Damon is a twenty-something year-old manthing what currently "manages" an independently-owned games shoppe ("Game On!") in Denver, CO. He's entertained delusions of intelligence and relevance his entire life, and hopes to someday be recognized as a pundit in several fields, though his insatiable, insufferable ego will likely forever demand more. As it stands, the store he works at cannot afford to pay him, and as such his current gaming experiences are limited to those used titles that come through the store itself, or those rare occasions when his friends should happen to purchase something that he'd also like to play.
This fellow is arrogant, egocentric, narcissistic, and riddled with insecurities, anxieties, and contradictions, but occasionally - just every so often - manages to be a pretty okay, kinda' nice guy. A bit off-putting at first, but if you give him a chance he might just grow on you.
Also, he's very pleased to meet you.
(This one by Antwhan.)
Hopes/Intends to Play/Purchase:
Metroid: Other M
Noby Noby Boy
Insanely Twisted Shadow Planet
-Favourite Mediastuffs- (In alphabetical order, so as to avoid ranking.)
28 Days Later
As Good As It Gets
Batman Beyond: Return of the Joker
Batman: Mask of the Phantasm
Benny & Joon
The Boondock Saints
The Court Jester
The Darjeeling Limited
The Dark Knight
Eternal Sunshine of the Spotless Mind
Everything Is Illuminated
The Fifth Element
The Glenn Miller Story
A Goofy Movie
Grosse Point Blank
Howl's Moving Castle
The Hudsucker Proxy
Interstella 5555 (Daft Punk)
The Iron Giant
It's A Wonderful Life
Keeping The Faith
Kill Bill Vol. 2
Kiss Kiss Bang Bang
The Life Aquatic with Steve Zissou
Little Shop of Horrors
The Lord of the Rings: The Two Towers
The Lord of the Rings: The Return of the King
Lost In Translation
Man on the Moon
Meet Joe Black
Mr. Smith Goes to Washington
My Fair Lady
My Neighbor Totoro
Playing By Heart
The Road To El Dorado
The Science of Sleep
Shaun of the Dead
Singin' in the Rain
South Park: Bigger, Longer, & Uncut
Thank You For Smoking
V For Vendetta
What Dreams May Come
Whisper of the Heart
Who Framed Roger Rabbit?
It's been a while since I started reading Destructoid. A little less while since I signed up for an account, and a little less of a while since I started really engaging the community on anything anybody could consider a regular basis.
Now this here is the internet, so there are always going to be elements less than savory. I'm not thrilled with every personality that I run into, to be sure. BUT-- it's a perfectly fair statement that there's a higher frequency of intelligent, awesome, kind, and nifty individuals here on Destructoid than on any other place I've ever spent time online.
From my early intarwubs beginnings on a silly Dragonball RPG forums (where I, incidentally, met the first woman I ever loved), to a blogring I spent scores upon scores of high school hours, to a smattering of forums that never quite stuck, Destructoid is the one that's hooked me best.
The sensibilities of the JOURNALISM, editorials, and features, as well as the personality of most every staffperson helped forge my love of this place.
Some years ago, my friend sent to me a link to Hey Ash Whatcha' Playin's Dark Knight parody. Initially I rolled my eyes (the internet was crazy saturated with Dark Knight guano at the time), but quickly fell for the one-sided verbatim Joker monologue juxtaposed against "real-world" reactions. Thus my love of HAWP was born.
After that, it was but a hop, skip, and a jump to follow the breadcrumbs from HAWP to Anthony Burch to Podtoid to Destructoid at large, a place I can scarcely go even a few hours without checking.
To the site that reshaped my appreciation of video-games.
To the site that promotes and encourages and cares about community just as much in practice as in ideology.
To the site that enthusiastically puts a wikipedia article for "Ekans" on the front page.
To the site that allows anybody and everybody to have a say.
To the site with a schwanky robot dude as the vanguard of its enterprise.
To the site that allows me the idea of occasional, personal purpose and interest beyond just the grind of running a store and keeping my head above water the remainder of the time.
