Stranger Things Season 3 Was A Huge Success, Here’s How Many People Watched

The newest season of Stranger Things was a massive success in terms of viewership. According to Netflix, 64 million Netflix member households watched the show over its first month. That makes it Netflix’s most-watched original show ever.

A “view” according to Netflix is when an account watches 70 percent of an episode of a show or 70 percent of a movie. The new streaming numbers were revealed as part of Netflix’s latest earnings report.

Stranger Things Season 3 opened to 40.7 million viewers in less than a week after its July 4 premiere, so the bigger numbers revealed this week are not surprising. According to Netflix, 18.2 million accounts finished the entirety of Season 3 in less than a week.

If you haven’t yet dived in, you can check out our Stranger Things Season 3 review for thoughts on how it’s bounced back from Season 2.

Stranger Things Season 4 was announced in October, and the first teaser suggests the show may move out of Hawkins for the new season. Netflix typically releases Stranger Things news around Halloween, so keep checking back with GameSpot for more.

For lots more on Stranger Things 3 and what’s to come, check out the story below (but beware, it contains spoilers!)

Little Town Hero Review – Small Deck Energy

Little Town Hero, developed by Pokemon studio Game Freak, tries to do a lot with a little. Fast-traveling from the mines near its titular town to its main street, the two furthest points on the map, only saves you about a minute or so of travel time. But the game wants its small village to matter, as it spends several hours familiarizing you with the small area and its residents. Its gameplay works the same way, doing for card-battlers what Pokemon did for party-focused, turn-based RPGs: distilling it into something the average person can wrap their head around.

And it works, sometimes. When you face down an imposing monster and cobble together a hard-earned win with all the tools at your disposal, it can make the equipment upgrading, crafting systems, and myriad currencies of other games feel like bloat. But more often, Little Town Hero doesn’t leave the strict confines it creates for itself; instead, it plays things safe by constraining your options so things don’t get too out of hand. While that occasionally produces some challenging moments, battles quickly begin to repeat themselves, making you wish you could see what its combat might be capable of if it weren’t afraid to take more risks.

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The star of Little Town Hero’s tiny village is Axe, a young troublemaker quickly thrust into defending his home from monsters after he acquires a red stone that gives him an edge against them in battle. Because the village is protected by a castle and surrounded by steep cliffs, no one knows where the monsters are coming from, so Axe and his friends begin tracking down their origins.

The crux of Little Town Hero is its turn-based gameplay, which borrows elements from card games but throws in a couple of twists. Fights revolve around a small deck of cards, called Ideas. Cards can be red (which have high attack values and can damage the opponent directly), yellow (which can fight multiple times a turn as long as they have the health for it, but can’t damage your opponent), or blue (which don’t have attack or defense values but activate powerful effects). The goal in most fights is to break all three of your opponent’s hearts by destroying all of their cards in a single turn by having them trade hits with yours, then attacking them directly.

Unfortunately, this setup lacks key aspects of other card games. The most glaring omission is that you can’t actually build a deck of your own; for most of the game, you’re stuck with a deck that caps out at just 13 cards. You can’t alter or customize which cards you bring to battle, so standard battles play out predictably; you look at the defense of your opponent’s cards, match them with the cards that can break them, and see if your hand can break theirs. Some cards have special effects, but you won’t see any outlandish gameplay mechanics; most effects either buff your current cards, deal damage, or add another card to your hand. Fights get boring quickly, especially after you upgrade your cards by working your way through the skill tree using the Eureka points earned from fights.

You can also mitigate much of the luck that factors into most other card games, which makes it easier to get the cards you need but also drives home how simple the strategy behind each fight is. In order to survive longer fights, you need to recycle cards by either losing a heart or spending BP (a resource you build whenever you destroy all of your opponent’s cards but don’t have a card to break through and damage them directly). You can even swap out cards in your hand for those in your deck at the cost of BP.

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While this curbs the element of chance that can sometimes be aggravating in card games, it also emphasizes just how often you end up using the same strategies each fight. Already used the card you needed to pierce through a boss’ defense to win the last round? No problem; with 3 BP, you can revive your entire deck and add that car right back into your hand. You end up sticking to one or two strategies and running them time and again because, again, your deck is made up of just 13 cards.

