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Death Stranding Director's Cut Review: Still Strange And Even Better On PS5

JoanneLangley80 — Sun, 14 Jun 2026 09:38:35 GMT

JoanneLangley80: Created page with 'id="article-body" class="row" section="article-body" data-component="trackCWV"> Sam Por…'

id="article-body" class="row" section="article-body" data-component="trackCWV"> Sam Porter Bridges, as played by Norman Reedus. Sony / Kojima Productions When you take a larger look at the there is a wide slate of shooters, open-world games and family-friendly platformers. But there's one PlayStation exclusive from 2019 that sits comfortably in the catalog as one of the strangest yet eerily prescient action games to grace the PS4, and that's . A radical departure from Kojima's previous work on the series, Death Stranding puts you in the role of an essential worker, Sam Porter Bridges (played by Norman Reedus), in a post-apocalyptic version of North America where the lines between life and death have become blurred. Think Annihilation with a light helping of Mad Max 2: The Road Warrior.

Day of the Triffids / Tentacle Theatre

Dotttfan — Sat, 13 Jun 2026 16:26:57 GMT

Dotttfan: /* Day of the Triffids(Tentacle) Theatre */

=== Day of the Triffids(Tentacle) Theatre ===

Day of the Triffids - Tentacle Theatre is a sketch comedy group with longstanding tradition and rich heritage. It's been a staple of virtual theatre for decades and there are no signs of it slowing down anytime soon.

Day of the Tentacle Theatre is very much its own thing, though contrary to popular believe it is often considered to be derivative of its supposed big brothers. Nothing could be further from the truth.

Ever wondered, how for example Maniac Mansion 2 actually got its final name?

It's a bit complicated, but intermediaries of the Day of the Tentale Theatre Division had somewhat of a strong influence on emerging media back in the day. They weren't exactly... public about their proceedings, but a lot can be deducecd from foresting through archived material.

Most of it released many years after the demise of the major governing bodies and companies of that era, and furthermore were often only available temporary at the will of goodhearted private collectors that are willing to reveal their treasures to the public.

Depending on the climate it can be hard to find detailed information about the history of the production company behind DotTT, but it does resurface ever so often - which makes the process frustrating, but also extremely interesting.

1992: A Turning Point

In 1992, one year after the release of the major hit title Day of the Tentacle by the now defunct LucasArts company, the heads behind the Theatre Group and its Production office sat together and carved the way for a new path.

Theatre should become Mainstream.

Something they had always fought, but now that the format was well established - for better or for worse - in the public, the group decided that they needed to react, rather than grow stale on their old ways that built the project in the first place.

So they got in help from the best advisors, artists and publicists and got working.

What is Day of the Tentacle Theatre?
Why is Day of the Tentacle Theatre?
And how many are we?
What governs us?
Is there anything governing us?

All these questions need reevaluation and new answer.

Enter, LucasFan

Now, the mentioning of LucasFan at this point might be a bit misleading.

LucasFan Games were at a certain point their own established thing and even created their own theatre spinoff alongside the Reality on the Norm series.

However especially the work by LucasFan Games' leader would be hugely influencial on the re-conception of Day of the Tentacle Theatre in the years to come.

If you enjoyed this article. Please like and subscribe for more.

And stay tuned, there is a lot more happening behind the scenes - which has always been the case with this project.

That's all folks.

Thanks for playing.

No refunds.

Lost Annual Reports , The

Dotttfan — Sat, 13 Jun 2026 16:24:57 GMT

Dotttfan: Created page with '== The Lost Annual Reports == Among collectors and amateur historians, few artifacts are as sought-after as the annual reports of the Day of the Tentacle Theatre Company. Offic…'

== The Lost Annual Reports ==

Among collectors and amateur historians, few artifacts are as sought-after as the annual reports of the Day of the Tentacle Theatre Company.

Officially published between 1987 and 1998, very few complete copies are known to exist today. What makes the reports remarkable is not their rarity, but their content. Financial statements frequently appear alongside cast lists, philosophical essays, weather observations, and occasionally recipes.

The 1991 report famously claimed that the Theatre had produced 43 separate performances during the year, while a footnote on the following page revised the figure downward to 12. A handwritten correction discovered in a private collection later amended the number to "somewhere between 12 and 43."

Researchers remain divided on whether the reports were intended as administrative records, performance art pieces, or both.

The final known report concludes with the statement:

*"This year has been adequately documented. Future years may occur at their own discretion."*

Academic Interest in the Triffids Theatre Phenomenon

Dotttfan — Sat, 13 Jun 2026 16:23:48 GMT

Dotttfan: Created page with '## Academic Interest in the Day of the Tentacle Theatre Phenomenon For much of its history, Day of the Tentacle Theatre was considered too obscure for serious academic inquiry. …'

## Academic Interest in the Day of the Tentacle Theatre Phenomenon

For much of its history, Day of the Tentacle Theatre was considered too obscure for serious academic inquiry. This changed in the early 2000s, when a small but dedicated group of researchers began examining the surviving records of the organization.

Their efforts produced more questions than answers.

One frequently cited paper, *The Tentacular Condition: Performance, Identity and Administrative Ambiguity in Late Digital Theatre*, argued that Day of the Tentacle Theatre was less a theatre company and more a self-sustaining cultural process. The paper's conclusions were controversial and led to a decade-long dispute between scholars who believed the Theatre was a genuine institution and those who believed it was an elaborate inside joke.

The debate reached its peak during the 2011 Symposium on Alternative Virtual Performance, where three separate keynote speakers presented mutually exclusive timelines of the Theatre's history. All three were applauded.

Today, no academic consensus exists.

Most researchers agree on only two points:

1. Day of the Tentacle Theatre undeniably exists.
2. Nobody has yet been able to explain exactly how.

The Question of Membership

Dotttfan — Sat, 13 Jun 2026 16:21:56 GMT

Dotttfan: article - admin test

=== ? ===
The Question of Membership is an article that was found inside a corrupted .rtf file and assumed to be published fairly early throughout the companies history.

=== The Article ===

## The Question of Membership

No subject has generated more discussion among historians of Day of the Tentacle Theatre than the simple question of who, exactly, is a member.

The Theatre's official position has changed repeatedly over the years. Surviving documents variously define membership as requiring active participation, passive participation, former participation, anticipated future participation, or "a general awareness of theatrical circumstances."

A census conducted by the Membership Committee in 1994 reported 27 members. A revised edition published two weeks later listed 312 members. A third edition declared the question impossible to answer and dissolved the committee.

Confusion increased further when several individuals appeared in membership records despite publicly denying any involvement with the organization. At least one person was listed as a member for nearly a decade before becoming aware of the fact.

The matter remains unresolved.

Current estimates place total membership somewhere between four and several thousand individuals, depending on the methodology employed.

The Theatre itself has declined to comment, citing ongoing membership.