The happiest of anniversaries on this, your fourth year.
Now, normally I would adhere to a tradition that dictates I sing to you the song "Happy Birthday to Me" by Bulldog Mansion (as featured in "There She Is!! - Cake Dance"), but I'm currently nowhere near any kind of recording device and won't be for some time. Besides which, I'm all dry in the mouth with a semi-wicked hangover from a late-night marathon of Pure Pwnage, Press "X" to Jason/Shaun, Doctor Who, Community, and God of War III (it was a busy night), not to mention that you already had to sit through my obnoxious renderings of favourite songs from "A Goofy Movie".
"Jigglypuff (Purin / プリン) is known as the Balloon Pokémon. Jigglypuff spelled backwards is ffupylggij.
Jigglypuff is shaped like a round ball, with pink skin, large blue or green eyes, catlike ears, and a tuft of fur on its forehead. Its skin is rubbery and stretchy. It can inflate its body like a balloon (usually when it becomes angry; this is accompanied by a distinctive "honk" sound), or flatten its body. An exact limit to the size it can grow to in this manner is unknown.
Jigglypuff are characterized by putting their enemies to sleep by singing a lullaby. Before beginning to sing, they mesmerize the opponent with their soft, glowing eyes, and if they inflate themselves, they can sing for longer periods of time. They can easily adjust the wavelength of their voices to that of the brain waves of a sleeping being, allowing for their pleasing melody to put its audience to sleep. They sing without pausing to take a breath, so if the opponent is resistant to sleeping, they potentially run out of air.
In the Pokémon anime series, Jigglypuff is a recurring character who aspires to be a great singer after the inspiration of Ash and company. Unfortunately, every potential audience falls asleep before the song finishes. Jigglypuff does not usually choose an appropriate time to sing and has been a hazard many times. Because of this, Ash and his companions often find themselves running away from Jigglypuff. It keeps a black marker, its "microphone," and uses it to scribble on anyone who dares to fall asleep while it's performing."
Here at Game On!, we have something of a tradition: if you're going to play here regularly and be "one of the guys", then you're likely to end up with a Pokemon name. When you join "Team Pokemon", whichever Pokemon you choose to identify with is, naturally, entirely up to you (so long as it's not already taken).
One of my best friends is Magikarp, and my ex-lovely ladyfriend made a most delightful Psyduck.
I - the loquacious, drama queen, talks-at-people-whether-they-care-or-not, loves-the-spotlight-and-stage, lullaby-singing, lethargy-inducing, moody, pink grumpkus - am, of course, Jigglypuff.
My battle cry of "PUFF~" will forever echo through these halls.
Well, it's a little last-minute, but here's my entry. It was kinda' hard to get some of this filmed during daylight/business hours, so please excuse the quick cuts during some of my speechhavings. Also, I didn't really actively take note of that "blue" language until I'd already rendered and uploaded the video, so hopefully a few curses aren't considered TOO NSFW.
Basically, what you're about to watch is broken into roughly two halves: an arbitrarily-decided upon number (five, I think) of nonsensical reasons why I should go to PAX East, followed by a somewhat somber account of straight talk and how much it would mean to me. For those of you that can stomach the latter half, there's an additional morsel of funny as a reward near the end.
Thanks! Please send me to PAX please, thank you, please!
You see two Engineers, wrenching away at strategically placed sentries and dispensers. A Heavy lingers nearby to slow any oncoming waves of offense, and a Pyro flits about like the spastic arsonist he is, just daring any wannabe sentry-sapper to try and sneak his way in. After that, it's but a straight shot to their intel, and everybody else is too preoccupied dicking around and killing eachother somewhere in the middle of the map to be concerned with the real axis of action: a well-defended choke point.
Both teams already have two points, so this has to be done surgically. Currently playing a Medic, you're looking for every possible opportunity to heal somebody lesser than full, just to get that overcharge up a little faster than otherwise. A Sniper's running with you, as are a Spy, a Heavy, and a Scout. There's no immediate threat, and therefore no immediate hurry. The plan of action seems clear:
The Scout will stay away from danger as the Sniper takes out the enemy firestarter, thus allowing the Spy to sneak ahead and sap the sentries; your cue to uber the Heavy and press forward while the Sniper and Scout help you to chip damage from a distance.