Because of how small your deck is and how well you can mitigate the element of chance, decision-making is crucial, and I did have a few of the a-ha moments where I was backed into a corner but, through a series of smart decisions, came out on top. But those moments quickly give way to going on autopilot. There might be a few deviations based on whatever tricks your opponent pulls or which cards you draw in the first turn, but at some point, I was able to run my plan of making several of my defensive cards invincible, steamrolling whatever offense the boss had, and hitting them for obscene amounts of damage in a single turn.

Boss fights are a little more exciting, since they introduce a couple of strategic layers. Instead of fighting in place, you take on monsters across a large swath of the village, mapped out like a small board, moving a random number of spaces each turn (though you can control where you move with certain cards). Most spaces on the board have a special effect when you land on them, granting access to an ally who can deal direct damage, allowing you to combine two cards into one, or letting you use certain cards to activate explosive barrels or cannons. Some villagers might even have suggestions, like punching a monster in the nose, that add new, one-use cards to your deck specific to that fight. Planning out where I’d travel across multiple turns depending on which cards I had that turn made from some well-timed plays that won me some fights.

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To counter these powerful bonuses, bosses offer up the kind of challenge the rest of the game lacks. Each boss has its own gimmick that nudges you toward different strategies; one boss might counterattack when you hurt it (encouraging you to find more indirect ways of wearing it down), or introduce cards that add a short timer to all of your moves until they’re destroyed, forcing you to be quick and possibly screw up. For the first half of the game, I had a tough time against monsters, since it seemed like they always had the upper hand. As I upgraded my deck, that tide slowly shifted.

This doesn’t make later boss fights breezy–some of them are tough. But even here, because you don’t have that many options to choose from, your path to victory doesn’t feel personal or creative. It also doesn’t help that during boss fights, both sides gain a protective shield that has to be whittled down before hearts will take damage, which makes boss fights take longer than regular fights–certain battles took the better part of an hour to get through. The combination of the gradually lowered difficulty and increased length of battles meant I knew I’d emerge victorious, but I dreaded the 15 to 20 turns it’d take to get there.

Outside of battles, you can trek back and forth across the village to run errands for shopkeepers and complete side quests that earn you Eureka points. But the village itself isn’t big enough to hold your attention for long; there are no other meaningful ways to engage with anyone outside of the couple of times they might ask you to get something for them, if at all. The only resource you have are Eureka points, so there are no minigames, equipment to buy, or anything else that might give combat more depth or provide an alternative from all the card-battling. The town only comes alive when monsters attack it.

Little Town Hero finds some success in avoiding some of the complex systems and tedious menus that can bog down other card games and RPGs, but it ends up suffering for it.

The story you unravel along the way and strings all the fights together is somewhat involved, but predictable and boring. Discovering the origin of all the monster attacks has a couple of twists, but mostly leads to a predictable story that moves at a crawl. Characters are largely forgettable, quickly fall into archetypes, and play out their roles without much room for nuance. A couple of later moments get some emotional weight thanks to a strong score from Undertale creator Toby Fox and longtime Pokemon composer Hitomi Sato, but characters are too shallow to hold up their end of the bargain, and the town doesn’t have enough going on to make it worth exploring beyond where quests tell you to go.

Little Town Hero finds some success in avoiding some of the complex systems and tedious menus that can bog down other card games and RPGs, but it ends up suffering for it. Keeping your card options limited allows you to approach encounters with clever instead of relying on luck of the draw, but the deck size is too limited to break the mounting doldrum of subsequent fights. And while I did get to know this town pretty well, that’s because of how small and suffocating it feels as it refuses to push outside its own boundaries.

Destiny 2’s Current Iron Banner Event Is Changing Tomorrow

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Bungie has announced that the latest Iron Banner in Destiny 2 will change tomorrow. You can expect a more traditional assortment of maps to play in the Crucible once the update goes into effect.

“Iron Banner’s first two days have been an intentional showcase of the newest Crucible maps in Destiny 2,” Bungie wrote in a tweet. “Starting on Thursday, the rest of the week will feature a varying mix of both new and classic maps.”

