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Destructoid Originals

Podtoid 296: On Fleek

Jun 11 // Kyle MacGregor
NEW PODTOID photo
Welcome to The Donski Show
Podtoid is back with special guest Jeff Andonuts to discuss important world affairs like Fallout 4, whether the Lord of the Rings movies are better than the books, the virtues of mayonnaise (sorry Conor), Bloodstain...

Horror and secrecy need to be better bedfellows

Jun 08 // Zack Furniss
[embed]293479:58861:0[/embed] Don't Do This In this year's Resident Evil: Revelations 2, Capcom felt the need to release videos that focused on the various beasties players would be facing throughout the episodes. Any surprise or confusion that should have been reserved for a first encounter is squandered by any fan wishing to keep up with a product they are excited for and have most likely already decided to purchase. Though some consumers make the decision to go on media blackouts to prevent this exact situation, it shouldn't be on them to decide not to watch. This effectively renders these marketing efforts useless. Another title that gave away too much before anyone played it is last year's The Evil Within. One of the bosses, an amalgam of limbs and hair, was arguably the most unique creature in the game. It could teleport from corpse to corpse by climbing out of their coagulating puddles of blood and your best bet was to flee. This made for a thrilling moment in a mostly monotonous survival horror, but by the time The Evil Within came out, anyone who had been following it knew exactly what to do to survive. So what do we about this? Publishers want to make money, and the best way to do that is by showing the most exciting, gruesome sections of their newest product. But is that the only way? There are a few successful games from the last couple of years that prove there are other viable methods. So What Can Be Done? This is the part where I talk about P.T. (you knew it was coming). On August 12 of last year, P.T. was released alongside a short teaser at Gamescom. The teaser only showed reaction shots of people afraid of whatever they were playing. I immediately downloaded it out of curiosity and found the best horror game of last year. That it ended up being a teaser for the now-cancelled Silent Hills was icing on the bloody cake (I can already hear DashDarwin fuming in the comments). P.T. diffused through gaming media like a drop of blood in a glass of water; even with (and, let's be honest, because of) its utter destruction by Konami it will be remembered for a long time. I'd be foolish to deny that P.T. being free had no bearing on how often it was downloaded. However, I think if a new game came out of nowhere for only a few dollars it would have a chance of replicating this viral success. It's worth a shot at least.  Next up, we have Bloodborne. Sony spared no expense with providing images and videos of From Software's latest, but players had no idea what was lurking in its back half. BLOODBORNE SPOILERS FOLLOW, SKIP THE NEXT PARAGRAPH AND IMAGE TO KEEP YOURSELF SAFE. Though Bloodborne started off with beast-like enemies and Gothic environments, its latter half brought enough Great Ones, cosmic horror, and tentacles to merit numerous comparisons to the works of H.P. Lovecraft. Most players would likely have been content with fighting lycanthropes in their various forms throughout the dark descent, but this unexpected tonal shift provided an identity that separated it from the studio's previous work with Dark Souls.  Providing media only from the first half (quarter, eighth, whatever) could be a way for publishers to keep the horror skulking about in the shadows and allow room for players to be surprised. An example of the downside to this method would be Metal Gear Solid 2: Sons of Liberty and its Raiden fake out. Though I appreciate that surprise now, Hideo Kojima earned a well of ire for that back in the day. There's definitely a risk here, but Bloodborne is proof that it can pay off beautifully. The last idea I have isn't exactly for releasing new games, but for adding content to them. The wonderful Lone Survivor: Director's Cut added extra endings, a new enemy, and fresh music to the original, yet no one could find them upon release. Creator Jasper Byrne teased this, and mentioned looking forward "to hearing your thoughts about the new edition, and interpretations of the new content… especially the secret endings!" And so began a mad hunt to uncover anything new, and no one could find anything for a few weeks (and if they did, they didn't tell the internet). Byrne created more excitement by doing this than he would have if he had just said "here's how you get the new ending, and here's where you fight the new monster." Though it isn't explicitly a horror game, Batman: Arkham Asylum did something similar. Just around the time the sequel Arkham City was announced, it was discovered that there were hidden blueprints for the Arkham City itself in the original game. How cool is that? Rocksteady Games waited until time had passed to expose this and it made players go back to see it for themselves. I understand that developers want everything they've made to get some time in the sun, but this delayed gratification can be just as, if not more, impressive. I'm not a marketing expert, and I won't claim to be. But in a time where the Internet can be used as a tool to spread information via experimental methods, we may as well try to change things up. P.T. and Bloodborne show that these risks can be well worth taking. Here's hoping some of these ideas are implemented next week at E3. Please don't show us everything!
Horror games photo
We can do better
Horror games, as much as I love them, have a serious problem right now.   In the modern-day media maelstrom, almost every scare, monster, and plot twist is given away or hinted at before a game is released. Of course, us...

E3 2015 photo
E3 2015

E3 2015: A look back at the most memorable moments of E3


Do you remember these classic moments?
Jun 08
// CJ Andriessen
We are a week away from E3 2015, which is promising to be the most exciting yet. An estimated 50,000 people are expected to attend the three-day event to try out the latest and greatest video games from the top developers and...

Experience Points .15: Super Mario Sunshine

Jun 06 // Ben Davis
A nozzle for every occasion Ahh, the FLUDD. By far the most unique tool ever to be in Mario's possession, the FLUDD is a water-powered contraption which can be used to spray like a pump, clean up messes, hover through the air, dash or slide quickly across land and water, and rocket-jump straight up into the sky. It's immensely useful, and easily sets Super Mario Sunshine apart from any other game in the series. Every time I replay Sunshine, I can't help but be amazed at how fun it is to use the FLUDD. Hovering as a platforming mechanic feels wonderful. It allows Mario to cross huge distances, reach crazy heights, stop himself in midair to make a precise landing or correct an erroneous leap, and more. In addition, the Rocket and Turbo nozzles allow him to cover great distances both vertically and horizontally in record times, making it a piece of cake to traverse large levels or recover from a fall. I especially enjoy using the waterslide technique, which involves spraying water in front of Mario and then diving onto it so that he slides quickly across the ground on a layer of water. It's very useful for the levels where he has to chase Shadow Mario or race against Il Piantissimo, and it's simply a ton of fun to do as well. I also can't help using the FLUDD to annoy everyone around Mario by spraying them in the face with water. Drenching the Toads, Piantas, and Nokis on Isle Delfino and watching them shake it all off and throw a fit -- it never gets old. Some of them were asking for it anyway, makin' me break my back cleaning up all this gunk. Why don't I clean up your FACE while I'm at it? Dude, where's my FLUDD? While the FLUDD adds some interesting new mechanics to Mario's platforming, the game still manages to shine even without it. During specific levels, Shadow Mario will appear and steal the device right off of Mario's back, leaving him to rely on his excellent jumping abilities to finish the level. These FLUDD-less stages feel like a throwback to the Super Mario 64 style of Mario platforming. They all take place on floating platforms above a bottomless pit, so any misstep could end in a swift death. Most of these levels involve rotating platforms and other moving obstacles, and traversing them requires a lot of skill and careful observation. These areas manage to feel completely different from the main game, yet equally challenging (if not more so) and just as fun. It's a great way to change things up and keep the gameplay interesting by dropping the core FLUDD mechanic entirely, taking players out of their comfort zone by removing the ability to hover safely and testing their true platforming prowess. Some of these stages are the most difficult areas of the game, and it always feels nice and rewarding to emerge victorious and then promptly return to hovering around like normal. Sittin' on the dock of the bay All of the levels in Super Mario Sunshine are island-themed, but even so, they do a good job of providing diverse tropical locations. The beachside hotel, the theme park, and the village surrounded by giant palm trees and mushrooms are a few of my favorites, but for me, the coolest location is Noki Bay. Noki Bay is a quiet little area situated on the side of a large cliff, with a beautiful waterfall, towering seashell structures, and hidden ruins to explore. There are so many memorable moments in this level: spraying water along the cliff faces to reveal secret passages, discovering an ancient tomb, riding around in the mudboats, jumping from the top of the waterfall, diving to the depths of the bay to confront a giant eel... everything about this level appealed to the explorer in me. People often ask which video game world you wish you could visit or live in, and for me that would definitely be the world of Super Mario Sunshine. I've always had a soft spot for the sea and tropical locations, and the areas in Sunshine are some of the most beautiful and exciting examples of tropical places in a video game. I would love to live in Noki Bay, going for dives, taking in the sights, and visiting the other locations on Isle Delfino whenever I wanted. It would be such an amazing world to inhabit (as long as it was goop-free)! Climbing the giant palm tree Another thing that helped make the world of Super Mario Sunshine stand out was the giant, scalable set pieces. The shine sprite tower in Delfino Plaza, the windmill in Bianco Hills, the Ferris wheel in Pinna Park, the enormous palm trees in Pianta Village -- many of these things look nearly impossible to climb at first, but eventually Mario gains the means of reaching those formidable heights, and it feels incredible to be able to scale such impressive landmarks and look down at the world below. Aside from Noki Bay, my favorite place in Super Mario Sunshine is at the very top of the central palm tree in Pianta Village. This tree is so gigantic that it takes several rocket jumps to be able to reach the top. Not only that, but the leaves are so huge that Mario is easily able to run all over them without fear of falling off. He's like a tiny little red bug to this impossibly large tree. The extreme height might freak out some acrophobes, but those brave enough to make it up there are rewarded with a stunning view of the sky and the entire village far below. The Piantas even built a small wooden tower at the top of the palm tree, possibly to sit and look up at the clear night sky from a quiet, secluded place up in the clouds. Well, that's what I like to use it for, anyway! An apple a day keeps the ghosts away Super Mario Sunshine has some crazy boss fights. There's a giant flying Piranha Plant named Petey, a huge Gooper Blooper with delicate tentacles, and a massive eel with a poor dental plan. There's also a King Boo, an enemy we've seen before in other Mario games, but even so, he manages to be one of the most enjoyable bosses of the bunch. King Boo hides beneath the casino of Hotel Delfino. The fight takes place on a gigantic roulette wheel with three circular segments spinning in different directions, which can be dizzying and confusing until it stops moving. Water does nothing against this ghost, but after a while he'll bring up a slot machine out of nowhere and give it a spin, causing objects to appear depending on the result. If the slot machine lands on three fruits, then Mario is in luck! Just start chucking fruit at King Boo and see what happens. Most of the fruit will splash juice all over his face, which he'll happily lick up (that always makes me laugh). But toss a chili pepper at him, and he'll become so overwhelmed with the heat that a hit from any other fruit will send him reeling. It's such a bizarre fight, but that's why I love it. Killing a ghost by throwing fruit at it? Why not? It brings back memories of defeating Wart by forcing him to eat delicious veggies. Mario's foes sure don't like their healthy foods, do they? Big bad dad Bowser is one of my favorite Mario characters, and a lot of that love stemmed from his portrayal in Super Mario Sunshine. Granted, Bowser doesn't get much screentime in the game; the first time he shows up is for the final boss sequence, and he also has a short cutscene before the credits. But Nintendo manages to pack a lot of personality into him during such a small amount of time. Bowser never really had much of a personality until the Mario RPGs, where he was often shown to be a bit of a goofball and a softie (especially in Paper Mario). Super Mario Sunshine offers a completely new side of Bowser's personality. Sunshine introduced Bowser's son, Bowser Jr., revealing the mean old Koopa to be a father figure and a family man, a side of him we've never seen before. Sure, there were the Koopalings before Jr., but their relation to Bowser was often rather murky. In Sunshine, Bowser and his son are on vacation causing mischief, when Jr. kidnaps Princess Peach because his father told him that Peach was his mother. Jr. just wants to reunite his family so they can enjoy a vacation together. Of course, Peach being his mother was just a lie told by Bowser. After a rather bizarre boss fight against Bowser and his son in a giant hot tub, Bowser finally sits down to have a talk with Jr. and tell him the truth. Jr. isn't surprised by this, and instead of fretting, he vows to one day get revenge on Mario. The two Koopas share a nice moment of father-son bonding over their mutual hatred of the plumber. I really enjoyed seeing this side of Bowser, and it made him seem like an almost sympathetic character. He's still the bad guy, but he's also living his own life in the background, trying his best to raise a son and keep him happy. If only he could think of a way to do that without kidnapping princesses... Past Experience Points .01: The Legend of Zelda: Majora's Mask.02: Shadow of the Colossus.03: EarthBound.04: Catherine.05: Demon's Souls.06: No More Heroes.07: Paper Mario.08: Persona 4.09: Final Fantasy IX.10: Mega Man Legends.11: Rayman Origins.12: Metal Slug 3.13: Animal Crossing.14: Dragon Quest VIII: Journey of the Cursed King
Super Mario Sunshine photo
Shine!
Experience Points is a series in which I highlight some of the most memorable things about a particular game. These can include anything from a specific scene or moment, a character, a weapon or item, a level or location, a p...

