The Anti-Fanboy

961 posts

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The Anti-Fanboy

The Anti-Fanboy

@EinFeind

redacted Katılım Ekim 2022
27 Takip Edilen7 Takipçiler
Fortnite
Fortnite@Fortnite·
Your mission: protect the 🏝️ Join @PlayOverwatch heroes D.Va, Genji, Tracer, and Mercy ☎️ 5.14.
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The Anti-Fanboy
The Anti-Fanboy@EinFeind·
@thepksensei @PlayOverwatch I think when you focus on this one event only, it does feel a bit cheap. Blizzard has done some great things with the game recently. But for this specific event, it does feel underwhelming. Also the 21 hero purple recolors are particularly insulting.
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PKSensei
PKSensei@thepksensei·
@PlayOverwatch I swear I’m starting to hate Overwatch “fans”. Y’all will find ANYTHING to complain about! We are getting ten, FUCKING TEN heroes this year, new hero skins from artist contest, the stuff in this picture and much more they are saving for the date. Like wtf do yall want?!
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Overwatch
Overwatch@PlayOverwatch·
You’re in for a legendary good time during Overwatch’s 10th Anniversary Event 🔥 Join the party to earn 21 exclusive Launch Hero Skins, 15 Anniversary Loot Boxes, community-made cosmetics, and much more May 12 - June 1 ✨
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The Anti-Fanboy
The Anti-Fanboy@EinFeind·
@LunaRoseOW @ImHereForYas @thepksensei @PlayOverwatch This is probably more nuanced than that. Netease distributes the game, sure, and I’m not saying they don’t have any power they can wield to get this stuff exclusive to China, but Blizzard is still the developers and they are ultimately responsible for what goes into their game.
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Ramattra’s Kitten
Ramattra’s Kitten@LunaRoseOW·
@ImHereForYas @thepksensei @PlayOverwatch Blizzard has no say in what netease does, they are the ones controlling the events in China. And how is a company that gives you a free game with years of constant amazing updates in exchange for voluntary skin purchases greedy? Wtf are they supposed to do? You sound greedy tbh
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Valentina Gomez
Valentina Gomez@ValentinaForUSA·
I’m coming to England on a boat. They can try to ban me, but they cannot ban the TRUTH. See you on May 16th🏴󠁧󠁢󠁥󠁮󠁧󠁿
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Tabris 🏳️‍⚧️🍉 | Makoto Hyuga’s #1 Fan
From what I can tell, the Overwatch update improved the graphics & added assets for both Switch 1 and Switch 2 versions, but the Switch 2 version doesn’t have 60 FPS as promised. Both run at 30 FPS. 1/2
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Nintendo Prime
Nintendo Prime@NintyPrime·
I reported this yesterday, but... there are issues. They promised near 60 fps - it's locked at 30. They promised way better visuals than Switch 1, it looks almost indentical. It's like someone at Blizzard uploaded the wrong file. It's basically the Switch 1 version with gyro/mouse aiming. Lies suck, especially when they come from the game makers. Make this right.
Nintendeal@Nintendeal

Overwatch is available on Switch 2 now: bit.ly/4tcdXMR "Better visuals, higher fidelity audio, and up to 60 FPS in both docked and handheld mode"

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The Anti-Fanboy
The Anti-Fanboy@EinFeind·
@MonadoMax Honestly it looks and plays fine now. The 60fps boost is noticeable and way less lag. It’s possible they’ll keep refining it and add other features in the future. I’m happy with this new update though.
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The Anti-Fanboy
The Anti-Fanboy@EinFeind·
@znyoom If they can do it without much of a cost in visual quality, even better. I don’t think it’d be out of the realm of possibility.
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K.J
K.J@_KingJunny·
@aaronkellerOW @PlayOverwatch Can you PLEASE do something about this 😭, is just an updated 60fps version, why is it counting it as a completely different game and making my progress start from 0 😭💔
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Overwatch
Overwatch@PlayOverwatch·
Season 2 Patch Notes are live! 🔥 🧗 Operation: Grand Mesa Meta Event 6️⃣ 6v6 Balance changes for select Heroes 🏟️ Ramattra added to the Stadium Hero Roster ✨ Perks moved to baseline kits for select Heroes 📝 blizz.ly/4a8ABMa
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Jon Thompson
Jon Thompson@JohnnyFocal·
No — Arrow didn’t. The Shout one actually tracks closer to the 35mm print. Arrow looks like it’s been reinterpreted, with some creative choices layered on top of it. @ArrowFilmsVideo Oh yes, and the Shout version is a true 12-bit while Arrow's is only TV 10-bit.
ѕнσgυη ѕυρяємє@TimesSqKungFu

Hard Boiled [1992] Directed By: John Woo Comparison between the Shout 4K disc and ARROW 4K disc. ARROW nailed it. I told ya to wait. There are other details too like the Shout disc having noise and other stuff that has been broken down on the Blu-Ray forums. ARROW has better subs, color, artwork by @studiotstella amazing booklet with writing by @BBW_BFF and a bunch of other stuff as well.

