If you’re desperate to salvage those drifting Nintendo Switch Joy-Con and have watched all the videos online (including our own), and still haven’t had any luck, a new video that’s surfaced on YouTube is claiming to have solved the Joy-Con drift problems once and for all.
VK’s Channel on YouTube identified how the Joy-Con realigns when pressure is applied to the surrounding area of the analog stick. Therefore increasing pressure within the Joy-Con (which loosens over time), makes the drift disappear.
Surprisingly, this fix doesn’t require any technical know-how. All you have to do is open the case and insert a small piece of paper or cardboard (say the size of a business card) where the analog is located. Yes – it’s that simple. It’s further explained how the prongs inside the controller lose contact with the pads, and the paper fills the gap and restores pressure.
The YouTuber also notes how their own drifting Joy-Con have been working fine for around two months now, and that the same fix can be applied to Nintendo Switch Lite. Skip to 5:55 to see the main fix in action.
Keep in mind, inserting things into your controllers (even pieces of paper) is at your own risk, and will likely void any warranty. Will you be giving this incredibly simple fix a go? Leave a comment down below and tell us if you’ve had any luck with this fix yourself.
Judi said: “Charles and Camilla’s body language defines such a complimentary double act that it just has to be responsible for the Prince’s signals of relaxed fun, confidence and good-humour recently when they are out together on royal visits.”
The Duchess is “tactful” when it comes to putting her husband, the future king, first, Judi claimed.
She added: “Camilla is incredibly tactful in terms of her non-verbal signals with him, standing either alongside or just behind her husband with her hands clasped in front of her torso in a gesture that deflects all the attention and spotlight onto Charles.”
Camilla’s body language exudes approval for her husband’s work, Judi explained.
Not only will we be seeing the return of Samus very soon but also MercurySteam – the same Spanish studio behind Metroid: Samus Returns on the 3DS. Metroid Dread Producer, Yoshio Sakamoto, recently noted how this team is “extremely talented”, technically skilled, and has an “incredible understanding” of Metroid games.
It seems the Spanish-based studio is also rather impressive when it comes to attention to detail – with eagle-eyed fans discovering how the famous intergalactic bounty hunter will hold onto a wall in Metroid Dread to help her balance while shooting her arm cannon:
The reaction to this eventually got the attention of one of the senior gameplay/player programmers at MercurySteam – who was glad to see fans had spotted the small detail. The developer’s post about this has since blown up – with over 18K Likes.
@MetanoKid: “They noticed…Okay, this blew up! Inmensely thankful for your kind words everyone! We’re feeling your love”
Will you be checking out Metroid Dread when it arrives on the Nintendo Switch this October? Leave a comment down below.
Representing the UK at Saturday’s grand final, the Britain’s Got Talent judge appeared on the show to reveal how the country’s jury had voted. Her brief feature is being widely condemned online by many viewers for being “arrogant” and “ignorant”.
When Amanda was revealed to be the UK jury spokesperson last month, the star said she was honoured to join the likes of Nigella Lawson and Mel Giedroyc who previously took on the role.
Discussing her excitement, Amanda said: “What an honour to announce the UK’s votes this year. I’m utterly thrilled. It’s an ambition ticked after 45 years of watching it! Now, what to wear…”
During this weekend’s grand final, however, not everyone shared Amanda’s happiness over her appearance on behalf of the UK.
When the Rotterdam hosts moved over to Amanda in London during the vote reveal, she said: “Bon Soir. Goedenavond.”
What followed infuriated many viewers, as Amanda added: “That is good evening in French and Dutch, although I’ve got absolutely no idea which is which.”
The remark received instant criticism on social media, with the star being branded as “arrogant”.
One said: “Also how ignorant and damn right arrogant was Amanda Holden – to think her little pretending not to know which languages she was speaking act was cute or funny? It came across incredibly insulting to those countries I think.”
A second added: “On behalf of the whole UK, I apologise to #Eurovision for the embarrassment that is Amanda Holden making it all about her plus her stereotypical ‘I don’t speak foreign’.”
There’s a section of the acclaimed Windows adventure game The Neverhood entitled “The Hall of Records”. It’s essentially a (very) long gag – screen after screen of rooms, full to the brim with quite bizarre text. It takes what feels like hours to make it through with main character Klaymen’s agonisingly slow walk speed, but you have to do it. Waiting at the end of this absolute meandering torture – which takes forever even if you completely ignore the lore hung on the walls – is a single collectable token, essential to completion. It’s a sick joke, and one with a double punchline; you’ve now got to walk back. No shortcuts.
You want to really laugh? The Longing is that same principle, applied to a full game. Everything takes forever to do. And it’s all by design, which makes it something of a tricky prospect to review. Do you reward the game for evoking an atmosphere that it very much intended to evoke? Do you criticise the game for said atmosphere being phenomenally dull even though it’s absolutely meantto make you feel that way? There’s really no way to win. Thankfully, as we all know, winning isn’t everything. So let’s get very cross with The Longing and call it names.
Playing as a “Shade”, you’re tasked with waking up the nebulous, mysterious King after he’s finished sleeping, left to while away 400 days of real time, kept track of by a countdown clock perpetually visible at the top of the screen. This counts down whether or not you’re playing, which presents you with the compelling option of playing something else considering it doesn’t actually matter what you do in-game, but no – apparently one of the main criteria of reviewing a game is actually having to play it. Pfft!
So “play it” we did, for some value of “play”. We walked around the near-empty, enormous and confusing network of caves at the slowest speed imaginable, occasionally picking up bits of coal from the floor or enacting boring activities (such as drawing a picture) in (again) real time, with a sloth-like pace. There are books to read, too – full books, free from the rigours of copyright law – so you can have your little Shade sit and read them from cover to cover, if you please. Or, alternatively, you could read them on your phone or something. For free. Because they’re free.