In a better world, these games exist

Jun 06 // Nic Rowen
Street Fighter vs Mortal Kombat Released on the Dreamcast in 2002 to belatedly settle the fighting game rivalry that defined the 90's arcade scene, Street Fighter vs Mortal Kombat remains a legend in the fighting game community. Still considered the finest example of 2D sprite art and animation from its era, the silky smooth and obsessively detailed characters of SF vs MK set an impossible bar to follow. The almost decadent use of special purpose one-off animations and frames only adds to the visual splendor. Vega's sublimely gory “Shadowloo Slicer” fatality still elicits screams from the audience at EVO. As fierce as the fighting between the World Warriors and the forces of Outworld got, the battle behind the scenes is said to have been even bloodier; a runaway budget, arguments over almost every aspect of the design, and frequent shouting matches characterized the prolonged five year development cycle. Despite the astounding success and popularity of the title, a sequel has never been attempted. Ed Boon and Yoshinori Ono refuse to even speak to each other to this day for reasons neither of them will discuss. The licensing snake-pit of copyrights and legal redtape has prevented any other ports or remakes from ever being produced, spurring a cottage industry of Dreamcast re-sales and custom made fightsticks for the console, supported almost entirely by SF vs MK's diehard audience. Alan Wake: The Fear That Gives Men Wings One has to imagine the lengths Sam Lake and his team at Remedy had to go to to protect their secret, their lips held firmly tight, unable to tell anyone what they were really up to. Keeping things under wraps despite the kind of scrutiny placed on what would be the flagship launch title for the Xbox One. The kind of pressure they must have been under to tease even a bit of what they had up their sleeves. But, somehow they managed it, and the fourth wall shattering reveal of Max Payne as a playable character in the second act of the game will go down in history as one of the most surprising and surreal moments in gaming history. Max is every bit as cynical and bitter as ever. But this time he isn't raging against an indifferent and unfair universe with a vague sense of living a cliché. This time he can direct his anger against the very man who wrote the script of his sorry fate. The scene where he crushes Alan's writing hand with the butt of his pistol is almost unbearable to watch. Reportedly, Sam Lake spent the night of the launch locked in his office suffering an intense panic attack, a crisis of artistic confidence. He spent the last five years of his life calculating this surprise, this single plot twist. If the game failed it wouldn't just be the end of his career, it would end his self-image as an artist and writer. Hideo Kojima, no stranger to pulling a controversial character rope-a-dope called him that night and consoled him in his hour of need. From that experience, the two men formed a bond that eventually led to them collaborating on Snatcher 2, another smash success. City of Heroes: Issue 25 “Messages from a world ending” In the waning days of City of Heroes' lifespan, most of the development and design talent in Paragon Studios carefully made their exit to greener pastures. As everyone else was jumping off, one man climbed aboard the sinking ship to take over as lead designer. There would be no budget, a small (and rapidly shrinking) team to work with, and low expectations from fans and critics already aware of Paragon City's impending doom. He was supposed to be just folding up the socks and towels, putting the game to bed. Instead, Austin Grossman created one of the most memorable final chapters to an MMO ever seen. Relying on his background as a writer, Grossman set out to recast the tone of CoH to better fit the looming ennui of a world coming to an end. CoH's final storylines were not the Silver Age dust-ups that characterized most of the game's lifespan. Instead, Grossman wrote introspective questlines laced with sharp humor about heroes and villains looking inward. What compels someone to point a laser at the moon? What drives someone else to put on a cape and jump in front of that laser? And who gives a shit about the moon anyway? Couldn't these miracle men born of science and magic be doing something better with their lives and isn't this all a little bit silly and embarrassing when you step back from it? With no money to craft new areas or other big gameplay draws, Grossman had to get clever to generate new content. Flipping the familiar Giant Monster concept on its head, instead of creating new and impressive Godzilla-esque monster for players to rally against, he instead turned a single random player into an unstoppable force of destruction. An artifact known as Mournblade, a cursed black sword, would be “gifted” to a player once a month, immediately giving them an exponential boost to their stats, constantly depleting health that could only be regenerated by killing with the sword, and flagging them as a PvP target no matter what zone they were in. When the player fell, the next nearest player would inherit the blade, and the carnage would continue until a heroic sacrifice was made -- the deletion of the character currently holding the blade. In the final hours of the game's life one lone hero remained, wielding the Mournblade against a cataclysmic invasion of blatantly overpowered alien invaders. The beauty and value of struggling against inevitable darkness was CoH's final message. A fitting tribute for the beloved and fondly remembered MMO. Springfield Rockstar has always played it's cards close to it's chest but no one could have guessed that the schoolyard based Bully was a testbed for a much more ambitious project several years in the making. When Rockstar announced it's partnership with Fox to make an open-world Simpson's game where nearly every single NPC in the game was a known and beloved Simpsons cast member, the response was a mixture of unbridled excitement and raised eyebrows. Those eyebrows stayed raised as Rockstar made design choices so bold they bordered on absurd. Rather than make Bart or any of the other predictable Simpson family members the protagonists, Rockstar reached back to its tradition with mute characters and allowed players to make their own avatar, a recent transfer student to Springfield Elementary known only as “The Kid.” The game was structured similar to GTA and Bully, but with a Simpsons twist with “The Kid” taking on all kinds of missions from notable Springfield residents. Hijinks ranging from helping Comic Book Guy try to woo a regular customer (it ends poorly), to covering up an accident at the nuclear plant for Mr. Burns (it ends poorly), to trying to elevate Bumblebee Man's stature as an actor (you guessed it, it ends poorly). 400 hours of dialog, quips and jokes make Springfield a real, living place filled with the characters you know and love. Most precious of all, though, were the inclusion of previously unused and forgotten recorded performances from the late Phil Hartman, allowing a final farewell for beloved characters such as Lionel Hutz and Troy McClure. [embed]293426:58849:0[/embed] Those are games I see when I close my eyes at night. Games that I know could never have existed for a number of perfectly sound reasons, but still can't shake the feeling that we should have had them. Do you have any games like this? Titles that stick in your imagination and make you wish things had happened differently?
Dream games photo
All great ideas go to Heaven
Silent Hills was a dream game. Specifically, it was my dream game. If you asked me before P.T. crept onto the PSN servers what series I'd most like to see rejuvenated in a bold new way, I would have probably told you Silent H...

What recent games have actually had good box art?

