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I remember when I saw the game for the first time and yeah, I was pretty skeptical too but it is very fun to play (. ut then again, you'll be thinking I would say that anyway). What I can tell you is that we're being very respectful to the pre-established lore and that Nosgoth is set in a previously unexplored era in the LoK timeline. When he enters the Abyss, Kain;s Empire is in full swing. When he re-emergfes, it's inm ruins and its clear Kain has been absent for quite some time (as evidenced by his lack of devolution following Nupratros cuerse as evinced by his Lieutenants. Nosgoth shows you what happened inbetween, not least what happened to the Razielim. As a game it looks fine, but it has absolutely nothing to do with Legacy of Kain. The Vampires in Nosgoth are still fledglings, albeit powerful ones. Equally, they have yet to mutate and devolve into the more beastly forms seen in Legacy of Kain: Soul Reaver as the effects of Nupraptor’s curse have yet to become so pronounced in this period (although the effects are most clearly visible amongst the Razielim, the oldest of all the Clans). This is why the Vampires (aside from Vorador, but incvluding Kain) have five fingers in Blood Omen and Blod Omen 2. Also I'm sure someone who is more versed in the series lore might be able to clarify, but wasn't Raziel's clan wiped out immediately after Raziel himself was cast into the lake. If that's the case how is his clan in this game with wings.

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I think some of the Stannis fans come from being Ned Stark fans. It was Ned who said Stannis was the rightful king and they are unable to grow beyond that and they are always looking for reasons to justify that. And a lot of people who praise the saga for its realism nonetheless fall into the very artificial and shallow interpretation that there is such a clear distinction. Good guys even in real life do sometimes win and live happily every after, or win and live a realistic but nonetheless satisfying life. It might be the most mutually loving relationship on Thrones. It’s built out of contempt, which has turned into real respect, and love—not that they would ever use that word. I have no idea if they would ever be able to act on it, and I don’t think they would. One of my favorite moments from Season 6 was Jaime’s speech to Eddie Fishpants Tully where he confessed his love for Cersei in an effort to manipulate him. I loved that. I’ve been lucky enough over the years to have a couple of those, and you think, “Oh, this is a really nice meal. That’s what I like about Jaime: he’s lost his arm and just his presence used to be enough to sway people, and he doesn’t have that anymore—but he’s still got his mind. He’s not like his sister and brother, but he’s been on the battlefield his whole life, and knows about people’s weaknesses and loving someone unconditionally—because he loves his sister unconditionally.

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Historically and generally, TV directors are perceived to have worked fast and cheap on a mission of expedience rather than in service to the story and the best way to tell it. Others are among the great unsung masters of not only the medium, but of the industry, directing, and American storytelling. The news story, feature profile, or obituary on any one of the hundreds of directors who were at home in both media nearly always recounted feature films and rarely or never the TV work. But sometimes these directors’ presentations on the small screen dwarfed those on the big one—in terms of content, style, performance, grace, pictorial quality, and overall artistry. Conversations with many film and television industry veterans shaped or informed my understanding of the director’s role in the making of TV productions and movies in general. I am indebted to many people who were helpful and spirited in their recollections with me about directors and direction. Many directors graciously allowed me their time and insight while I was primarily an entertainment journalist for three decades. My time spent independently with Richard Bare and John Rich was both instructive and entertaining. Primarily sitcom directors for whom I edited and placed memoirs—Confessions of a Hollywood Director and Warm Up the Snake, respectively— they illuminated for me many aspects of directing, and corners of TV history. Bare’s vast experience and TV pioneering on the Hollywood landscape are truly remarkable and includes 40-plus series, including every episode of Green Acres. Of the other directors in my experience, I particularly enjoyed the conversations with, and learned from, Paul Bartel, John Boorman, Jack Cardiff, Jack Clayton, Roger Corman, Clint Eastwood, Blake Edwards, Milos Forman, John Frankenheimer, Lasse Hallstrom, Monte Hellman, Walter Hill, Agnieszka Holland, Peter Jackson, Burt Kennedy, Sir David Lean, Delbert Mann, Ronald F. Pakula, Ivan Passer, Mark Pellington, Daniel Petrie, Joe Pytka, Harold Ramis, Carl Reiner, John Sayles, Paul Schrader, Joel Schumacher, Quentin Tarantino, Gus Van Sant, Andrzej Wajda, John Waters, and Robert Wise.

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