This Iron Banner is the first to occur in Destiny 2: Shadowkeep, making it the first of the game’s eighth season, Season of the Undying, too. Those familiar with Destiny 2 can expect this latest Iron Banner to follow the core conceit of the previous events: level advantages have been temporarily enabled in the Crucible. That means you should be equipping your highest Power level gear when jumping into a match.

But not everything is the same in Iron Banner this time around. In order to earn the limited-time rewards tied to the event, this time you’ll need to complete a new seasonal pursuit first. Called Scour the Rust, the quest is acquired from Lord Saladin at the Tower. Until you complete Scour the Rust, you will not be able to turn in the tokens you earn for playing in the Crucible, preventing you from earning Iron Banner’s rewards.

Though Scour the Rust will remain in-game for the rest of the season–likely as the required entry point for any future Iron Banner events during Season of the Undying–this instance of Iron Banner only lasts until Tuesday, October 22 at 10 AM PT / 1 PM ET / 6 PM BST. So if you want the rewards tied to this Iron Banner, you should complete Scour the Rust sooner rather than later.

Jay And Silent Bob Reboot Review: It’s Like Visiting An Old Friend

It’s been 13 years since Jay and Silent Bob appeared on the big screen in Clerks 2, and 18 years since the movie Jay and Silent Bob Strike Back, which sent the stoner duo on a cross-country trip to–of all things–stop a movie from being made. Now, nearly two decades later, Jay and Silent Bob are back to try to stop a reboot of that movie by rebooting themselves.

Jay and Silent Bob Reboot is so true to its title that you can’t help but laugh. In the film, the titular Jay and Bob–portrayed once again by Jason Mewes and writer/director Kevin Smith, respectively–are essentially rebooting the same story told in Strike Back. They’re going to Hollywood–again–to stop a movie from being made about the Bluntman and Chronic comic book characters–again. In the grand old fashion of reboot culture, though, the film updates things just enough to make you contemplate paying to see the same story a second time.

Is it a story you actually should revisit, though? Honestly, that depends on how you feel about Smith’s movies. For those who grew up on a steady diet of films like Mallrats, Chasing Amy, and Dogma, Reboot feels a lot like catching up with an old friend, seeing what they’ve made of themselves after all these years. It’s filled to the brim with celebrity cameos, nods to Smith’s other works, and more than a few lines of dialogue recycled from previous movies.

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Beneath all that, though, is a sweet and very human story. Jay and Silent Bob Reboot is about growing up and realizing when it’s time to let the next generation take over. When it comes to this film, that generation is a group of young millennial women they befriend on their journey to Hollywood, one of which Jay learns is his daughter.

These women look at Jay and Bob as relics of a bygone era–the ’90s–that don’t fit in as well as they think they do. It’s an idea the stoner duo has never been confronted with before, and watching them learn to integrate themselves into a society that doesn’t revolve around standing outside of Quick Stop is both funny and fascinating to watch.

Jay and Silent Bob were the creations of a young Kevin Smith looking to, above all else, make his mark on the world. Now, he’s 25 years into a career and over a year away from a heart attack that nearly took his life. Smith’s outlook on the world has changed, and it shows in how he approached not just Jay and Bob, but all of the film’s returning characters.

Most notably, Ben Affleck returns to a Smith project for the first time since Clerks 2. He appears in a very memorable scene as his Chasing Amy character Holden MacNeil, which serves as the emotional core of the movie. It’s this moment that gives Jay the final push to emotional maturity he needs. Honestly, it’s some of the best work Affleck has done in years, and Mewes more than holds up his end of the bargain as he finally grows up before the audience’s eyes.

Another standout is Smith’s own daughter, Harley Quinn Smith. The young actress only has a handful of credits that aren’t from her dad’s movies–including a small role in Quentin Tarantino’s Once Upon a Time in Hollywood–but she shines here. She is able to switch back and forth from venomous to incredibly vulnerable at the drop of a hat and manages to be one of the movie’s most engaging characters, even more so than the titular stars.

The rest of the principal cast–practically all newcomers to the world of Kevin Smith–do admirably in their roles, helping to make this reboot feel like something new. Still, even with how good they are and how sweet the film is, it’s far from perfect. While this is the best Smith has been as a writer and director since his 2011 horror movie Red State, it also suffers from a lot of the setbacks that tend to come with his work.