Jun 03 // Steven Hansen
The Gravity Daze box art was supremely my shit (it's slightly better than the American Gravity Rush one). That full piece of artwork is one of many Gravity Rush pieces that long served as a desktop wallpaper for me. It's still my Vita lock screen. It sells the world instantly. "Gravity" in the title? Beautiful city and lead not adhering to gravity? I'm interested. Of course that box art gets to take full advantage of pulling from one of the most beautiful games ever made. Like the ICO box, it's just a great piece of art, used on the box. Hey, good thing I made 2011 an arbitrary cut off, right? Maybe I can sneak Rayman Origins in here, too. I think I just like how pink Catherine is. Aggressively. It might be the hottest pink thing I own (I have pink shirts and things, mostly pale, though). Especially given how dark the story gets. It subverts the idea of naive femininity the same way both characters (bubbly, but dangerous; serious, but pink-loving) do. Holy shit yes. It is basically a war crime that this isn't a box I own in my home. I either have to A) import the Japanese boxed copy or B) just get this as a giant poster, sans logos. Actually, let's just go with B. How the hell do I make that happen. -- All right. I've already had to dip into non-North American cover art. Help me out. Which games have done it right recently? What stands out on shelves full of thousand yard staring main characters and inscrutable action?
Box art! photo
Uncharted is uninspired
So, the Uncharted 4 box art is a bit shit, isn't it? It's not particularly bad. It even has a nice swoopy subtitle font much better than the one used for Uncharted 2 and 3. But it also follows the trend of central, silhouette...

22 (probably) games that are way harder than Dark Souls

Jun 01 // Steven Hansen
Conversation around From Software's turgid-uttered sacred cow, the Souls series (Bloodborne, too) has such a strange fixation on difficulty, of shuddering players shivering under its hurts so good sadism. Namco Bandai fed into it with Dark Souls and Dark Souls II's marketing. I've died hundreds of times in hundreds of games. And it's very strange how people nod in agreement to the novelty of death and difficulty as if instant fail states were not one of gaming's founding blocks (to the point where some people have stupid arguments about whether things are or are not games). It reminds me of how Telltale's recent adventure games trump up "player choice" as if players haven't been choosing since positioning their Pong paddle. Ok, "narrative" choice? Umm, how about text adventures from 1981. Come on. Souls games aren't hard. I don't say that as a nose-upturned, "gotten gud" vet. They are about endurance and resilience more than sadistic, chronic difficulty. They are a challenge, but not monstrous or mean as people often make them out. Heck, I've seen someone who plays maybe one or two games a year get a platinum trophy in Demon's Souls. There's no club. Anyone can do this. They're designed to let anyone play and finish. Over on the webpage (and mobile application) Twitter, one-time Destructoid contributor Stephen Beirne (no relation!) loosed a series of posts about Souls and I am in accord. "I can't get behind the argument that Dark Souls is abusive due to its (presented sense of) difficulty. And I think this is because I find Dark Souls to be far, far less difficult than a game like, for example, Super Mario Brothers. Platforming is difficult! It's very difficult! It's not fun and it's agonizing and it's pointless and hateful." I love platformers, but this raises some great points, aside from the subjectivity of difficulty. No one's good at everything. I am bad at not having loads of sex, for example. Irish Stephen (not to be confused with Welsh Stephen) is bad at platformers. Young Steven (me) was bad at telling Kurt Russell and Patrick Swayze apart. There is a relative novelty to Souls games, though, and I think that's where some of the obsession over exaggerating the difficulty comes from (aside from general chest pounding reinforced by marketing to try and create a positive-feeling in-group). But it isn't in death. It's as a 3D action game. Late '80s, early '90s gaming was filthy with platformers. Mario, a pop culture icon up there with Michael Jordan and the wild shirtless Mark Farner, comes from New Jump City. The genre has only gotten easier, shedding quarter-gobbling design (the removal of "lives"), allowing you to skip levels after repeated death. While some folks are plum bad at 'em, we've had a lot of tries at being good at them. Compare to the 3D action game, which might not have even hit its stride until the PS2-era in the 2000s (PS1-era ones tended to be wonky and platforming-heavy), but at least didn't even exist until 3D graphics. In our young medium, the 3D action genre is younger still, (blood)born(e) of platformers and agèd over the last decade. Souls games occupy a genre that has a decent chance at being a new challenge to folks. It also operates different than genre-defining stuff like Devil May Cry or God of War, thanks in part to the RPG bits. The latter, reflex-based ilk are linear and need momentum. And so you can limp along, button mash, and be not all that good, for which they'll stratify you (chumps skirt by with C-ranks and stamina, experts carve up the world with SSS-rank endless combos). But you're still getting through, moving along. Even I meandered my way through the "hard" Devil May Cry games. And on the RPG side of the Souls mix, there's a history of having the numbers and grind fallback, limited reflex-oriented fighting. And suddenly, Souls, where the difference isn't "coast by or be good," but, more closely, "coast by or die." It rewrites the expectations of 3D, third-person action relative to genre standard bearers. All it asks you to do is get by, and so it skews the relationship to death and performance. The general experience of Devil May Cry is that sometimes you'll die. Mostly, you'll empty out rooms with the killing precision of a child flailing at a piñata. Eventually, you'll be an expert slayer. Souls changes that bell curve. Mostly you'll die. Eventually you'll get by. Rarely, you'll be a wrecking machine, an offensive weapon. It's about winning, eventually, instead of winning more and more impressively.  Souls offers other outs, too. You can go grind and level up, get more gear, buy more arrows. You can often fuck off elsewhere, to another stage, or on another path, rather than bang your head against one boss. Masochistic? When's the last time a text adventure let you type, "this is stupid, next question?" How about trying to suss a point-and-click puzzle that expects you to pry open a manhole, stretch a patch of human skin over it into a trampoline, and jump up through an open window? Souls games are designed to encourage you towards eventual success, even if it means breaks, detours, or extra hours. You don't get a gold star for killing the Flame Lurker without the ribcage exploit. You don't get a demerit for safely perching yourself with a bow and taking 100 potshots to down a far off creature. In Souls' judgment, it's all the same. What matters is you did it. I don't find that sadistic at all.
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Why the Souls series' hardened rep?
"Prepare to die," Dark Souls warns, flashlight under face, as if 30 years of video games hasn't already prepared me. "I'm not a masochist," people say, letting six years of Souls pass from afar, like they're looking out a tra...

Podtoid 295: Squidnapped

Jun 01 // Kyle MacGregor
PODTOID photo
I'm a kid now, I'm a squid now...
Oh hey there! Apologies for missing the past couple weeks -- technical difficulties conspired against us -- but the Podtoid kids are back and ready to fill your ears with ink. Or the spoken word. You can tune in to the podcast via direct download and subscribe to the show on iTunes.

Sony E3 photo
Sony E3

Sony remastering its 2010 E3 press conference for 2015


Call it an E3peat
Jun 01
// CJ Andriessen
After admitting it has nothing worthwhile to show for the rest of 2015, Sony today confirmed rumors it will be remastering its 2010 press conference for this year’s E3. Called “Sony 2010 Press Conference: The ...

