Gyokuyoutama

The big part of why I love tired dog so much is that he worked perfectly for listening training.

-Reasonable conversation Japanese.

-Japanese subtitles to clear up ambiguities/allow using dictionaries.

-No English translations when I found them, meaning I couldn't cheat.

Now he's gotten big enough that he hard encodes English subs above the Japanese subs.  All the more power to him since I like it when any independent animator grows, but it kind of sucks for my intentions.

With all that being said, how did I find him?  I literally do not remember.  I vaguely remember seeing one of his videos come up in a Japanese twitter feed, but I do not remember whose it was or why I was reading it.  Probably I started at some vtuber and then got off course? Who knows.

So I guess tip 1 is if you just randomly go through as much content as you can, sometimes you stumble onto stuff.

As for non-vtuber videos, you can pretty reliably find yukkuri videos anywhere, and sometimes they work for listening practice.  If the computer voice isn't so fast you can avoid problems with people slurring words (obviously you want to know how to listen to that eventually, but in the early stages I think it's okay to not worry about it and just focus on the words.)  But in my experience yukkuri videos tend to intentionally go fast and use poor synthetization to the point that even Japanese people can't understand them without subtitles.

There's a lot of skit style channels like totally not-Kaguya Luna's:

But I don't know any reliable way to find these either, I just stumble upon them or have them recommended sometimes.

Sometimes I thought it would be fun to find a video of some Japanese people reacting to American movies, since then at least you'd know the context.  But I've been able to find maybe 10 of these, ever.  I don't know if Japanese people just don't make them, don't post them in places I know about, or if they are buried by the algorithm (most searches EVEN USING JAPANESE tend to turn up American or Koreans instead), but they practically don't exist.

Now obviously you can get a ton of Japanese video content by going to Nico Nico, but in my experience that's a quick trip straight into the deep end.  Once you get past vtuber content and anime clips Nico Nico Douga tends to be extremely dense meme content.  I have a feeling that even if I spent a year researching nothing but it, I still wouldn't understand most of cookie ☆.

So my main answer is: I dunno.  Sometimes you find stuff.

I present to you the greatest anime opening ever made:

I guess to appreciate this you have to have both played Snatcher and watched Patlabor, so maybe the audience here is just me.

But the rest of you may be interested to know that this was literally drawn in MS paint.  No seriously, that's what the description of the video says.

I picked up "Last Command" a while ago, purely due to being made by the same Studio that made Rabi-Ribi.

I'm guessing that this game was heavily influenced by Undertale, though I've never played Undertale so I can't be completely certain.  (Cue three people telling me to play Undertale.)  You have a mix of overworld exploration and bullet hell boss fights, RPG elements, intentionally low resolution art in said boss fights and

But it's definitely not a copy.  The deeper goal was to mix the old game "Snake" with bullet hell.  Now they didn't do this literally; in particular you are never in any danger of running into your own body (despite that being the main hazard in most versions of Snake.)  However they did capture the feel.

To get much further I have to talk about the setting.  The game takes place in the "2D World" which here means a computing system.  Details are kept vague for most of the game, but at some point humanity decided to upload itself into some computer system, which was also inhabited by programs made by humans (and programs made by programs.)  You play as a program called "Python" (which is as about as appropriate of name as you could want.)

You often have to battle programs for a variety of reasons, usually to defend yourself or to try to take control of them for some purpose (like opening firewalls.)  This is where the Snake influence comes in.  You yourself are three dots and can move quickly, but only in the orthogonal directions.  You fight programs by collecting and analyzing their data.  The data appears in random places on the screen which you then have to collide with, and when you do it is added as another dot at the end of your "tail."  Just like in Snake when you turn your tail will continue moving in the same direction until it reaches the turning point.  You can attack the enemy program by entering "analysis mode" where a cooldown timer will tick down, each time removing a piece of data and hitting the enemy core.  This goes much more quickly if you are in "overclock mode" which requires having a certain number of data pieces.  The exact number depends on which upgrades you've chosen.  Generally in boss battles the rhythm will be that you will collect data until you are in overclock mode, then do your analysis, then strike the enemy core once it is fully weakened.  However this can be tricky, since if your data is hit it will disconnect from you, and have a 50% chance of vanishing immediately (otherwise you can pick it up, but it's on a quick timer.)  If one of your first three dots (i.e. you) are hit, then you will take damage and have all of your data disconnect.