Pyro down. Heavy down. Sentries down. Engies down.
Time for the Scout to do his thing and relay that intel as far as he can, the rest of your ad hoc squad covering his everywhere.
How it really happens.
The Heavy, for reasons unknown, decides to run ahead and gets a flare in his face before you finish charging your uber. Not wanting to let the opportunity slip away, you panic and run forward in an attempt to heal him and pop your charge before you BOTH die. Everything's going nuts, and the Sniper's having a tough time getting a bead on anything at all, so only contributes chipped damage instead of a clean kill. The Spy gets tagged by a stray burst of flame, then pistoled down by Engies; Engies properly conditioned to think “shoot flaming spies what come near our babies”.
You've managed to build your uber and even get it off, but the Pyro's doing such a good job of airblasting you away from your Heavy, it's a game of cat and mouse just to keep him alive. The Scout freaks out and figures that maybe he can forge ahead through the fray, but the sentries just get a fix and send him fifty feet into the air. At this point, you're burned to a crisp while the Heavy and Sniper managed to run away.
Conceptually, I'm crazy about team games. I adore them. The idea of well-coordinated, community-based strategy is just the bees knees as far as I'm concerned. To me, it feels like the genre includes this axiom, this self-evident principle that sometimes the compromise or sacrifice of an individual for the team objective is absolutely the way to go.
Unfortunately, it doesn't feel like everybody else finds that as self-evident as I do.
You see Nick, currently leading in kills and regularly taking point (far ahead of everyone else), round a corner and start just down a hall only to get surprised by a Boomer and accidentally shotgun the thing all over himself with two waves of zombies eagerly approaching the blind victim. Immediately switching to your molotov cocktail, you throw it down a side hall, successfully staying half of the zombie hordes with a curtain of fire, allowing Nick to worry only about his front, while you take care of what he can't see.
Nick running wildly about and eventually into the fire that you just threw in order to help him out.
In practice, I've found people to be very short-sighted, self-indulgent, and inevitably impulsive, all leading to a lack of coordination and, oftentimes, defeat. This is not to suggest that they're dumb or lack talent. Hell, most of the people I've ever played any kind of cooperative game with seem to be leagues ahead of me in terms of skill. Yet they always seem to be far more concerned with the points they've achieved, themselves, in game, regardless of whether or not it contributed to the end goal.
I've got a secret for you: point tallies are not an accurate assessment of how much you contributed to the overall shape or victory conditions of the game. You're not playing free-for-all in Call of Duty 4 or vying for a top score in Galaga.
A series of crucial moments and critical decisions are what determine whether or not your team achieves victory or accept defeat, and there's no point value assigned to simply noticing a Spy just before he saps your defenses, or executing an ubercharge just in the nick of time. These opportunities can be invaluable when taken, and ruinous when missed.
Individual prowess is certainly nothing to shy away from, and there's nothing unreasonable about wanting to be the best at what you do, or being the one to cap the point or get the killing shot. But it doesn't take much for one bad or selfish call to screw things up for everyone.
No matter how awesome you are, sometimes you can just be a jerk that throws the game in somebody else's favour, and that's just not what cooperative multiplayer is about.
Three of your teammates are attempting to chase down two champions that have just retreated from your base. You carefully take aim with Ashe's Crystal Arrow and fire it straight down the lane at the pursued, poised to stun one and slow the other, allowing your team to clean up the kills and strike a much-needed blow to some much-deserving players who've gained a much-coveted advantage.
Rammus runs towards the middle lane from the river, and taunts the lead, pulling both champions away from the lane, the rest of your teammates, and the course of your arrow. He dies. The enemy champions live. Your nexus eventually falls.
We've all played the same maps over and over again. Wins and losses and all the games that could've gone the other way. Game experiences rote in their content and mechanics, but unique in their execution.