The Silent Hill Retrospective: Silent Hill

May 30 // Stephen Turner
Silent Hill was as much about crumbling economics as it was about night cries and picket fences. Much like Resident Evil’s Raccoon City, the dilapidated lakeside town was undone by greed. America losing its values to modernisation was a recurring theme in survival horror. It was a warning from those whom had lost their own traditions to capitalist growth, not that far removed from the J-Horror zeitgeist at the time. But more often than not, Silent Hill takes its inspiration from days gone by. Old Silent Hill's influences are worn on street names and ledgers, from Stephen King to Sonic Youth to Psycho. Even the intro pops to the sounds of vinyl, its theme song in equal parts Eastern tremolo and Western twang. These influences come together to create small-town America on the slide, full of “mom & pop” stores and tight-knit suburban mazes. But rather than a tourist, you’re a trespasser. Horror in all its forms has this element of invasion. Here, Harry Mason breaks into homes, schools, and hospitals, as he searches for his missing daughter. Though the overall plot ends up becoming more about the Otherworld, his parental fears are always at the forefront. Essentially, it's not Harry's story, but Alessa Gilesspie's. As the player, and as Mason, we're the outsiders looking in. Perception is the key to the story and scares. Memories are skewered to point where friendly faces are misjudged and emotional attachments lead to narrow-minded decisions. Harry falls through the layers of reality, like the waking waves of a bad dream, and sees the town for what it really is. The Otherworld is an abstract place, clearly a concept that reflects its tortured conduit. What could’ve possibly been a new paradise takes a horrific form because of Alessa's abuse and lack of care by her mother, Dahlia Gilesspie, and Dr. Michael Kaufmann. Later games would force the perspective onto the main protagonist, and at times would suffer for it, but few would capture that “traveller in a foreign land” feel of their predecessor. It's because of the Otherworld that Silent Hill is relentless and oppressive. It constantly toys with the audience, waiting to take shape, and gradually stripping away the safety nets. Harry is shown to be extremely vulnerable, early on. He stumbles off steps, puts out his hands as he crashes into walls, has to catch his breath, and is a terrible shot. Our first contact with the Otherworld ends in seemingly death. It’s a far cry from the shrug-it-off antics of S.T.A.R.S. or Edward Carnby P.I. Every attempt is made to obfuscate the audience, either by claustrophobic gaze, location, sounds, or virtual threat. Radio static is both friend and foe; warning us of monsters beyond the flashlight's reach and ramping up the tension just by letting us know that something's there. Ominous, hollow synths give way to industrial noise, punishing and overbearing. Akira Yamaoka’s soundtrack is comparatively brutal to his later work, the kind of unsettling cacophony that would give a pre-Grammy winner John Congleton nightmares. Even at its most calm in the Fog World, the music still sets your teeth on edge. And yet, by the final act, where reality is in actuality nothingness, Silent Hill does an amazing job of drawing sympathy out of horrific circumstances. To many, Lisa Garland is the human face of Silent Hill (both town and title), and our perception of her stems from Alessa’s own memories. She’s seen as this kind and selfless nurse that only wants to help, but as we delve deeper, endure and learn, we discover what lies beneath. The bright smile, the homely uniform, and her position of warmth and care, are all her “picket fences.” By the end, we find out Lisa was a drug addict, terrified of her only patient. Through Harry, she finds the strength to push onwards, only to realise her own fate was already set in stone. Truth shatters the façade, breaks down her body, and we’re confronted with yet another disturbing subject of horror. For Harry, it's too much and he runs away. But for once, instead of the oppressive percussion of Yamaoka’s themes, we’re treated to the melancholic Not Tomorrow. These were people, not monsters. [embed]292927:58733:0[/embed] In a time of hi-five heroics, Silent Hill offered no such compliments. The best ending closes on a bittersweet note. The town is still lost to the Otherworld, though probably not as powerful as it once was, and Harry doesn't quite get his daughter back. In a shot mirroring the intro, and with his cop friend, Cybil Bennett, standing in for his deceased wife, there's the nagging suspicion that for all we've done, it might just happen again. Sure, we saved a young girl's soul, but we didn't really win anything. Only lessons and traditions were learned. Maybe that was the point, considering the start of this article. As a game, the first and only PSX release has undoubtedly aged in the last 16 years. But much like the low-budget horror movies and low-fi recordings it emulated, Silent Hill overcame handicap through inventiveness. The Otherworld, the town, the storytelling, they were all informed by thinking outside the box. Everything we know about Silent Hill – every fan theory, every femme fatale characteristic, run-down aesthetic, social commentary, urban quest, childhood memory, occultist lore, and personal demon – stems from this very title. So it might be a little frayed around the edges, and certain conveyances are needlessly obscure, but for a mainstream horror game that was intended, quite cynically by Konami remember, to chase after that sweet Resident Evil success, it really was a very unique and artistic beast. It's still wonderful to think how something like that could be produced by such a small group of rag-tag developers, left alone to their own devices in a fairly corporate environment. Of course, though we had survived our first trip through the dark side of Americana, the world had been left open for more lost souls and more horrific layers to come…
Feature photo
What's going on with that radio?
Western horror, Eastern eyes. That was what made Silent Hill memorable for a generation. It was visceral and relentless, oppressive and paranoid, and underlined with a tragic tale that hadn’t been seen on the normally e...

My greatest gaming regret is never making it to one of those ridiculous BattleTech Centers

May 29 // Nic Rowen
While BattleTech Centers were a video game experience, I'd say they had more in common with a laser-tag joint than an arcade. It was a production; one part video game, one part fantasy. They'd sit you down inside an overly-complex facade of a mech cockpit they called a “battle pod,” complete with WWII bomber-style tail art and mock technical information plastered on the side. Inside were a dizzying array of peddles, throttles, joysticks, and an assortment of quasi-functional warning lights and buttons. The pod was totally enclosed, fully immersing the pilot in the fantasy of actually being in command of a giant war-machine. They'd give you a call sign, have you watch poorly acted in-universe tutorials of how the game worked (staring Jim Belushi of all people!) and print out “after action” military reports (scorecards) of your performance. Mechwarriors would play a networked multiplayer death match, piloting their giant mech against with other real live humans piloting their own mechs from separate pods. All of this in the year of our Lord 1991. It was astounding for the day. In just a few short years, they'd have the technology to allow players in different BattleTech Centers around the country play against each other, likely the first introduction to online multiplayer for many mech nuts. Again, this is in the early '90s! [embed]292997:58730:0[/embed] Even voicing the idea out loud, I have no idea how it got off the ground. It sounds like a pipe-dream. A mad fantasy scribbled down in the margins of a high school notebook during the last few minutes of a particularly boring English class. Not something real people would spend real money on. It sounds exactly like the product of one of the “wouldn't it be cool if...” head-in-the-clouds conversations I'd have with my brother when we were kids. Even at the absolute height of the franchise's popularity, I can't imagine dedicating an entire building to mechanized combat. Nowadays, The Avengers are about the most popular thing on Earth, with their combined movie franchise making more money than some national GDPs. Still, I can't imagine getting any investors jumping on board to make Iron Man Centers where you strap on some fake Tony Stark gloves and a helmet and shoot repulsor blasts at other players. It's insane. Still, BattleTech Centers happened. There was a time when you and 15 or more friends could pile into a couple of vans, drive to a BattleTech Center, and spend the afternoon recreating the 4th Succession Wars of the early 3000s from the comfort of your personal cockpit -- and I fucking missed it. Nothing gold can stay. As the popularity of BattleTech as a whole began to wane, and the general market shifted away from arcades in favor of home consoles, BattleTech Centers around the world began shuttering their cockpits. There were reattempts at the idea. BattleTech: Firestorm came out in early 2000s with improved Tesla 2 cockpits (capable of “Advanced Mission Mode” which actually turned on all of the extra switches and controls in the cockpit, changing them from a cute cosmetic affectation to necessary instruments). But despite a small hardcore audience of enthusiasts, battle pods are on the brink of extinction. There are a few places still running BattleTech pods, but they are scattered throughout the country and operate on a much smaller scale. A few half-functioning pods tucked in the back of an arcade at a Go-Kart track in New Mexico. A small mech cache in Houston that is only open on occasional weekends or by appointment. Or the Fallout Shelter Arcade's wandering BattleTech exhibition that travels between conventions and events, dropping pods in the middle of a show floor for curious attendees. Even with these last few preservationists, the clock is ticking. The machines are getting older, spare parts and the knowledge to repair them increasingly scarce. Soon, the few remaining pods around may suffer the “lostech” fate that befell the advanced Star League technology of the BattleTech series (an end that is deeply depressing to the part of me that still wants to climb into a cockpit, and bizarrely exhilarating to the part of me that is a bone-deep MechWarrior nerd). Look, I know these centers are dead for a reason. I get that they were cheesy as hell even when they were new. I know the games probably haven't held up. The once quasi-mystical LAN multiplayer experience is completely unnecessary these days and there are any number of better mech games and pilot sims to spend your time on. [embed]292997:58731:0[/embed] But good lord, I just would have loved to have gone to one back in their heyday. Just the idea of dragging a few of my friends and family (who aren't obsessed with giant robots) to one of those centers puts a smile in my heart. Sitting through the terrible videos, climbing into one of those big fake cockpits, it's just the right blend of something I would enjoy both ironically and completely sincerely. Of course I would immediately switch it to the so-called Advanced Mission Mode and spend most of the time flailing about trying to figure out the controls and basically waste the opportunity. I know myself, I'm exactly that kind of jerk. I guess I should start planning a road-trip to catch up with one of the few remaining clutches of pods scattered around the country. The big, silly BattleTech Centers of yesterday are gone, and I'll never get the chance to go to one, but their legacy is still around -- at least for now. I don't want to add another regret to the pile. 
BattleTech Centers photo
They'll never bury me in my robot
I've done a lot of things I'm not proud of in my life. I've made a lot of mistakes, missed some opportunities that still feel like a cavity in my heart, know that I've done wrong. But if I'm being honest? My number one regret...

Newstoid #2 photo
Newstoid #2

A Taco Bell with Bloodstained windows painted by Splatoon - Newstoid #2


RIP green screen?
May 29
// Jed Whitaker
Newstoid is back, and this time with no green screen! We heard your cries of "your heads look weird" and "get rid of that fucking green screen" and we listened. Is this better? We are thinking of getting a small piece of gre...
Wave 4 amiibo photo
Wave 4 amiibo

Wave 4 amiibo launch a bust after only 10 people trampled to death


That's one for every Robin made
May 29
// CJ Andriessen
The highly anticipated fourth wave of amiibo figures hit stores today and by all accounts sold out within a matter of minutes. This should be good news for Nintendo, but sources within the struggling video game company say ma...