It's clear that the designer put in a lot of thought into what would make this work.  If this was purely Snake gameplay, then it would be impossible to dodge the spam that you expect to see in Danmaku, so they made it that when you are in analysis mode you only take up a single dot and can (very slowly) move in any direction.  Basically focus mode.  But this also means that any hit is always to your core, i.e. you can't get away with just losing data.  Now being able to focus could cause the problem of making the game just a bullet hell game, if there was no reason to ever go back to "Snake" mode.  But they saw that would be an issue and worked around it.  To begin with, you have to collect data to attack, meaning you have to move all around the screen, and it often is not fast enough to do so in analysis mode.  There are also attacks where you cannot get out of the way quickly enough in analysis mode, but where you can maneuver through in Snake mode.  They give you bombs on a mana counter, and the mana only regenerates in Snake mode, further incentivizing that style of gameplay.  And just to be safe, some bosses have "yellow" attacks that only hurt you in analysis mode, and these are usually ray attacks that are impossible to dodge otherwise.  So you'll be using Snake mode a lot.

Speaking of colors, there are a wide mix of attacks to keep things interesting.  Red attacks just hurt, but can usually be bombed.  Yellow are ineffective in Snake mode.  Blue is basically the opposite: they are ineffective if you are standing still (only possible in analysis mode), and purple can be destroyed if you use your dash feature.  Many bosses have puzzle style attacks.  For a simple example, there is a mathematics boss who will write things like "3+7 = 10" and then fill the screen with columns corresponding to YES and NO.  If you are in the wrong column after a couple of seconds, you will get hammered by an unavoidable attack.  This also gets me to how the game is good at naturally teaching you to deal with things.  The boss starts with a wave where he just asks you simple addition questions and so it is basically impossible to lose if you're not a completely idiot.  But later on he will be doing things like asking whether "2+9-3+1x2 = 16" while also shooting bullets at you, which makes it much trickier.  If the game started at that mode most people would be killed without really knowing what the game expected.  But with the simpler wave beforehand you know exactly what you're supposed to do, it's just a question if you can actually do it.  There are also nice variations on themes as the game progresses; for example another boss has waves with the same YES/NO gimmick, but this time instead of math questions he's asking whether certain statements are consistent with his philosophy.

Outside of boss battles, you wander around an overworld a lot.  Sometimes this is to ask questions of inhabitants of the world, but the world is pretty abstract and void (the setting is the inside of a computer after a war that destroyed many programs so this is story appropriate.)  Usually the bigger focus is getting to specific locations.  To do this you will have to go through obstacles reminiscent of that flash "The World's Hardest Game" (though things are much more manageable.)  There are RPG mechanics where you can find extra modules for a variety of effects.  These can be lost forever, but the modules aren't in specific locations but rather when you open a box containing a module you unlock another on a list. This means that you can get to a point where module boxes no longer give you anything because you already have them all (I think I found 10 or so like that.)  Thus while you can miss individual boxes forever you're unlikely to miss a module unless you are intentionally avoiding opening the boxes.

The modules themselves create nice variations to the game.  Some are simple, like lowering dash cool down, increasing health, or increasing mana recharge.  Others have more unique effects.  One I used a lot caused you to do a small amount of damage every time you pick up data, which takes some of the sting out of getting hit on your tail.  Another dramatically increases the damage when you analyze data when you have exactly one piece of data, but also slows down the speed of analysis with one piece of data (and it's slow to begin with.)  This pushes you more towards a bullet hell point of view.  One prevents data from being lost immediately, but reduces the time for it to vanish once it appears.  One gives you health back for successfully sitting through blue barriers or dashing through purple bullets.  On top of that, every module is in one of three colors: red (focusing on attack and dashing), blue (focusing on data collection and retention) and green (focusing on increasing your health and mana.)  If you "specialize" in a color you get certain bonuses.  For example, red will dramatically decrease the amount of data necessary for overclock mode and blue will cause additional data to sometimes randomly spawn.  There is also a bonus for having one module of each color.  These change the gameplay a lot too, so there is definitely room for experimentation and replay value.