So far, I've been illustrating my love of potential success and my hatred of screw-ups leading to failure, but what I feel about even more strongly than the waxing and waning of the tides of opportunity is this:
I love playing games with friends. I love working together towards common goals. I love seeing the shape of the game and having some idea of what needs to be done to win. I love implicit understanding and trusting my allies to make one of several best possible calls.
I love the joy of shared victory.
What I hate, however - what I really, truly hate, is how very upset I can get when things go the other way.
If I can recognize the loss as the result of other players simply being BETTER than I am and we are, then I can just accept it with some modicum of disappointment and frustration and move on to more fun times.
If I can recognize - through my own personal accountability - as having been a contributing factor to the loss, then I can again accept it with some modicum of disappointment and frustration, move on to more fun times, AND attempt to do better in the future.
But on those occasions.. those occasions where I'm SO certain that it didn't HAVE to be that way, and so certain that “if only” somebody had done or not done that one little thing, I can get quite livid and express exceptional disappointment and spout critical diatribe.
I hate that guy.
Cooperative multiplayer gaming..
..what it can bring out in me.
I'm not yet prepared to give up playing those games with my friends and those strangers who could someday be friends. I'm not prepared to give up the idea of people working together and feeling a sense of satisfaction just for doing what they could, regardless of the outcome. I'm not prepared to remove such an awesome facet of gaming and social interaction just because I can be an asshat.
No, I guess I'll just instead have to learn to be, you know, LESS of one.
(.. and, in the meantime, keep on hating those jacktards that insist on screwing up at every possible opportunity.)
[Note: Just in case anybody might feel the need to point it out, I know that this musing is a few month's old. I'm not vying for promotion or anything like that, I'd just been wanting to write it for a while and kept being too busy, or putting it off, or forgetting. In fact, I haven't even tagged the post as a Monthly Musing, just to be sure not to impede any current posts their due spot in the lineup. It was important to me, though, that I at least try and get it out of my head rather than just add it to that list of things that never gets done. Thanks all.]
I've been listening to The Protomen lately. A lot. So much so that it's probably driving my friends completely bonkers. So much so that they're probably starting to wonder how much of a Megafan I am. So much so that they're probably starting to wonder how deeply obsessive I may be.
Only that's not it at all.
Strike that. I am obsessed. Absolutely.
There are these things that matter, these things that people either dismiss as unimportant or irrelevant, or have forgotten entirely (not unlike the citizens of The City). Things like cohesive composition. In music, "appropriate" narrative and emotional impact - BEYOND just identifying personally with the subject matter - are things that I've not seen in years.
Truth told, I'm not sure I've ever seen it in my entire life.
But this is not a dissertation on the decline of the state of the (concept) album, as I'm hardly informed or old enough to write it. Nor is this is a qualification on the state of music in general, as I feel that everything has its place and can (and should) be appreciated in its own ways for its own merits.
This is instead a public service announcement. This message in my head and in my proverbial heart that is simply ACHING to get out, and I hope beyond hope that I express it well enough to convince a few souls to go out, invest a little time and attention, then re-evaluate and reinterpret what they discover, many times over. This is to say that there is a something in the world now that wasn't here before. Something that makes me feel in ways I've never experienced, due largely to the quality and totality of its composition, and the expert hands that crafted it (and little to do with the fact that it's "Mega Man").
This is a message to every "you" willing to read, that you (yes, you - I am speaking to You) should go out right now, and find for yourself a copy of The Protomen's catalogue; (as yet) a "mere" two album discography, readily available for purchase through their website or via more immediate means online.*
Destructoid briefly commented on the fact that their newest album was recently released, but not much was said as to why you should CARE.
When was the last time you listened to a cohesive album? I'm not referring to an artist whose tone or style is consistent throughout a track list, but rather an album with an overarching narrative, established lyrically, emotionally, and musically; thematically. An album that was - instead of a collection of singles - built as a singular entity. Written with specific and deliberate intent. A story crying to be told that finds its way into the voices of those worthy to tell it.