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The Anti-Fanboy
The Anti-Fanboy@EinFeind·
@Lasselelle @JohnnyFocal @ArrowFilmsVideo They were right. @JohnnyFocal has been routinely wrong about encoding, color grades, 10bit vs 12bit. Ask him his thoughts on how no consumer display is capable of showing 12bit color if you really want a good laugh. He’s old and out of touch.
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Dawn of The Discs
Dawn of The Discs@dawnofthediscs·
Coming soon to 4K UHD The Chronicles of Narnia: The Lion, the Witch and the Wardrobe (2005) 4K UHD While playing, Lucy and her siblings find a wardrobe that lands them in a mystical place called Narnia. Here they realize that it was fated and they must now unite with Aslan to defeat an evil queen. MORE INFO/ARTWORK TBA #thechroniclesofnarnia #tildaswinton #Bluray #physicalmedia #Horror #HorrorCommunity #FilmCommunity #Bluray #4K #4KBluray #4KUltraHD #DVD #VHS #physicalmedia #FilmstaGram #physicalmediaforever #bluraycollector #bluraycollection #Horror #HorrorMovie #HorrorMovies #Film #Movie #Movie #Cinema #CinemaLovers #FilmTwitter #Disney
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Jon Thompson
Jon Thompson@JohnnyFocal·
Criterion, what’s fascinating — and frankly indefensible — is the silence. Not a single proper comment on why you released Eyes Wide Shut in an inferior version, when your entire brand has been built on doing the opposite. For years you’ve sold collectors the promise: the best possible presentation, done properly, with the respect the film deserves. And yet here we are — no full-fat Dolby Vision experience, no cinema-grade treatment, just a compromised encode that feels like it’s been engineered to save money and hope nobody notices. As if collectors — the very people keeping physical media alive — won’t notice. And that’s what makes it so offensive. It’s not merely a technical shortfall; it’s a tacit assumption that your audience is too oblivious to care. But we do care. This isn’t streaming ephemera. This is meant to be the definitive archival version of a major film — and you’ve delivered something that looks and feels like a TV-grade Dolby Vision compromise instead of the proper cinema-forward approach. It’s also a staggeringly silly business move. This is exactly how markets destroy themselves: not with a bang, but with corner-cutting dressed up as “good enough.” You squeeze the margins, you shave the costs, you degrade the product — and in the process you corrode the one thing you can’t buy back: trust. We’ve seen this film before. Vinyl in the late era did it — record plants cutting corners until pressings were practically flexi-discs. And now physical media risks the same fate: a mature market where the people making money decide they want to make more money, so they cheapen the very thing customers are paying a premium for. That’s not strategy. That’s self-sabotage. So: shame on you, Criterion — not just for the compromised release, but for refusing to address it. Why did you do this? What was the motive? Cost-cutting? Pipeline convenience? A decision upstream you didn’t want to explain? Because if you want a masterclass in how to lose your customer base and kill your market overnight, this is it. @Criterion @warnerbros @mdbmhk #EyesWideShut @Dolby @BrightSideHT @LegalBeagleOK @RalphAVSreviews
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Jon Thompson@JohnnyFocal

Criterion, how have you managed to do this to Eyes Wide Shut? This should have been a definitive 4K release — a reference-grade presentation of one of Kubrick’s most precise, most controlled, most intentional films. Instead, what you’ve put out feels like a compromise dressed up as prestige: a substandard home-video version that flattens the image into something lifeless, electronic, and fundamentally wrong. A 10-bit, Dolby Vision minimal-enhancement, TV-version approach to a film that demands cinema-grade 12-bit full 4:2:2 treatment, this is not “good enough.” It isn’t even close. Compared to the DCP, the disc looks drained of depth — the texture, the nuance, the delicacy of shadow and colour separation are gone. The atmosphere that is the storytelling in this film has been thinned out until it feels generic. That isn’t “a different look.” That’s damage. And the most infuriating part is what this disrespects: the work. Larry Smith’s cinematography and grading choices weren’t accidental decoration — they’re the film’s bloodstream. Every subtle tonal decision, every controlled shift in warmth and cold, every balance between glamour and dread was crafted to serve Kubrick’s intent. When you blunt that, you don’t just change the picture — you change the film. I worked on this film. I know what it’s meant to be. And I’m appalled at how casually this release treats that legacy — not just Kubrick’s, but everyone who carried this to the finish line: Larry Smith DoP, Jan Harlan Producer, Joe Dunton cameras and the Deluxe lab teams, the entire chain of authorship. This isn’t “Criterion being Criterion.” This is the physical-media market slipping into a depressing new normal where “4K” becomes a badge, not a promise. And it’s the same rot everywhere: compromised masters, missing premium audio, releases pushed out that feel like the minimum viable product rather than a definitive archival edition. If physical media is supposed to be the last refuge of quality and permanence, why are we accepting versions that are visibly and audibly second-rate? Eyes Wide Shut is not a casual catalogue title. It’s a landmark. A final statement. A defining piece of cinema. If you’re going to put that “C” on the box, then act like it means something. Because right now, Criterion, this is not preservation. It’s vandalism. @Criterion @warnerbros @mdbmhk #EyesWideShut @Dolby @BrightSideHT @LegalBeagleOK @RalphAVSreviews

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The Anti-Fanboy
The Anti-Fanboy@EinFeind·
@JohnnyFocal @Alex_Fedderly @DominicHailsto1 The criterion version of Barry Lyndon is fine, not perfection. It exhibits clipped highlights and a so-so encode in brighter areas. Not a bad disc at all. EWS is better. Doesn’t display any clipping, grain is fluid and organic. No chunky macroblocking. David M did great work.
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Jon Thompson
Jon Thompson@JohnnyFocal·
The Criterion disc is exemplary and a masterclass in picture perfection. The Warner's European disc is the total opposite. Now, if you look at Eyes Wide Shut, the Criterion version of Eyes Wide Shut looks like the European version of Barry Lyndon. See, you have nothing to compare it with, so when you don't have anything to compare it with, you can't actually make an assessment or a judgment. You can only surmise that it may be better or worse.
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