I don't want to get into too big of spoilers but I feel like I have to mention:

The music is fun.  The game often syncs up bouncing elements to the beat, much like MysteryBen's music videos for Mystery Skulls.  Despite this being a danmaku game, there's only one theme that reminded me a lot of ZUN, which is this one (the Touhou really kicks in at about 1:00, and especially 1:30):

Usually it's more of a techno/tracker vibe:

Though sometimes with other bits of flair, like circus music:

Overall I definitely enjoyed this game, and I think it's worth the base price of 15 bucks.  My playthrough took about 10 hours which I think is going to about what most people experience.  That was just at standard mode (which seemed about as difficult as normal on a Touhou game, so by no means trivial).  There's two difficulty levels above that, plus some optional DLC that adds additional modes, meaning that there is definitely room for replayability.  I don't know if I'd want to go through the whole story mode again, since a lot of is it is something that is special on the first experience but could seem gimmicky on the second.  However, you can fight each boss directly after completing the game so if you just want to do the challenges or play a different difficulty there's no need to go through story mode again.

You know, I'm pretty sure that every memorable moment in an RPG came from the players doing some dumb shit or some random encounter causing unplanned wackiness.

I don't think I can remember a thing about the villain or his masterplan in the last campaign I played.

I do recall our party adopting a peasant when the DM came up with the name "Kenneth... of South... dale" when we asked, and raging against the heavens when those bastards killed him.  And that game was like two decades ago.

Or the time the randomly created town just so happened to be named "Iron Town" immediately after a watch of Princess Mononoke, so of course instead of getting involved in intrigue in the capital (where we had previously been headed) we instead tried to make our fortunes in iron smelting.

All that being said the Battlestar Galactica board game is awesome, especially with the Cylon Fleet option from the second expansion.  Easily the best "cooperative with traitor" game I've played.

I came across a old copy of Battlestar Galactica (the new one) and watched the end of season 3.

In retrospect this show was pretty damned lame and embodied the "mystery box" style of storytelling even more than stuff like Lost.  The show absolutely relies on leading the audience along with mysterious mysteries which the writers obviously hadn't thought of.  But more annoyingly when some of their revelations caused obvious contradictions, rather than exploring what these revelations would actually mean, they just doubled down on their solutions.  One of the most obvious examples of this is

What's more annoying is that even when it is pointed out that some of their choices don't make sense, the creators are still doubling down on their choices.  The most glaring example of this comes with

I had to put most of this in spoilers since I've spoiled some of the biggest reveals in the show.  But honestly if the show were good it would survive being spoiled in this way.  You cannot watch the show again without being annoyed at how obviously forced later story moves were, and how little they make sense overall.  The show really drags them out too.  When they reveal four of the cylons at the end of season 3 they drag it on for several minutes before they finally say that they are cylons (though none of the characters are really clear on how they came to that conclusion.)  It's obviously designed to increase the hype of initial viewings since that particular reveal is so far out of left field that you probably guessed something else was going on.  But when you rewatch it it's just annoying; you know what's coming and there's nothing interesting about having it dragged out.  It's like watching a jumpscare heavy horror movie when you know where all the jumpscares are, but they take too long to get there while not doing anything interesting.

I don't mind shows being written as they go, or the writers changing their minds as they write the show.  Probably 95% of what happens in the third season of Twin Peaks was never even dreamed of during the first season, and a lot of it would have seemed contradictory to what they were doing back then.  But none of it actually contradicts the first season, because David Lynch takes his work seriously.  He doesn't view the show as a mystery box that he should be praised for crafting, where the point is to be amazed at the plot twists.  He views it more like a dream that he is having and is figuring out at the same time that the audience is.  Thus Twin Peaks is heightened on every rewatch, (same thing with his movies) while you really can only watch something like Battlestar Galactica once.

I have a confession to make:

I was Zecora the whole time.  Big Macintosh too.

This channel is going places.

EDIT: Had to swap to a day well in the past to avoid the forbidden emojis.

The Sega Saturn has a fair number of games that didn't even attempt to be 3D.  There was some of this on the PSX, (notably Symphony of the Night and several Capcom fighters) though the system was pushed much harder to 3D.  I'm not sure if any game on the N64 focused on 2D.  Maybe I'm being retarded here and missing something obvious, but the closest I can think of is stuff like Paper Mario which is more "semi-2D aesthetics in 3D" than proper 2D.