Top Tentacles: Gaming's greatest cephalopods

May 29 // Ben Davis
Blooper - Super Mario Bros. series Bloopers are the classic squids of gaming. They've been a part of the Super Mario Bros. series ever since the first entry, and have appeared in many different forms, including the Gooper Blooper from Super Mario Sunshine, the Big Blooper from Super Paper Mario, King Calamari from Super Mario RPG, and many more. Blooper was even a playable character once in Mario Party 8. He was the only character I ever played as in that game, of course, but it made me wish Blooper was playable more often. I hope we see him in Mario Kart as a racer sometime, or participating in one of the Mario sports games, or even just appearing as a party member in a Paper Mario game. We need more friendly Bloopers! Ultros - Final Fantasy VI Oh, Ultros. This musclehead-hating, fire-fearing octopus acts as a comic relief boss fight, whom players must battle several times throughout Final Fantasy VI. He'll fight you in the water, on land, in the air, and even on stage during a live opera performance! It's hard to pick a favorite character in Final Fantasy VI, because the cast is so rich and diverse, but Ultros is pretty high up there. The game just wouldn't be the same without him, popping up in the most unexpected places with a big, goofy grin on his face. How can you not love adorable old Uncle Ulty? Octorok - Legend of Zelda series Another classic video game cephalopod, like the Bloopers. Octoroks are octopus-like enemies from the Zelda series, although unlike real octopuses, they often only have four tentacles and they like to spit rocks instead of ink. Octoroks have undergone some major design changes over the years. They started out as little round red and blue land-dwelling dudes who barely resembled octopuses, then moved into the water, turned purple, and began to look more like their namesake in Ocarina of Time, and then became more of a giant squid-like enemy in Wind Waker in the form of the Big Octos. The Big Octos are my favorite incarnation; it was always quite a thrill to encounter one in the big open ocean. No matter what they look like, though, you can almost always expect to run into an Octorok at some point during Link's adventures. Ikachan - Ikachan Splatoon isn't the first game where you could play as a squid! Way back in 2000, Daisuke "Pixel" Amaya released a freeware game called Ikachan, the predecessor to his wildly popular indie game, Cave Story. Ikachan follows the story of the titular hero, a cute little squid on a mission to aid his fellow sea creatures who have been trapped in a cave after a series of earthquakes and are running out of food. It's a rather short game, but it's free and unique enough to be enjoyable. Plus, Ikachan has a little starfish buddy named Ben, so of course I'm gonna like the game! Ikachan actually makes a cameo appearance in Cave Story as well. If players manage to beat Ironhead (another character from Ikachan) in the Waterway without getting hit, a swarm of squid that look just like Ikachan will flood the screen! Octavian, Marina, and Zucker - Animal Crossing series Ever since the first Animal Crossing game, all I've ever wanted was to have an octopus neighbor move into my town. At first, the only available octopus villager was Octavian, the grumpy red dude. I saw him in a list of possible villagers, and dreamed that one day he'd move in next to me, walking around on land like it's no big deal. But alas, it never happened. I never even saw him visiting in a tent or igloo. The newer iterations of Animal Crossing have introduced two more octopus neighbors into the mix: Marina, the cute, pink one; and Zucker, the one that looks like a walking takoyaki. While I was playing New Leaf last year, I somehow had one spectacular week where both Octavian AND Marina moved into my town! They're both still there today, and I'm never letting them leave. Now all I need is Zucker, and I'll have the holy trinity of Animal Crossing neighbors! Launch Octopus - Mega Man X Launch Octopus is the robo-octopus boss from Mega Man X who resides in an underwater military base. He's able to fire homing torpedoes and create huge whirlpools, which can be very dangerous when X is trapped underwater. I also love his opening animation, where he points at X with a tentacle and then points to the ground. "You're goin' down!" There was another cephalopod boss later on in the series in Mega Man X5, who goes by the name of Squid Adler. Unfortunately, I have yet to play X5, but I heard Squid Adler is named after Steven Adler from Guns N' Roses, so that's pretty cool. It reminds me of the Squid Vicious character from the newest Chibi-Robo game. I'm liking this trend of rock star squids. Who's next, Ringo Squid? Inkay and Malamar - Pokémon series Inkay and Malamar are a pair of squid Pokémon from the newest generation. They're pretty interesting because, while based on aquatic animals, they're actually not water-types and cannot learn any water-type moves (aside from one TM move). Instead, they are Dark/Psychic-types. With special techniques like Topsy-Turvy and Contrary, these squids like to pull the old switcheroo, reversing stat changes on themselves or the enemy. Inkay also has a really weird method of evolving. Players actually have to hold the 3DS upside down while it levels up in order for it to evolve into Malamar. Of course, Inkay and Malamar aren't the only cephalopod Pokémon. There's also Octillery, a pretty cool octopus Pokémon, although I've never understood why it evolves from Remoraid. I mean, remoras and octopuses don't really have anything to do with each other. It would have made more sense for Remoraid to evolve into Mantine or Sharpedo, or just not evolve at all. But I guess Pokémon doesn't really have to make sense biologically, so whatever. They can have a fish evolve into a cephalopod; why not? Octodad - Octodad series Hmm... I must have made a mistake. I figured a game called Octodad would be about an octopus, but all I'm seeing here is a normal human dad in a fancy suit standing alongside his beautiful family. How strange. Sorry for the mix-up, folks! Moving along... Giant Squid - Endless Ocean series This one's a bit more on the realistic side. What makes the giant squid in Endless Ocean so exciting for me is the fact that real life giant squids are so incredibly rare that only a few people have ever actually seen one alive. Even though they live on our planet, the chances of actually seeing one are slim to none. So encountering one in Endless Ocean is really as close as I'm ever going to get to meeting my favorite animal. In Endless Ocean: Blue World, players can find the giant squid in a deep ocean crevasse. It blocks the entrance to a cave, threatening to attack, so it has to be lured out by leading a sperm whale (its natural enemy) over to the cave. The squid and the whale then begin an epic fight for survival, right in front of you! Swimming alongside the giant squid in Endless Ocean was such a magical experience for me. I usually went out of my way to visit it, just to watch it float gracefully through the water, propelling itself with its tentacles, staring at me with its huge eyes. It's honestly one of my most cherished video game memories. Inklings - Splatoon I've only played about an hour of Splatoon so far, during the Global Testfire, but I can already tell that these squid kids are amazing. I mean, they're humans with squid-like features and the ability to turn into cephalopods at will. How great is that? If I had the ability to transform into any animal in real life, there's a very good chance I would choose to be a squid, just like the Inklings. This game really speaks to me. I'm a kid now! I'm a squid now!
Top Tentacles photo
Octopus, I love you
Happy Splatoon Day, everyone! With the release of Nintendo's new squid-based cooperative shooter, it only seems appropriate to celebrate by taking a look at some of the great cephalopod video game characters out there. For th...

Splatoon Live Stream photo
Splatoon Live Stream

Tonight we paint the town orange in Splatoon live on Twitch


Splat-ta-ta-ta-ta-ta-ta-ta-ta-Splatoon
May 28
// Jed Whitaker
Update: The stream is over, but feel free to watch the replay embedded below! Tonight the game you've all been waiting for releases at midnight, Splatoon. I'm so darned excited I'm sitting here dripping ink in anticipation, b...

Fighting games and roguelikes are my personal school of hard knocks

May 26 // Nic Rowen
Titles like The Binding of Isaac, FTL, Nuclear Throne and (my latest obsession) Darkest Dungeon make it their business to stymie and frustrate your futile attempts to get to the credits screen. They delight in throwing a wrench into the works, tearing apart promising looking runs or dungeon crawls with a few merciless rolls of the RNG. They move around the win conditions and goalposts from the traditional idea of “I gotta get to the end and dunk on the last boss!” to “oh God, please just let me survive a little longer this time.” Victory isn't just marked by, well, victory, but by discovery and learning. Seeing a new enemy, figuring out a new trick or strategy, and learning to avoid whatever awful thing killed you last time. Those small successes are what dubs a run a win. It's tough to turn that switch that demands progression off in your brain. It has been dutifully conditioned by years of games where victory is the expected outcome. But it's those wild unfair swings in a roguelike that completely mess you up that makes them so satisfying. The emotional roller-coaster of suddenly losing a beloved party member, or picking up an item that completely gimps your current build, or getting screwed by a few unlucky rolls that leave you facing almost certain doom. These factors that push you out of your comfort zone and force you to come up with new strategies broaden your horizons, you have to think about the game and really consider all of your options rather than relying on one or two recipes for success. Those runs that truly are hopeless? Well, they just let you appreciate the good ones a little more. It took me a long time to realize it, but fighting games are much the same when you get right down to it. While you always want to win a fight, just adding more notches to your W/L ratio isn't, and shouldn't be, the goal. What you really should be aiming for is learning. When Street Fighter IV came out, I was very hot-to-trot for some online play. I remembered dominating at SFII in grade school, all the hours I sunk into collecting every ending in Alpha 3 on the PS1, the times I used to rush through Marvel Super Heroes on one quarter in the arcade. I thought I was good at fighting games, and was looking forward to a chance to prove it. I swagged online like I was O'Hara from Enter the Dragon, obnoxiously breaking boards in front of Bruce Lee like it meant something. My fights ended up going about as well as his did -- Boards, and CPU opponents, don't hit back like the real deal. [embed]292757:58670:0[/embed] I'll be completely honest, I almost quit playing fighting games at that point. Nobody likes to lose, especially when you're losing at something that used to be a point of pride for yourself. Thankfully, despite its rough and tumble exterior, the fighting game community actually has a great attitude about these things. EVERYBODY loses. It's what you take away from those losses and how you come back from them that defines you as a player. Shortly after SFIV came out, I was introduced to David Sirlin's Playing to Win, a book that is all about the philosophy of fighting games and is as close to a bible for the fighting game community that exists. I remember when I first read it I distinctly thought “this guy is an asshole.” Playing to Win can be a very abrasive read if you come from a background of playing fighting games for fun. If you ever thought your next door neighbor was cheap for constantly sweeping in Mortal Kombat 2, or angrily called someone a “spammer” for repeatedly tossing out fireballs from across the screen, or think there is such as thing as too many throws in one round (a philosophy I can no longer recognize except in direct reverse), Sirlin's opinions will probably rub you the wrong way. These self-imposed rules and ideas about how the game should be played are the foundation for what he considers a “scrub mentality,” a mental framework that will always limit how far you can go in fighting games, and ultimately, how much joy you can derive from them. Embarrassingly, I saw a lot of that “scrub mentality” in myself. The way I'd get angry at “coward” Guile players for tossing endless sonic booms, or frustrated with people constantly choosing the blatantly over-powered emperor of Muay Thai, Sagat, for easy wins. But when you stop looking at what other players are doing as “cheap,” and start looking at your losses as learning experiences rather than straight out defeats, a lot of that frustration evaporates. It takes real effort and time, but when you internalize that outlook, fighting games become less stressful, more enjoyable, and infinitely more beautiful. Of course people are going to throw sonic booms as Guile, he's a machine made by the Air Force to do exactly that. It may be true that Sagat (or whatever character) is over-powered and easier to win with and disproportionally popular as a result, but how can you blame people for making a choice that will tip the odds in their favor? You have that choice and opportunity too, and if you decide to stick with a different character you'll just have to make peace with the fact that you'll run into tough matches and try and develop a strategy to deal with them. You can either get frustrated, stomp around, and quit/uninstall the game forever, or you can thicken your skin. Learn how to roll with the punches, and take something away from the mistake. Either figure out ways to avoid it in the future, or come to peace with the idea that sometimes things are out of your control. These are not new concepts, ideally we should always be trying to find the positive side to a set-back or learn from a mistake. But to me, at least, nothing else crystallizes the idea of learning from a loss into a rock hard truth than pitiless rougelikes and fighting games. And after spending so many years immersed in both genres, I like to think that I've been able to take those lessons and apply them to other areas of my life. It's not always easy, and I won't claim to be some kind of Zen master who never gets frustrated, but I know I'm definitely a more patient person now than I was five years ago.
Learning from failure photo
Learning from my (many) failures
The last few years of games for me have been all about defeat. Constant, unending, expected defeat. I think I'm better for it. It wasn't always like that. In fact, for most of my life, games have been all about completion, vi...