First and foremost, the cameos are way too over-indulgent. Practically every scene has a familiar face or nine jammed in, as if they’re living Easter eggs. Even Smith himself plays a second role in the movie as, you guessed it, filmmaker Kevin Smith. While some of the appearances are funny–like Chris Hemsworth playing a hologram of himself–practically none of them add anything to the film other than the ability to briefly show them in the trailer to convince people to see the movie.

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At least, thankfully, those that appear as the characters they originated in Smith’s other movies tend to move the story along, though there are some notable absences from the director’s rogues gallery of miscreants.

Another major thing going against it is something that you might not expect to be a letdown in a Kevin Smith movie: the dialogue. While the writer/director has always been upfront about not considering himself a visual filmmaker, the dialogue has been where his work shined. And while a lot of Reboot’s dialogue is great, some of it is pretty bad. So much of the film is recycled lines from previous movies that point out again and again how silly it is that you’re paying to see the same film a second time. The first couple of times it happened, it was funny. Once it happens over a dozen times, though, the novelty has worn off.

Ultimately, Jay and Silent Bob Reboot is the best kind of homecoming a Kevin Smith fan could hope for. It’s not perfect, but does reintroduce this cinematic universe that so many held dear in the ’90s and early ’00s. It also manages to be more than just a greatest hits montage, which Jay and Silent Bob Strike Back often felt like. There’s a real story here, buried under the dirty humor and parade of cameos. That’s reassuring, given that Smith has already announced plans to follow this movie with Clerks 3.

Vampire: The Masquerade – Bloodlines 2 Delayed, Here’s Why

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Vampire: The Masquerade – Bloodlines 2, the new action role-playing game set in the World of Darkness universe, won’t make it out on time. Publisher Paradox Interactive and developer Hardsuit Labs have confirmed that the title won’t launch during its previously announced Q1 2020 release window (January 1, 2020 – March 31, 2020). Instead, it is now coming sometime later in 2020, but no specific date or release window was mentioned.

In a statement, Paradox and Hardsuit said it became clear over the “last few months” that the Q1 2020 window was unrealistic. “Hitting the original launch time frame of Q1 2020 would risk shipping a game that does not meet the ambitions that the developer and publisher share,” the companies said. “This decision has been made to ensure that Paradox and Harsuit deliver the best Bloodlines 2 experience possible.”

Hardsuit’s Brian Mitsoda and Andy Kipling shared more insight on the delay in a post on the game’s website. Having already been in the development for 3.5 years, the studio wanted to take the time to make sure the sequel did not repeat the mistakes of the 2004 first game.

“There’s the responsibility to avoid some of the issues that plagued the first game, which was famously launched too early,” Mitsoda said. “Over the last few months, it became clear that to stick to our original date would risk repeating that mistake. We won’t do that. In the end, everyone working on this game wants to offer you the best Bloodlines 2 we can.”

Mitsoda said the decision to delay Bloodlines 2 wasn’t an easy choice or the first choice of Hardsuit. In 2019, the studio grew its development teams and improved its production processes, but this wasn’t enough to “deliver the quality we want at the date we promised.”

More details on the status of Bloodlines 2 will be announced at Paradox’s upcoming fan convention PDXCON this weekend in Berlin, Germany. Bloodlines 2 is in development for PS4, Xbox One, and PC.

Jonah Hill Has Passed On The Batman

While casting news for Matt Reeves’ The Batman project has been arriving at a steady clip–Zoe Kravitz was just confirmed as Selina Kyle–the movie will be looking elsewhere for whoever Jonah Hill was in negotiations to play, Variety has reported.

News of Hill’s potential involvement came several weeks ago amidst a slew of announcements, including Westworld’s Jeffrey Wright entering talks to join the ensemble as Commissioner Jim Gordon. Though the role Hill was set to play was largely unconfirmed, many speculated he would be a likely candidate for Eddie “The Riddler” Nygma or Oswald “The Penguin” Cobblepot, two of Batman’s most famous and most notorious villains. Both would have fit well into Reeves’ planned “detective-focused” story, with Riddler specifically geared toward challenging Batman’s deductive skills with, you know, riddles.