A lot of this is probably technical.  I know just enough to know that the Saturn wasn't well setup to do proper 3D (though obviously 3D was possible) but could do 2D beautifully while PSX and N64 were optimized for 3D.  You didn't get stuff that looked like this off Saturn:

It makes me wonder how the sixth generation of consoles would have looked if the Saturn had been a huge success in the west.  The reality is that 2D has been dead outside of indie and fighters (and even fighters went to 3D, at least for the graphics.)  But we were right on the cusp of having games that looked indistinguishable from interactive cartoons.  (No, cell shading didn't get us there.)

It's fun to meme on what they might come up for as "non-lame" translations though.  Here are some of my stabs at some other meme lines: ("standard" translation included for the non-weebs):

だが、断る! Lame: "But I refuse!" Hip: "You think I got time for what you're saying?"

 我がドイツの医学、薬学は世界一ィィィ!!! Lame: "German medical science is the greatest in the world!!!" Hip: "Yo, our health systems are off the hook, no cap!"

ザクとは違うのだよ、ザクとは!! Lame: "This is no Zaku boy, no Zaku!" Hip: "If you thought this dank robot was a Zaku then that's a big yikes!"

君を笑いに来た　Lame: "I came here to laugh at you." Hip: "People said that you were a clown, but you're the whole damned circus."

I finally got around to playing Pizza Tower.  It's good, of course.

The thing that struck me about it was how I kept getting Jack Rabbit vibes.  It's weird because there's really not that much connecting them.  They have completely different artstyles, attack modes (melee momentum vs. Rambo shooting), level structures, etc.  There are some minor similarities, like some secrets being hidden in similar ways, the focus on being able to run fast, and some musical influences, but in many ways the games couldn't be more apart.  Neverthelss, I kept getting the same feeling as I did when playing Jazz Jackrabbit 1 and 2.

I think it's because Pizza Tower feels like it's the culmination of some grand PC platformer tradition, while there really haven't been very many good PC exclusive platformers since Jazz Jackrabbit.  It's like it came out of some alternate universe where there were a series of games that connect the two.

Why I do not regret spending an average of 30 minutes studying Kanji, grammar and general reading for 3 years straight:

Because people like this get paid to localize anime and manga:

"Lame translation" = "it's not a hip wacky translation so no one gives me back pats."

"You are already dead" is legitimately a great translation for that line, especially since Kenshiro means that literally.

Everyone needs an automobile, even those with many tails. This was the largest auto I could afford. Should I therefore be made the target of fun?

The weird thing about this video isn't that Welcome to Eltingville got a Japanese Dub (despite being only having one episode and being purely about American nerdom.)  The weird thing is that for some reason the majority of the comments are not in Japanese, or English, but rather Spanish.

EDIT: Apparently Eltingville has a lot of memery going on in the Spanish linguosphere

Beyond the massive DLC, the big problem I have with Paradox is that you don't really buy a game.  You buy the idea of what might be a game.  And if it does reach where you want it to, there's no guarantee that it will stay there.

Granted my only experience with modern Paradox is Stellaris, which I think is where they were the worst at this.  But everyone who has played that knows what I mean.  Years after the games release they will change core game mechanics.  Did you like having different FTL methods for different factions?  Fuck you, it's all Hyperlanes now.  I personally quite liked the old domination system, especially with the old charismatic perk, since you could make feudalistic space empires where your conquered foes soon became your enthusiastic vassals. But then Paradox said "how about the domination tree now has nothing to do with vassals or protectorates and also charismatic no longer helps out your reputation but instead gives you more amenities."  I guess while I'm at it, the mere existence of "amenities" comes from a complete restructuring of the economic system.  Anyone who's played the game long enough can list dozens of more examples even without getting into DLC.

They shouldn't have tried to implement these features before getting into the sequel.  It feels like how diplomacy and trade work completely differently between Civilization 2/Alpha Centauri and Civilization 3.  But if I want to use the old systems I can simply go back to the games before Civ 3.  They still exist, and at worst it will be tricky to run them on a modern system.  But you don't have the publisher actively trying to wipe them from existence.  Hell, even with Paradox I can go back to Europa Universalis 1 or Crusader Kings 1 when I want the simpler experience that they represent.  But for the modern games what you are playing now may well vanish in a week.  The best that you can do is backup a DRM free version (since thankfully these exist) but if you don't do this before you get an update you might be stuck.  It's not even easy to pirate the versions you like since piracy will default to the most recent version.

Reminder to never expect a crowd funded project to progress past where it is half a year after it is funded.

If it is does great, and that sometimes happens.  But it's far far safer to assume that it's not gonna happen.

