilling out with them. It's nice to have a drink with Tali in the bar and watch her slowly get drunk, like in this video: I was also relieved to see my past squad-mates return, and even though they were merely extended cameo's the game still managed to wrap-up there ongoing story arcs successfully. The gradual end of all the on-going arcs gives everything finality, the game is really satisfying in that aspect. While there have been many debates online over the ending (and by ending, I mean the LAST 3 minutes of the game), you can't deny that while it falls flat on it's face in a few key aspects (like player choice, not to mention lack of logic) it nonetheless packs a powerful punch for people that have been spending time in this universe for what must be...oooh...100 hours by now? Look it's not the best of endings, but it's good enough, in my opinion. Besides, it ties in nicely with the bleak nature of the game, and fits in with the overall theme of 'Sacrifice'. Would I object to more endings/finality being added for DLC? No, definitely not. And remember, should the 100 odd hours before the last five minutes of the trilogy be discarded just because the ending was a bit trite? No, definitely not! Oh yeah, and I bought the Day One DLC that everyone was going on about. The Prothean character is quite interesting, I don't regret the purchase at all.
Now let's talk gameplay and overall presentation. While Mass Effect 1 had some pretty crappy combat (by anyone's standards), Mass Effect 2 really improved on this, to the point were it was actually 'fun' to play. Mass Effect 3 takes most of what Mass Effect 2 did, but amps it up to the next level. Guns feel more responsive, the customisation options are a nice addition and your enemies have some pretty nasty tactics up their belt this time. On normal difficulty it's gets pretty challenging at some points, but not to the point where you have to put your controller down in frustration. One new enemy in particular, the Banshee, can kill you in one hit if she gets too close, and the fact that she can teleport towards you just makes me want to turn around and run the hell outta there! The enemy types are all well done in general, with the Geth having the superior firepower, Cerberus with their devious tactics and the Reapers with their aggressive onslaught of sheer terror. The level-design is also improved, it's not just a well dressed corridor this time around, some of the level environments are huge AND on multiple levels. Shepard is way more agile in this game, leaping over gaps and running full bound into enemy territory. He plays better to, but the cover mechanics are still a bit fidgety in some cases, due to an extreme overuse of the A button on my controller. There are times when you want to jump over something but instead you break into a sidewards roll. So the combat is still fun, but the new enemy types and their different tactics make the game interesting, as well as the revamped level-design. Multiplayer, a new addition to the series, plays on the combat element and gives a Team of up to four players different objectives to do in a 25 minute time slot. Having played multiplayer extensively, I think it's a welcome addition, the positive points being that it encourages teamwork and enables you to increase your 'Galactic Readiness' in the single player campaign. Speaking of which, the way the game ties multiplayer and single player together is nothing short of genius and encourages everyone to play both modes, unlike some other games out there *COUGH* Call Of Duty *COUGH*. But instead of playing multiplayer, you could just do the several meaningless side-quests in the campaign to boost your galactic readiness instead, which are not only poorly handled in the games Journal, but basically boil down to tedious fetch quests anyway so there's absolutely no point in doing them. The side activities in the ME games have always been sh*t though, so no change there. No, play multiplayer, it's better than the alternative *SHUDDERS*. And the in-game journal has been taken a notch down as well, it barely updates you on anything at all and isn't even clear on some of the objectives. Basically, it's SH*T. Now for new players coming to the series who know absolutely nothing about the main story, the game will rewrite itself so that the dialogue is more exposition heavy and the characters explain certain things better. The game can even tailor itself to your liking with the options system at the beginning of the game. Do you want to breeze past the combat sections in favour for a more story driven experience? Then just select Story mode! Want improved combat but less time fiddling with the Story? Then choose action mode and all the decisions will play out as cut-scenes (but seriously, who in the right mind would want that? It's taking the BEST thing about Mass Effect and dumbing it down)! Or perhaps you want the best of both worlds? Then choose the full role-playing experience! So the game essentially tailors itself to your liking, it can be whatever type of game you want it to be, and that's just awesome. But come on, anyone who doesn't pick the role-playing mode will be missing out. Moving on to presentation, the game has had a significant update in the graphical department since ME2. I don't know what it is but the characters just look better this time around, and the environments are all pretty on the eyes. It's probably all down to the lighting effects. Like I said in the Story section, the action scenes in particular look stunning, and I couldn't tell if I was watching a movie or a video game in some sections. There are still a few issues here and there though, in my playthrough some characters got stuck in the scenery and during cut-scenes sometimes disappeared completely, and that's without all the hazardous screen tearing! Overall it's better than ME1 & 2 in most parts, but worse in a few others.