Your future gaming TV might be a wallpaper magnet

May 24 // Niero Gonzalez
We've been reading about paper-like televisions for years, and it seems like they're finally going to be commercially available. This prototype was unveiled last Tuesday, and looks similar to convex OLED panels shown by Panasonic a year ago aimed towards commercial display applications. Mashable and Yonhap are reporting that this new line of OLEDs may be see production from 55 to 99 inches this year, though no price or date have been set though LG hopes to ship as many as 1.5 million OLED sets by 2016. It's unlikely that this is the model you'll be taking home this year. I meant the television. The company was not quick to talk up the quality of such displays, so we can assume that they're similar to the 1,200x810 flexible OLED panels can be rolled up to a radius of 3 centimeters from CES 2014. The cool factor is indisputable, though. [embed]292686:58648:0[/embed] Sony can enjoy the title of thinnest 4K TV for the summer Earlier this year, Sony announced "the world's thinnest TV" which is a cow in comparison. Their 4.9mm 4K television at it's thinnest point out-slims the Experia Z3, their other cutting edge waterproof phone whose marketing department forgot isn't actually waterproof. At least their other guys got publishing Bloodborne accidentally right. Between this, the disputed islands, and Yoshinoya gouging their beef bowls it's been a shitty year for the Japanese, but LG's wallpaper TV not a high end 4K TV. How long until Sony announces expensive magnets? Anyway, how about those $300 42 inch TV's at Walmart, eh? I was going to make a joke about Vizio (because we own one) but the famous budget TV maker looks like they're close to making the best TV ever: the same Dolby Vision technology that's making people almost jizz over George Clooney is making its way to the home theater with their yet-to-be-priced reference series. We saw this set during CES this year, which promised a 120 Hz low-latency refresh rate for gaming (which they call 240 Hz Effective, but don't believe the BS). Like Sony and high-end Sharp TV's, you'll see a $2k extra dollars added to the price tag when they say stuff like "local dimming array", which is a second grid of sensors to help boost contrast, but will always have love handles because unlike OLED units it requires some form of back-lighting hardware. There's no real standard for this, so companies can put anywhere from 30 to 384 sensors and still call it the same thing. Its unclear if you can tell any of these televisions apart when you're not running around looking at all of them in a show room. It might be fun to kidnap the most serious television editors, cover all UHD televisions in duct tape, and have them tell us which ones are closest to Rec 2020, the holy grail that Vizio hinted at delivering but fell short. If you're keeping track of buzzwords this is similar to Sony's "X-Tended" technology in their higher end Bravia line, which by the way isn't compatible with HDR. It's all shit, send it back, start over. X-cept that we're halfway towards some serious pretty.  Chauncey spends his evenings in silence hoping that GTA 5 will someday play like this one frame 4K wallpaper There's not much new tech to talk about over at Samsung. The're busy making high-quality TVs tainted by Orwellian privacy concerns and pop-up ads in smart televisions. I do have one gripe, in that the company insists that their high-end TV line should be curved. This seems like the dumbest trend in TVs possible. On one hand, you have PR reps hamsplaining that OLED makes non-OLED TVs look washed out if you look at them at an angle, but what good is that when the television is then angling away from you? What if I want to watch all the amazing available 4K content in 3D at the furthest possible corner of my house? Lastly then there's Toshiba, who made a mirror. Sharp lost 1.6 billion dollars somehow. Apple was praised for ditching its 4K TV plans, as it makes more sense to market its "retina" displays, which your mom thinks means UHD but instead refers to ultra-dense pixel density.  After researching a dozen of these future television articles you might lose your mind in trying to determine what television has the best darkness contrast, in the same way you'll lose your mind actually trying to get a 4K stream that isn't about nature or more Korean women. But back to the girl. Just look at her. She's like, "Why am I wasting away my late 50's modeling? I could be installing LG TV's all day." You'll probably want to start stapling metal sheets around your toilet or moving into shipping container, because it's just as economic as it sounds. Upsampling shows, I've upsampled a few It seems there's a ton of 4K content until you actually buy a 4K TV. Enjoying 4K is mostly the art of upsampling non 4K content, unless you (1) bought an expensive computer or (2) are convincing yourself that 4K 30 Hz on your mid range equipment is the future. Chotto... I truly want 4K to happen in a bigger way already, but delivering that content over Blu-Ray or typical internet it is super inconvenient. You can't even use a GO PRO 4K with most 4K TVs. CNET says they can't tell the difference between House of Cards in 4k or 1080p with a $4K 4K Samsung. So brace yourselves for another year filled with hints of 5K, as all of the above are in an arms race to convince you that your most excellent 1080p television is garbage because you're sitting too far from it. Then there's 8k or Super-High Vision, which is different from what you did in college. We'll likely see more of this during the next Olympics. Your children and cool uncle that works for the CIA will enjoy 8k at home. For the rest of us we'll likely have to wait a decade. Let's not forget Ultrasonic TVs [embed]292686:58647:0[/embed] Did you ever have one of these when you were a kid, or recently as a hipster? Our Zenith held up for ten years before it hissed, turned pink on the edges where the giant magnet held the remote, and sometimes you could hear trapped fried moths dying a slow death from boldly going into it's dark forbidden crack. One clever colony of termites focused their efforts on its rotating base, a 20-pound slab of wood that was supplied ideal damp conditions by a mother's well intentioned mopping. Prior to that, I thought it was pretty keen and daydreamed I could stack all my gaming consoles or just come home after a hard day and plank on it.  Dtoiders, what TV do you game on? Any plans on picking up a new TV soon?
The future is anemic photo
What TV do you game on?
Doesn't it look like she's just putting up a glossy poster? They're calling them wallpaper TVs.  That's an OLED flexible TV being affixed to magnetic sticker. Put up a sticker, install a TV. The unit is light enough to b...