You often get a situation like this where there's some "unexpected" drama that brings everything to a halt.  But usually you had problems before that too.  I didn't follow TBH to closely, but weren't they supposed to have the goat character and all the story mode in the game at least two years ago?

Similarly there's an adventure game that's made by a Ukrainian who understandably halted development last year.  But it's also a fucking adventure game that was "in development" for FOUR YEARS before that and hadn't delivered on an episode for two years at that point.

That being said I'll still trust a crowd funded game or in development to get "done" more than I will a Paradox game.

I had a dream that I was in a bookstore and I was impressed that it had some certain anthology series.  By anthology series I mean series of books with short fiction centered around a certain theme.  Real world examples include There Will Be War, Far Frontiers, and The Man-Kzin Wars.  These are things published in the same way as normal books.  There are many more magazines that take in short stories, especially in the 50s and earlier (examples of that include Weird Tales, Analog, Argosy, Adventure, Amazing Stories).  But these were mass market paperbacks.

The series that I was interested in in the dream were Action and Cat's Eye.  Neither of these exist in real life. I mean there's an Action Comics and there's an anime and manga called Cat's Eye, but that's not what these were.  In the dream Action was centered around, well, real life action stories.  Cat's Eye was for science fiction and horror; a bit like Weird Tales.  In the book I was telling someone else this information (I don't remember who) and I got frustrated by the fact that the store didn't have Action 2 or Cat's Eye 3.  I said "those are the ones that you want."  I do remember saying that Action 2 had the short story "First Blood" in it, which introduced John Rambo.  (In real life First Blood is a standalone novel.)  But I also said that there was a second story in it that was really famous; I don't remember what it was but I have a vague sense that it was the basis for another 80's movie.  As for Cat's Eye 3 it was supposed to have a "lost" HP Lovecraft story, plus another story that I think served as the basis for Alien or The Terminator.  In real life neither of those were based on books.  Alien was reworked from a subplot in the John Carpenter movie Dark Star and The Terminator is a James Cameron original.  (Harlan Ellison did claim that it was based off his work so maybe my subconscious was thinking of that, but he claimed it was based on an episode he wrote for The Outer Limits rather than a short story.)

That's all I can remember clearly about the dream.  I remember there was more to it, like what I was doing before entering the bookstore, but those details have faded.  I also remember that Action 2 was supposed to be the favorite of some infamous historical figure, like a serial killer or Kaczynski type, but I don't remember who exactly it was supposed to be.  As for the books themselves, I never say Cat's Eye 3 or Action 2 in the dream, but there was a copy of Action 1 and Cat's Eye 2.  All I remember about Action 1 was that it was thick for an anthology and pretty worn, and for Cat's Eye 3 I remember it had some furry cat alien on the cover (which were a dime a dozen in 80's science fiction writing.)  Not much of a dream, except that the details I do remember make me think that I could almost figure out what the remaining short stories I was looking for were.  Or at least what they were supposed to be in the dream; obviously they probably wouldn't be stories that exist in the real world.

I like how you never can tell exactly when tracker music was released since it all sounds like it came from the time period.  That time period being five years into the future from whenever you are listening to it.  It is the sound of the future that we will never reach.

Name the map:

Last Christmas a wallpaper I forgot I had on the market sold and put some steambux in my wallet.  I decided to use it to buy a game which would then be basically free.  The one I settled on was "Raifu Wars."  It's a game that might have been inspired by 100% Orange Juice.

Let's start with some screenshots:

As you can see there's a lot of similarities.  There's even more in terms of the gameplay:

• You passively gain stars each turn and can gain more through certain actions.
• There is character combat with damage determined by a literal die roll. If you win, you get a KO.
• When you die you must roll vs. a recovery value to see if you respawn.
• You rise through "tiers" by achieving a certain level of stars or KOs and returning to your home base.
• You get cards, which require a certain number of stars to use and which also have a minimum level requirement.
• Each character has a special them (public domain music) which plays when that character "tiers up" at home.

So yeah, it's blatantly stolen.

But there are differences.  There's the WWII theme, with each character based on a gun used at that time.  Something fun is that each character uses the language of the country in question.  So the German character will say things like "Auf Meinem Weg" or "Los, los!" when moving and so on.