So is ME3 worth the time and effort? Yes. Does it justify me buying all three games in the series? Absolutely! Is it satisfying? In most area's, yes. Does the ending suck? Kinda, but it isn't as bad as some people have been saying. And finally, is it the best in the Trilogy? Yes, but by an EXTREMELY small margin. Here's my full list of both Pro's and Con's:
PRO's:
+ Gripping storyline, full of emotional weight + Hard choices with real consequences + Epic action sequences + Fun combat, level design, improved enemy AI + Multiplayer + Improved customisation + A near perfect end to a near perfect trilogy of games
CON's:
- Presentation issues - Awful questing system and journal - Dodgy cover mechanics - Character importation bugs - Iffy ending
Unlike other reviewers, I tend to evaluate the experience as a whole, so for example I don't take away 0,5 from the final score if the ending is poor, and add 0,5 because the combat is fun, I look at whether the ending outweighs the combat in terms of importance to me as a player or vice versa. So as a complete experience, I can without a doubt say that ME3 is a 10/10 (and the Mass Effect Series as a whole a 10/10), it sets a new standard for video game storytelling and ends Commander Shepard's story in a really satisfying way (for the most part). I just hope that this isn't the last time we'll see the Mass Effect Universe, perhaps they'll start a new trilogy after this focusing on another event set in the same universe? The ending of ME3 was a pretty bold move for the franchise, you can't argue that it didn't DRASTICALLY change life in the galaxy no matter what ending you chose. If Bioware were to follow up on the future of the Milky Way then it would more than justify that ending....Mass Effect 4: The Ending Explained anyone? Hmmm...interesting. Either way, this better not be the end. *SOBS* I DON'T WANT IT TO END!
UPDATE: Apparently, after an extreme backlash from the fans over the ending to this game, Bioware is going to change/add to the ending with further updates/DLC. It's nice to see that they listen to their fans, perhaps they can change the Journal system to?
'Adventure-seeking Belgian reporter Tintin and surly Captain Haddock race to recover a treasure that was lost at sea four centuries ago. Meanwhile, the malevolent Red Rackham is determined to beat them to it.' Being a long time fan of the Tintin comics (I read my first Tintin album at the age of 6), I was naturally drawn to the idea of there being a movie made out of my beloved comic book series. When I heard that both Peter Jackson AND Steven Spielberg were making it, not to mention the combined writing talents of Steven Moffat, Edgar Wright and Joe Cornish working on the script, I was practically giddy in my seat. How the heck did Tintin get such a stellar (practically match-made-in-heaven) production team working on his movie? Tintin must have more fans out there than I thought...
As to be expected, the result of this team-up is great. I think it blends the swashbuckling adventure of both Tintin and Indiana Jones together with the spellbinding action of a hollywood blockbuster. Not to mention it's 100% faithful to it's source material, and something that Herge himself would approve of. Steven Moffat helped write the script and it shows, the film never stops to take a breath, is filled with classic one liners, and Captain Haddock even says 'GERONIMO!' at one point! I also saw a Fez....It's just a fun, fast paced adrenaline fuelled ride that starts and doesn't halt until the very end. One of the action scenes in particular, set in the fictional Moroccan city of Bagghar, is done in one single take and is quite frankly one of the best chase sequences in cinema history. The cast is stellar as well, with both Andy Serkis, Jamie Bell, Nick Frost, Simon Pegg and Daniel Craig donning the mo-cap suits to bring Herge's characters to life. The motion capture is fantastic and gives the film a distinct visual style that set's it apart from the other films of it's genre like 'The Polar Express' or 'A Christmas Carol'. Watching it on Blu-Ray is a sight to behold. Again, while the film is essentially a string of action set-piece's the story in-between is both witty and fun enough to stop it from being simple eye-candy. The characters are all charming, but Captain Haddock, the alcoholic Sea Captain played by Andy Serkis simply steals the show with every scene he's in, and the film knows it, to the point where Tintin essentially becomes a secondary character. If you've read the comics though, it's pretty much that way as well. Daniel Craig makes for a good baddie as Red Rackam/Saccarin, and comes off as both menacing and likeable all at the same time. The Score by John Williams is equally fun and adventurous, you just feel happy by listening to it. And so do my speakers, too.