That’s a little reductive, we know, but The Longing pushed us into frustration very quickly. Getting around takes so long and there’s so little of note worth seeing. It’s pitched as an exercise in patience, almost a test, and while that does theoretically raise interesting questions about our relationship with games (are they all, ultimately, a waste of time!?), in practice it just doesn’t bear out as a compelling experience.
It’d be remiss of us to claim that there hasn’t been passion and thought put into this. Clever ideas abound – you’re ordered not to leave by The King at the start, but will you listen to him? There are multiple endings to find and plenty of locations to explore, should the desire take you. The visuals and sound are quite atmospheric throughout and, quite frankly, you’ve got to applaud the audacity of it and the commitment to the ‘bit’.
Unfortunately, The Longing is supposed to be a game, and it is vying for your cash. That’s not some lazy dismissal of the experience as “not a game” because it doesn’t fit a narrow criteria of what this medium ‘should’ be, incidentally – we just feel that at its core a game has to be compelling, whether arcade action, walking simulator or anything in between. And The Longing pushes its ‘waiting’ gimmick so hard that while it unambiguously succeeds at what it’s trying to do, we found it almost impossible to care.
Similarly bleak indie title A Dark Room offers perhaps the closest comparison – another idle game with a borderline nihilistic feel – but even without graphics to speak of, A Dark Room was a thoroughly enjoyable plunge into the abyss. The Longing feels like a punchline in search of a joke, like hearing the tail end of a comedy routine that requires a context that it never provides. This is the central problem; there is content here. There is more to it than it appears. Events that only occur at certain intervals, or take a full in-game week to occur. There are conditions that will change the nature of the way time flows, there are ideas here that are worth thinking about. It’s definitely an interesting game, but only in an abstract sense.
The Longing is incredibly difficult to review. Taken in the terms it presents itself within, for what it’s clearly meant to be, the experience it wants to offer? It’s a ten-out-of-ten unqualified success. This mediation on loneliness, repetition and boredom is, indeed, an effective mediation on loneliness, repetition and boredom: but that means that it really is lonely, repetitive and boring. There’s something to be said for deliberately frustrating the player, as arthouse films can deliberately frustrate the viewer – for example, in the case of Derek Jarman’s Blue. And it’s remarkable in itself to compare a video game to that film.
Do we recommend The Longing? No. We wouldn’t recommend Blue, either. That doesn’t mean neither have merit; it just means that neither of them are very fun. No, games don’t necessarily need to be fun. We’re sure that even writing that sentence has irritated some people, but it’s true; the art form has come a long way.
We can’t lie — we hated The Longing. We hated every second of playing it for review. Is it a resounding success at presenting all of its themes? Is it thought-provoking in a way that few games manage? Is it an exhausting slog we wouldn’t wish on our worst enemies? The answer to all these questions is yes. But, with all that said, you cannot help but respect the developer’s audacity and unwavering commitment to their principles. What the game sets out to do it accomplishes with flying colours, and it’s filled with clever ideas and meditations.
Ultimately, The Longing is one of those video games that defies traditional scoring metrics. What kind of score would you give a game that succeeds so triumphantly at being utterly, utterly tedious? A one? A ten? It feels inadequate and somewhat trite to split the difference, but here we are.
The John Lennon and Paul McCartney partnership produced some of The Beatles’ biggest and best songs throughout their career. The writing duo found fame with such hits as Let It Be, Help! and Hey Jude. Their writing styles blended together perfectly, but The Who guitarist Townshend previously revealed they were very different in social situations, treating people in vastly different ways.
Speaking in 1968, Townshend told Rolling Stone about hanging out with each member of the Fab Four individually.
He said: “I had an incredible conversation once with Paul McCartney. The difference between the way Lennon and McCartney behave with the people that are around them is incredible.”
The beginnings of Townshend’s theory could be spotted through various parts of the band members’ lives.
Lennon became an eccentric artist in the final years of the band as demonstrated in the works of art and music he created with his second wife, Yoko Ono.
READ MORE: John Lennon: Son Julian Lennon sued Yoko Ono over former Beatle’s will
Townshend said: “What Lennon does is he sits down, immediately acknowledges the fact that he’s John Lennon and that everything for the rest of the night is going to revolve around him.
“He completely relaxes and lets everybody feel at ease and just speaks dribble little jokes, little rubbish like he’s got, In His Own Write and little things.
“Like he’ll start to dribble on and get stoned and do silly things and generally have a good time.”
McCartney had a different way of dealing with things, even down to the way he experienced the band splitting up in 1970.
Townshend continued: “One of them is f*****g Paul McCartney, a Beatle, the other one is me, a huge monumental Beatle fan who still gets a kick out of sitting and talking to Paul McCartney.
“And he’s starting to tell me that he digs me and that we’re on an even-par so that we can begin the conversation which completely makes me even a bigger fan.”
It seems the two musicians inspired each other, however. Townshend recently revealed he was the person who motivated McCartney to record his own album.
Speaking to Uncut, Townshend said: “I was working on my first solo album, Who Came First. Paul and Linda [McCartney] were in the studio doing something as well and they came up to have a listen.”
Townshend continued: “Paul said to me: ‘How did you do this?’ I told him that I’d recorded it at home, where I had a little mixing desk and an eight-track tape machine.
“He went: ‘F**k! You did it yourself?’ I said: ‘Yeah, you should try it.’”
The Who star revealed a short while later McCartney called him excitedly to reveal he had begun working on his own music.
The guitarist said: “[Paul] called up one day, really energised: ‘The guys from Abbey Road have delivered an eight-track machine to my house in St. John’s Wood and I’ve started.’”