The biggest difference is that this is not really a Mario Party game.  It is more like a wargame.  Your movement is not primarily random.  You have a set movement that you can do each turn, in addition to another action like attacking or reloading.  There is random movement in that you can take a "rush" action to move according to a die roll, but otherwise movement is predictable.  You can also move how you want on a grid without worrying about going a certain direction on a circuit.  So if you want to kill a certain character you certainly can do so.

Attacking is also a bit different.  Obviously all the characters have guns, so combat usually happens at range.  You have a chance to hit based on the range, cover used by the defender and accuracy of your character.  You roll a die to determine damage, but if you miss there's no damage.  There's no defending or evading though there are cards and character abilities which increase your defense to reduce damage.

The main goal is territory control.  There are various territories you can claim by occupying at the end of your turn.  If an enemy controls them, it takes two turn (one to make it neutral and one to make it yours).  This can be turned to one turn if you take the central point.  Each territory will passively generate stars for you at the beginning of each turn, so they are the usual path to victory.

When I first got the game I thought it was amusing, and since it was free I didn't regret it.  However, I wasn't very impressed either since there is a major design flaw: Since movement is not random, you usually win by stars, and you have to return to your homebase to tier up, the usual strategy is to just take all the territory near your home base.  If you went first you can turtle up like a bitch, if you went later you are forced to attack to catch up.  But if you screw up you will be so far behind on stars that you've basically lost already.

Today I saw that they did a major update.  I'm not sure exactly what they added, but it is much better game now.  The major change is that they added a team mode.  This can be done 2 v 2 or 1 v 1(where two players control two characters each.)  Having two characters allows you to have one attack while the other defends, or to use pincer attacks against the enemy.  That by itself encourages aggression and makes things much more interesting.  Honestly I think that it would be more interesting if the default was to have 2 characters per base, so 8 in total.  We'll see if they go that way.

They also added a map editor, which makes me wonder why 100% OJ doesn't have that by this point.  If anything, Raifu war's maps are more complicated due to the importance of cover and terrain interactions with some cards.  (For example, the lumberjack card lets you cut down trees to get a clear shot, and also gives you a barricade card to use later.)

So is the game worth $5 at full price now?  Eh...... Probably not.  Especially not if you are planning on playing with randos online, since the lobbies are dead.  But they've updated it far more than I would have thought in the last year, and if they keep at it it really could be great in another year or two.

Time wise I don't actually have an issue with that classification.  Pong machines certainly would have been "retro" at the time of the NES, the Atari 2600 would have been "retro" at the time of the SNES, the NES was "retro" at the time of the N64, etc.

Of course, in all of those cases the new consoles worked completely differently from the "retro" ones.  An NES user looking back at pong machines could say "Wow, they only play one game, it's in black and white, and you don't even have a d-pad or a button to push!"  An SNES user looking back at the 2600 could say "The sound effects are just beeps and boops, most games just have a couple of screens in them and you can only have a couple of moving sprites on the screen before the flicker gets our of control."  An N64 looking back at the NES could say "The color palettes are incredibly limited, the sounds are all bitcrushed, and there isn't even a hint of 3D."  etc.

When you are using the PS5 and you look back to the PS3 what can you really say?  "The processor isn't as good and the textures aren't quite as detailed?"  Who cares?

There's not a huge distinction in the games either.  I looked up the best rated PS3 games on metacritic and it included a lot of things like GTA 4/5, The Last of Us, Uncharted 2, etc.  That is, games from franchises where the modern version is not that different from the PS3 version and in some cases (GTA 5, The Last of Us) is still something that people literally play to this day (maybe through a "remaster" that is barely different from the original.)

It'd be like if Gamecube just got an updated version of Ocarina of Time, and Majora's Mask didn't come out until the Wii, but people playing the Wii said "Ocarina of Time on N64? So retro!"

But a lot of culture is like that.  Someone in 2000 could look back at First Blood II: Rambo and think "man, this really is a movie from another time."  That style of 80's action movie had vanished by the turn of the millennium, and the fact that it's so tied into the Cold War also makes it feel ancient.  Back to the Future, Rocky IV, The Goonies, etc. from the same year are similarly firmly "80's movies" and couldn't have come out in 2000.

Someone from 2023 doing the same thing and looking back to 2008 is going to be watching Iron Man, The Dark Knight, Indiana Jones 4 or Madagascar 2.  Instead of the current round of capeshit, the new new Indiana Jones reboot, or whatever Dreamworks vomited out this year.