Experience Points .14: Dragon Quest VIII: Journey of the Cursed King

May 23 // Ben Davis
Cor Blimey! Yangus... how do I describe this man? He's sort of the comic relief character, he has a weird name, his background is rather shady, he wears some kind of odd spiky fruit husk on his head, he has an annoying catchphrase, he's short, fat, hairy, brutish, and overall conventionally unattractive. And yet I love him so much! Dragon Quest VIII lets the player choose which party member they want to walk around as, so as soon as I figured this out, I obviously picked the big, lovable oaf. I never played as anyone else. I mean, how often do I get to be a chubby hairy dude in a videogame? Not nearly often enough. Yangus' comic relief even manages to make its way onto the battlefield. If he pumps up his Humanity stat, he'll gain some pretty hilarious moves. One such move, Golden Oldies, has Yangus shouting "Grandad!" and calling forth King Trode and a mob of rowdy old men to rush the enemy for lots of damage. And then there's the Underpants Dance, which unfortunately does not involve Yangus dancing around in nothing but his underpants, but rather dancing around while waving two pairs of boxers about in an attempt to shock enemies. They're not the most useful of moves, but I still used them at just about every opportunity, simply because they made me smile. I mean, what's not to love about an underwear attack? Yangus actually got his own spinoff game, Dragon Quest: Young Yangus and the Mystery Dungeon, but of course it was only ever released in Japan (boo!). I'm glad he was apparently popular enough to warrant a game of his own, though! Slime, I choose you! Outside of the main quest, the best part about Dragon Quest VIII is the ability to recruit monsters from the field and form monster teams. These teams are primarily used for the monster arena sidequest, but they can also be sent out during normal battles to help the party fight at any time in the game. I've always loved the monster designs in the Dragon Quest series, so being able to recruit some of them for my own team was really appealing to me. All of my favorites, including the King Slime, Cyclops, Golem, Hoodlum, Orc King, Jargon, Jumping Jackal, and so many others are able to be recruited. I usually had one team full of monsters that I liked, regardless of how powerful they were, and one team comprised of monsters built to win battles. Depending on which monsters are placed on a team together, they might even be able to earn special bonuses or abilities. For example, a team composed entirely of slimes will get double the amount of hit points. My personal favorite team is called My Three Golems. A team of three golems will be granted a special ability which allows them to fuse together, creating a super powerful mega golem named Mazin with 999 HP and all-around impressive stats. So not only are the golems one of my favorite enemy designs, but they're incredibly useful in combat as well! Metallic menaces There's nothing more satisfying in Dragon Quest VIII than landing a killing blow on a Metal Slime. Not only are the metallic gelatinous blobs incredibly difficult to defeat, but they yield a crazy amount of experience points, so hunting them down is definitely worth it. These guys come in three variations: Metal Slime, Liquid Metal Slime, and Metal King Slime. Obviously, the Metal King Slimes are the rarest and most sought after of the slimes. These lustrous foes are so difficult for several reasons. For one, they have ridiculous defenses; most attacks will only deal a single point of damage or nothing at all, barely causing more than a scratch. They also have an extremely annoying tendency to run away from battle as soon as possible, meaning players have to rush to destroy them as quickly as they can before the slimes are able to slip away. Not to mention the Metal Slimes are rare enough that even seeing one usually causes my heart to skip a beat, only for my hopes to be swiftly dashed as the slime runs away in the first turn. Players need to have a solid strategy and plenty of luck in order to take them down. It takes a lot of patience, but it's worth it. The first time I defeated a Metal Slime was one of the best feelings ever! Shakin' it is all I know In just about any JRPG, you can expect to fall victim to status effects. JRPG veterans are always prepared to be poisoned, paralyzed, burned, confused, and put to sleep. But what about becoming so obsessed with dancing that you can no longer focus on fighting? In Dragon Quest VIII, they got a little creative with the status effects by adding in a few silly ones, including an effect known as the dancing bug. Certain enemies will occasionally break into a dance so infectious that the team of brave warriors just can't help but join. Characters who catch the dancing bug will be unable to act for a turn, since they'll be too busy busting a groove. The penalty of the effect is nothing special, just a missed turn, but it was so unexpected that it immediately became my favorite thing. Sometimes I'd just sit there and allow dancing enemies to attack me, just so I could watch each of my characters let loose and have some fun. It almost feels like more of a reward than a penalty. Who cares about a missed turn when it means I get to watch Yangus prancing around? Le Puff-Puff There's a running joke in the Dragon Quest series known as "Puff-Puff." It's a pervy joke based on the idea of rubbing one's face between a woman's breasts. Usually not my thing, but I have to admit that the secret Club Puff-Puff room in Dragon Quest VIII definitely made me laugh. It was actually the first time I had encountered the term before, so when I found the room I didn't quite know what to expect. A burly muscleman greeted Yangus at the counter and invited him into an adjacent room where a girl in a bunny outfit beckoned him into a chair and offered to give him a "Puff-Puff." I accepted out of curiosity. The screen went black, there were weird bouncy noises, and the woman asked, "Have you ever felt a pair as warm and soft as mine?" Uhhhhh... When the lights came back on, Yangus was sitting there with a blindfold on as the woman was rubbing two slimes on either side of his face. Blissfully unaware Yangus looked like he was having the time of his life, and I couldn't help but laugh at the unexpected turn of events. As a gay man, it reminded me of that scene in The Emperor's New Groove where Yzma pulls up her skirt and everyone starts cringing until they realize she's just revealing a hidden knife. "Whew, ohh okay!" The endless corridor Of all the fantastical locations and creepy dungeons in Dragon Quest VIII, there's one area that always stood out in my mind as being particularly interesting. In the final dungeon, the Black Citadel, there's a certain room shaped like a huge circle. The party enters from a hallway off to the side, eerily decorated with four statues of the party members themselves, and loops around the circle. But strangely, it just brings them right back around to the entrance. The first time I encountered this room, I was very confused. I ended up backtracking around the circle again thinking I had missed something. There's this huge circular room, with lots of windows and doors lining the exterior, but nothing to find there? No new paths or anything to interact with? I kept wandering around, thinking I had surely just missed some small thing, when I suddenly noticed the room had changed. As I was looping around, the windows and doors I had passed several times before had become mysteriously boarded up, and the ground was all cracked with pools of poisonous-looking water seeping in. What's going on? I looped back around to the entrance again, only to find that the entrance had disappeared! And even more unsettling, the statues of my party members had all been beheaded! Was I trapped and doomed in this creepy eternal hallway? Since there was nothing else I could do, I made another loop and the hallway started to change again. The walls lined with windows and doors began to disappear, only to be replaced by dungeon cells full of skeletons. Finally, an exit opened up across from where the entrance had been, although the beheaded statues were now completely decimated. Talk about creepy, but at least I was finally out of that place! Later on, when exiting the castle, I had to run back through the scary endless hallway (nooo!). The room slowly began to reform back to its original state, and the statues rematerialized. And then, right when I tried to leave through the entrance, the statues attacked me! Of course the creepy self-mutilating statues would come to life. To be honest, this area is kind of a chore to navigate, having to run through this long hallway until the entrance and exit appear, but the atmosphere of the place really left an impression on me. I was genuinely on edge the entire time, thinking something awful was about to happen. When did the survival horror genre creep its way into my light-hearted JRPG? I certainly didn't expect it, but I also kinda liked it! Past Experience Points .01: The Legend of Zelda: Majora's Mask.02: Shadow of the Colossus.03: EarthBound.04: Catherine.05: Demon's Souls.06: No More Heroes.07: Paper Mario.08: Persona 4.09: Final Fantasy IX.10: Mega Man Legends.11: Rayman Origins.12: Metal Slug 3.13: Animal Crossing
Dragon Quest VIII photo
A slime appears!
Experience Points is a series in which I highlight some of the most memorable things about a particular game. These can include anything from a specific scene or moment, a character, a weapon or item, a level or location, a p...

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Employee kidnappings up 500% after Doug Bowser begins work at Nintendo


Bob Ganondorf in billing also suspected
May 22
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The warm welcome for Doug Bowser, the new Vice President of Sales at Nintendo of America, is over after it was reported female employee kidnappings have increased 500% since he started earlier this week. More than 10 beauti...
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Konami proves mobile is the future of gaming with Metal Gear Solid V iOS port


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May 18
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Last week, Konami announced its intention to focus on mobile gaming going forward, saying the platform is the future of the industry. This morning the company proved that even the most complicated console game can feel righ...
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Sup Holmes braids a second quest with David Hellman


Sup Holmes every Sunday at 4pm EST!
May 17
// Jonathan Holmes
[Sup Holmes is a weekly talk show for people that make great videogames. It airs live every Sunday at 4pm EST on YouTube, and can be found in Podcast form on Libsyn and iTunes.] [Update: Show's over every...