Unfortunately, with Hill officially passing on the project for reasons unknown, it seems Reeves will have to continue the search for rogues. Of course, this doesn’t mean Nygma and Cobblepot are out of the running entirely, but other likely candidates have yet to enter the fray.

The Batman will hit theaters on June 25, 2021.

New Lion King Was A “Huge Disappointment” Says Elton John, Who Wrote Music For It

The new Lion King movie was a “huge disappointment” to Elton John, the rockstar legend who wrote music for the original movie and the new one. Speaking to British GQ, John said he was particularly let down by the music, while he said he also feels that he wasn’t welcomed or “treated with the same level of respect” as he was on the first movie.

“The new version of The Lion King was a huge disappointment to me, because I believe they messed the music up,” he said. “Music was so much a part of the original and the music in the current film didn’t have the same impact. The magic and joy were lost.”

John co-wrote the song “Never Too Late” for the new Lion King. His credits on the original animated movie were far more extensive and memorable. With writing partner Tim Rice, John wrote numerous songs for The Lion King, including “Circle of Life” and “Can You Feel the Love Tonight,” the latter of which earned him an Oscar win for Best Song.

Going back to the GQ interview, John said the soundtrack for the new Lion King “hasn’t had nearly the same impact” on sales charts as the 1994 original did. He pointed out that the original movie’s music album was on the top of the charts for a long time, and in total it sold 15 million copies. The music business world is in a very different place now in 2019, with physical sales plummeting and digital services like Spotify on the rise.

Still, it can be said that the music from the new Lion King is not lighting the world on fire like the original did. “The new soundtrack fell out of the charts so quickly, despite the massive box-office success [of the movie],” John said of the new album.

He added that he wished Disney consulted him more for the new Lion King. “But the creative vision for the film and its music was different this time around and I wasn’t really welcomed or treated with the same level of respect,” he said. “That makes me extremely sad. I’m so happy that the right spirit for the music lives on with the Lion King stage musical.”

While John may be disappointed by the new Lion King, the movie was a tremendous success commercially. It has earned more than $1.65 billion worldwide, making it the most successful animated movie in history and among the highest-grossing movies overall of all time.

The new Lion King currently stands as the No. 7 highest-grossing movie in the history of cinema, only behind Jurassic World ($1.67 billion), Avengers: Infinity War ($2.048 billion), Star Wars: The Force Awakens ($2.068 billion), Titanic ($2.18 billion), Avatar ($2.78 billion), and Avengers: Endgame ($2.79 billion).

Despite its beloved inspiration, The Lion King 2019 got only middling reviews on GameSpot sister site Metacritic, and in GameSpot’s Lion King review. In particular, many critics suggested the remake was too faithful to its source material, while its more realistic animated style sacrificed some of the original’s expressive tone.

“Maybe it’s smart of Disney and director Jon Favreau to leave well enough alone and simply try to recreate the original’s magic with contemporary technology and actors,” Michael Rougeau wrote. “Incredibly gorgeous visuals, a star-studded new cast, a punched-up comedic script, and a new Beyoncé song will no doubt be enough to get plenty of fans–of all ages–into the theater to see this movie. But in the end, Disney is just repeating history, and that makes the new Lion King simply good, not great.”

What Did You Think of Tonight’s South Park?

South Park’s 23rd season continued with another Cartman and Randy-heavy episode this week. With plant-based meats all the rage in town, Cartman is the only one not happy about the prospect of sustainable eating. In fact, this is the week Cartman finally has that overdue heart attack.

We’ll have our review of “Let Them Eat Goo” up a bit later tonight. Until then, let us know what you thought of the new episode in the comments below.

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Seth Rogen Responds to Iowa Teen Arrested with Superbad ‘McLovin’ Fake ID

A man was arrested for drinking in a bar underage with a “McLovin” fake ID, and Seth Rogen couldn’t resist making a joke.

A 20-year-old was found in a bar early Friday morning in Iowa — where the legal drinking age is 21 — with a fake Hawaii ID under the name “McLovin” and the date of birth of June 3, 1981. The ID is a reference to the movie Superbad, which Rogen produced, co-wrote and acted in. The filmmaker took to Twitter to voice his response.

“My work here is done,” Rogen wrote while sharing a news article of the incident.

Pushing Overwatch On Switch To The Limit | Total Mayhem

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