I hate to repeat myself, but The Adventures Of Tintin just screams fun with every second that it's on the screen. A complete blast from start to finish, packed with ingenious action sequences and a great sense of timing. It's young Indiana Jones essentially, so Spielberg was perfect for the job. The film is one hour and forty seven minutes long but it feels like half an hour. It really does. Cudos to everyone who made this movie, Herge would truly be proud. The Blu-Ray's special features are really well done too.
PRO's:
+ Fantastic action set-pieces + Great sense if humour and overall style + Great animation + Faithful to the source material + Catchy music + Captain Haddock!
This is just the first of many blogs I plan to be doing on my History of Art subject. Before I get into the nitty-gritty though I've decided to start with the biography of the comic's author: Herge.
On the 22nd of May 1907 in Brussels (Belgium) Georges Remi was born. At that time nobody knew who he was but at the end of his life on the 3rd of March 1983 practically the whole of Belgium mourned his death. And not just the people in Belgium either, by this point his work had spread out to pretty much every major continent in the planet, most notably in Europe. If you don't recognise his real name that's because he signed his work with a pseudonym that was based of the French phonetic pronunciation of the letters "R" and "G," taken from "Remi" and "Georges": Herge. Herge as a child had a real knack for drawing but didn't have any real training in the visual Arts. He eventually got a job in the scouting magazine "Le Boy Scout Belge" (1924) and made his first comic "The Adventures Of Totor". The hero of the comic Totor was a big inspiration for his next character Tintin, as they shared (roughly) the same features and both characters are on the move, exploring new locations and embarking on new adventures almost every other Week.
It was in 1928 when he began drawing for a new magazine "Le Vingtieme Siecle", which at the time was a right-wing publisher with a Catholic regime. As a result Herge's next work "Tintin In The Land Of The Soviets" took a more political approach, acting as anti-communist propaganda for children. The comic was published between 10 January 1929 and 8 May 1930 and saw Herge's new creation "Tintin" embarking on a journey to Russia in the days of the URSS, and had several real-life facts melded in with modern action sequences and Herge's trademark humour. After that, his work got more and more popular, to the point where his standard two-pages per issue had increased to 8-16 pages per issue. He also started making a new comic strip, this time called Quick & Flupke, which centred on a group of two boys unintentionally causing trouble wherever they went, further increasing his popularity. By May 1940, he had drawn 310 gags for Quick & Flupke and published several Tintin stories like "Tintin In America" or "Cigars Of The Pharaoh". All of Tintin's stories had him travel to distant, far off lands, but the amazing part was that Herge never actually travelled alot himself, but he was known for his meticulous and wide ranging research. Although you could argue that this is were his blatant racist imagery stemmed from, because comics like "Tintin In The Congo" was full of horribly drawn black stereotypes, with big lips and slave-like attitudes.
It was most likely a product of the time, but pretty noticeable by today's standards. In 1950 Herge made "Studio Herge" and produced the full 24 Tintin albums which were then adapted for T.V, radio, Theatre ect... By this point his work had been translated into several languages and were being read by Millions. Tintin was something of a cultural phenomenon, and had a broad appeal that everyone has come to love. Herge's famous style of drawing "Ligne Claire" (clear strong lines that never change in consistency) have inspired a new generation of artists, and his work has been closely studied by Art enthusiasts trying to unearth the possible hidden "meanings" in his drawings. After several years of acclaimed success Herge finally succumbed to his long term illness, which was most likely a form of lukemia.
His death was also hastened by an HIV infection that he had become the victim of during his weekly blood transfusions. Tintin's 24th album "Tintin And Alph-Art" was left unfinished, but was released posthumously in 1986. Herge's enormous body of work has just recently been incorporated in a massive museum, known as "Le Musee Herge" in Belgium. To date over 200 million Tintin albums have been sold.
It's going to be tough translating this into French, but before I do, any comments/criticisms?
As you all know, I haven't exactly been posting a lot lately. This has mainly been due to things like excessive Homework, Holidays or Mass Effect 3. It's also because it took three hours of work out of my life every Week and that just started to suck, especially with all the Homework on top of that. Now this doesn't mean that I'm going to stop posting, but I'm definitely going to stop my This Week In School blog posts because I just haven't got the time or passion to do them anymore. I mean seriously, how many times can you say Sport sucks? No, from now on I'm going to be posting everything School related on my Twitter feed, and everything else concerning my thoughts on T.V shows, Books, Movies, Games ect... will be posted here along with the occasional post that concerns History of Art or my School Reports, for example. Maybe if one School Week is particularly interesting then I'll do a 'This Week In School' post, but for now things are pretty boring. Besides, my Twitter muscles are in good need of flexing at the moment!
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