Adam Tierney and Mariel Cartwright on the evolution of Til Morning's Light

May 17 // Jonathan Holmes
Tell us about the origins of Til Morning’s Light. Where did the concept come from and how did you two get involved? Adam: It started as an original WayForward pitch that Mariel and I teamed up on 5 or 6 years ago. In fact, I think it might have been the first project we worked on together. Mariel: I had just gotten started working with WayForward at the time, as one of my earliest game industry gigs. I do a lot of art for WayForward’s game pitches, and this was one of the first ones I did art on! I always thought it was a cool concept so it was great to see it come back after all this time. Five years is a long time. What changed about the concept between that initial document and the game you ended up making? Adam: Not as much as you'd think. From the beginning, the main character was always a teenage girl named Erica, locked in a haunted house, trying to survive overnight and escape by morning. The enemies were different - just bugs and rats and bats, from what I recall. And the concept was originally envisioned as a 2D sideview game (like the original Clocktower), whereas the final game is fully 3D. But thematically, it didn't change much. Mariel: Yeah, surprisingly, from my end the biggest thing visually that changed about Erica was her outfit. It was actually fun to revisit just a few drawings I did back then and really try to bring that character to life. Can you talk about each of your roles on the game? Mariel: I was the lead concept artist.  I designed Erica, the NPCs, and most of the creatures under Adam’s direction. I also storyboarded all the cutscenes in the game, and did a few bit illustrations you’ll see in the game. Adam: I wrote and directed Til Morning's Light, and led the design team. I basically oversaw all creative aspects of the production, working with all the artists and coders as they implemented everything. How would you describe Erica? What did you hope to accomplish with her? Adam: I've always loved the standard setup of a young female protagonist in horror games and films. In the original pitch, we had a very clear visual for Erica (from Mariel's art), but she didn't have much of a defined personality back then. After the game was signed with Amazon Game Studios, we came up with the idea of making her very meek and timid at the start of the game, then slowly evolving her to be more aggressive and powerful over the course of her adventure, so that the girl who came out at the end would feel like a completely different character. Mariel: I think Erica is someone that a lot of girls can relate to— smart, self-aware, but shy and afraid to stand up for herself. Adam: Stephanie Sheh (who voices Erica) really brought Erica to life as sort of a cute dork. Once we heard her take on the character, all remaining dialog was written with that personality in mind. So Erica got a little more hammy and sarcastic as production went along. In what ways does Erica “evolve” over the course of the game? Adam: In terms of VO and story, she begins the game timid and easily-frightened. Her wit and sarcasm is still there, but it's less confident. As the game progresses and she has to defeat all these insane bosses and creatures, Erica gets more and more frustrated and aggressive, so that by the end of the game she's the strongest person in the house. It was a lot of fun to build a story around the idea of your main character slowly evolving over the course of 12 story hours. Mariel: She also changed visually as well - starting with just her normal outfit at the beginning and becoming more tattered, dirty and messy as she progresses through the house. It’s a cool way to evolve her both mentally and physically and show how far she’s come. How would you compare Erica to other WayForward characters? Adam: She's much more subtle than most of WayForward's heroines. With characters like Shantae, Patricia Wagon, and Kebako (Cat Girl) you have very loud, action-packed, dynamic personalities that hit the ground running. With Til Morning's Light, there were still the usual WayForward sensibilities (especially in the visual design and gameplay), but we wanted a very slow build of the characters, and a slow reveal of plot points, with more emphasis on emotional highs and lows than we typically include in our game stories. Mariel: Yeah, Erica is less cartoon-y and more relatable of a character, I think. I definitely I see a bit of myself in her and I’m sure many others will too. Is Til Morning’s Light a “horror” game? How scary is this thing? Adam: Most people would consider it a horror game, I think. "Spooky" might be a slightly more accurate term. There are lots of unsettling, creepy moments, but there's no real blood or gore. If you've ever seen the film Coraline - which is kind of a film for teens, although there is still real risk and death - we're tonally pretty close to that, but maybe a little bit older and darker. I'd say our bosses are probably the scariest thing in the game - even though they're each charismatic (in their own ways), they're also a tremendous, deadly threat to Erica. What’s the gameplay like? Is it a mix of action and puzzling? Adam: Yeah, the game is equal parts exploration, combat, and puzzling. You explore the mansion grounds, which spans over 100 unique locations. Advancing through the game is very lock-and-key driven (in typical horror genre fashion). Combat is rhythm-based, using a touch input system of taps and swipes that get more complicated and challenging as you advance. And puzzling involves a little of everything - deciphering clues, finding pieces, combining and manipulating objects - everything you've come to expect in this genre. Mariel: Erica is a normal girl that’s been thrown into a crazy situation, so she doesn’t have an arsenal of weapons to blow up her enemies. She instead has to rely on what she has, which is basically just herself, so the combat and puzzles were designed around that. Are there any unique features in the game you can talk about? Adam: Most of the ghosts you encounter in the game are friendly. As a general rule in this game, ghosts are good and creatures are bad (and it's explained why through the story). But occasionally you'll come across a ghost that's lost and attempts to flee from Erica. These moments provide a game-long secondary objective to locate and essentially rescue all the 'lost souls' in the game (ghosts without memory of who they are or where they come from). This process involves first revealing the ghost by using the camera on Erica's phone (a mode that's enhanced in the Fire phone version of the game), then after the ghost is revealed, chasing it around the area until Erica absorbs it. Performing this process on all lost souls in the game yields a very special reward. What’s the story like in this game? And how did that come together? Adam: As I mentioned, it's really all about Erica. Although there are over a dozen speaking characters in the story, the story revolves around her. And even the types of secondary characters we included were done as a way to highlight different aspects of Erica (romance, confidence, being a child, being an adult, etc). I'd say the story legitimately runs the gamut of being very funny at times, then very unsettling, then very depressing, and ultimately a (hopefully) very satisfying conclusion. Mariel: I did all the storyboards, so it was important to really show how she changed from scene to scene. Everything from her expressions, posture, and appearance changed as the story progresses, so I’m hoping people really relate to that. Adam: The story was developed between WayForward and Amazon Game Studios. As a publisher, they are very collaborative and tend to assign 'experts' in each area of the game. So rather than me working on the game's story with only producers, they had a story expert who would go back and forth with me on plot, characters, and drafts of the script. The process was very exciting, and I think the story and dialog we ended up with is more developed than if we'd just put it together on our own. The game is getting a release on iOS, Fire phone, and tablets. Were there any challenges in making a game like this for mobile devices? Adam: Not really challenges as much as things we needed to keep in mind. Thematically, there are a lot of complex actions Erica performs in the game. But we wanted the game's controls to essentially support single-touch throughout the adventure. So boiling down a fairly complex, traditional horror game design to a handful of single screen taps took some real thought. The combat, as I mentioned before, is rhythm-based, and this came from us experimenting with a variety of different approaches early on. Initially, we tried combat that was directly-controlled (hit for hit), but to get that feeling good on a mobile device, we had to essentially overpower Erica (which worked against the game being a horror title). So, we ultimately went with a minigame-like rhythm interface, similar to Buddha Finger or Elite Beat Agents. Once we did that, we were able to have tight, challenging combat, but still keep Erica as only a semi-confident combatant. How is TML different from other action-adventure games offered on the iOS and Fire devices? Adam: First and foremost, it's a really meaty game. I think gamers will be surprised by just how much content is here - story, characters, locations, secrets, battles, etc. It feels like a console experience shrunk down for mobile devices, rather than the more bite-sized adventures you often see on mobile. There also doesn't seem to be a tremendous amount of deep horror games on mobile devices. There are a few that attempt this – Amazon Game Studios just shipped another great horror game, Lost Within, on mobile devices a few weeks ago. But overall, I think most publishers and developers don't attempt the genre on mobile because they doubt the possibility of something being creepy and immersive on a tiny screen. Hopefully Til Morning's Light will go toward proving that these types of games are very possible, and work well, on mobile devices.  How has working with Amazon on this game been? Adam: Amazon Game Studios has been a dream to work with. They're very hands on, but at the same time never interfered with the process or put up walls. I think their primary goal is to understand the kind of game that the developer is envisioning and then do everything they can to help realize that vision. Whether we were tackling story or combat or puzzling, I don't recall ever getting any mandates or notes I disagreed with (which as publisher, would be completely within their rights to do). They just sought to fully understand what this game was all about then use any and all expertise they had available to help make it as great as possible. I look forward to working with them on another project in the future. Were there any previous games in particular that influenced your work on Til Morning’s Light? Mariel: Oh man, I love horror games— Silent Hill, Clock Tower, Resident Evil, Fatal Frame — with a soft spot for ones with female protagonists, like Haunting Ground. I love stories where a normal girl is thrown into a terrifying situation and has to fight her way out, so I tried to channel that into Erica. Adam: I've loved horror games and films ever since I was a kid, so I'm sure it all had a subtle influence on this game. My project previous to Til Morning's Light was a Silent Hill title, which is my favorite game series. So SH fans might note some similarities in this game. The same goes for Resident Evil, Luigi's Mansion, Castlevania, Metroid - anything creepy with room-by-room progression.  Who’s the target audience for this game? Adam: Core gamers, the same people enjoying the best games on PS4, Xbox One, Wii U, and Steam PC right now. From the beginning, Amazon Game Studios let us know that this product should appeal primarily to core gamers, which is why Til Morning's Light is a very robust, console-like experience. Obviously we tailored the controls to what works best for mobile devices and tweaked some of our design implementations based on how people enjoy mobile games. But the goal was generally to create something very substantial and immersive. At the same time, there's no real blood or gore in the game. So although it can get pretty dark and unsettling and tense at times, younger gamers who aren't easily frightened should also find the game appropriate to play. Anything else you want to let our readers know about Til Morning’s Light? Mariel: I’ve wanted to be part of a horror game for a long time, so it was awesome to be given the opportunity to work on Til Morning’s Light. I can’t wait ’til it’s out so everyone can see what we put together! Adam: This is the most personal game I've ever worked on, and the talent on this team was some of the best that WayForward's ever put together. I can't wait for gamers and horror fans to check the game out, and hopefully it resonates with you all the same way it did with us.
Til Morning's Light photo
Skullgirls and WayForward devs speak
[Til Morning's Light is a new horror adventure title from WayForward and Amazon Game Studios, bringing together talent from titles such as Aliens: Infestation, Skullgirls, and... Sailor Moon? We've got a v...

What if Twitter was a Real Life Party? Video games and violence

May 16 // Jonathan Holmes
With video games in particular, there's absolutely no way of knowing what effect games alone will have on a person on a long-term basis. Some studies saw that many people show a diminished capacity for empathy after playing some videogames, but other studies show the opposite. Unless science is able to gather a perfect test group that is able to be studied by the effects that video games have on them alone, it will never be able to provide us with any conclusive answers. More qualitative, general observations aren't much more helpful. Sure, there are more mass shootings in America now than ever before, but the violent crime rate is also down overall. It would be easy to guess that means the rise of violent video games in America gives most people a positive outlet for aggression, decreasing their capacity for violent crime, while having the opposite effect on a group of outliers who later become mass murderers, but that kind of guess would be completely silly. That kind of guess would have to discount all the other concurrent trends in America today, like the increased levels of violence in film and movies, the increased use of thought- and mood-altering drugs (both street and prescriptions) in modern society, the drastic changes in our sociological/political/nutritional landscape, the Internet's influence on culture in general, and so many other factors. If you know a social scientist who can isolate video games from all those factors in determining how a person has been affected by his or her environment, I've got a crisp $20 bill with their name on it.  Regardless, this video wasn't meant to be a serious debate about all these issues, so I'm not even sure why I'm getting into them now. It's just a little animated reenactment of an unusual and semi-cute interaction I had with someone on Twitter. I hope you like it.  
WIT WAR LP photo
Social media animated!
One of the great things about the Internet is the limitless opportunity for social interaction it provides. While it always saddens me to see people use Twitter and other social media tools for the primary purpose of putting...

Newstoid, a Smash 4 guide by ZeRo, exclusive Bloodstained art, and more

May 13 // Jonathan Holmes
We've also got announcements related to our digital/print magazine with GameFan. We're in the process of generating some exclusive artwork from Bloodstained for our cover, an all new full color Arem comic by Corey "Reyyy" Lewis, an exclusive preview of Metal Gear Solid V, and a very special Smash Bros. for the Wii U and 3DS mini-guide by Gonzalo "ZeRo" Barrios.  And that's not the half of it! I wish we always had the opportunity to pop the hood and show you what we're cranking away, but any time spent opening the hood is time that could have been spent cranking. Thanks as always for cranking along with us, and please stay tuned for more announcements coming soon.   
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We had no sword or whip
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WIT WAR LP photo
WIT WAR LP

'What if Twitter was a Real Life Party?' is coming for you


Social media animated!
May 12
// Jonathan Holmes
Hey, did you see those two little old ladies talking about Majora's Mask while innocuously almost eating eyeball cookies? If not, you're missing out.  After seeing that short, I knew that the team at Farleywink Animatio...

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