(I find the concept not unlike musical theatre, save for that I've known few musicals to affect me even remotely near so powerfully as I've been affected by the music of The Protomen; a conversation for another time.)
For me, the answer is that I've never listened to what I now define as a "cohesive album". I'm tracing lines back through my musical tastes, exploring every song I've ever loved, yet.. nothing.
This is not to say that this "thing" isn't out there. I'm sure that it is, and I intend (see also: yearn) to find more stories presented in such a beautiful fashion. But again, that conversation is not this conversation, and can wait for another time.
The first time I ever listened to "The Protomen" (here I refer to their first album), I found it to be a disjointed mess. I found its sounds grating. Internally, I interpreted the majority of the songs as "noise". Now this probably had a lot to do with the fact that I was exceptionally disappointed that the entire album was not as I'd come to appreciate the epic, operatic style of "The Stand (Man or Machine)". When you expect a certain kind of sound, it's hard not to dismiss the remainder as crap, especially if its aesthetic is vastly divergent.
For this reason, I turned my back on the album for months.
Eventually I found my way back and decided to listen to it one evening, while also pulling up some lyrics from a random website. Fortunately for me, the site that I found included - in addition to the lyrical dialogue - those supplemental story elements intended as part of the collective product. You see, the physical copies of The Protomen's albums have a much deeper and more involved narrative (told in the italicized font of the liner notes) than the song lyrics themselves actually convey (even though those lyrics do stand incredibly well on their own).
So it wasn't until I was immersing myself in both the lyrics and the story - attempting to read at the same pace as the music I was listening to was playing - that I discovered how remarkably well-crafted the songs actually were. At the time, I found myself surprised and thought it to be an incredibly cohesive work, thematically, but ever since the release of "Act II: The Father of Death", it's expressly clear to me how much The Protomen have developed during their "off" time, and that their latest release is "superior" to the first, though in a justifiable and appropriate sense; they've simply expanded from it.
All this with Mega Man.
Mega Man, for cryin' out loud!
That's one of the things I love most about it. Not the relationship to Mega Man itself, but the fact that the Mega Man franchise has always stood upon a rather flimsy and superficial narrative, and they built upon it. Beyond the original six games, I've cared little about the "story" that Capcom has attempted to tell, save for the fact that the origin story always holds to some universal constants:
Dr. Thomas Light and Dr. Albert Wily once worked together, for the "betterment" of mankind.
The original six robot masters were developed by both Dr. Light and Dr. Wily, and intended to relieve man of some degree of technological burden.
Dr. Albert Wily "stole" the robots in order to enact designs of "world domination".
Dr. Light met this threat with the creation/alteration of Mega Man.
Protoman is the precursor/brother to Mega Man.
There's a live-action Mega Man fan film coming out. I admit that I have no interest in this thing. No interest at all. It looks.. silly. It looks like a transplant of the video-game story to "film". The problem with this is that it doesn't allow for the fact that video-games and movies are two entirely different mediums. This doesn't allow for the fact that people didn't play the first Mega Man for its eloquent dialogue or sophisticated plot. This doesn't allow for the fact that - for most intents and purposes - Mega Man is an extremely cartoonish thing, most especially when directly translated for the screen.
The Protomen either understood this fact and "re-invented" the story of Mega Man for their purposes, or simply knew what story they wanted to tell and said story wasn't at all incongruous with those aforementioned constants. They saw that this story was not a story at all, but rather a synopsis of the REAL story; mere bullet points pointing the way to Truth. They saw all of this - this precious resource just waiting to be unearthed - equipped themselves for the task, and then mined the deeper wells of context and nuance underneath and all around.
"Much that was called religion has carried an unconscious attitude of hostility toward life. True religion must teach that life is filled with joys pleasing to the eye of God, that knowledge without action is empty. All men must see that the teaching of religion by rules and rote is largely a hoax. The proper teaching is recognized with ease. You can know it without fail because it awakens within you that sensations which tells you this is something you've always known."
They saw the story that Mega Man has tried and always wanted to be since the very start, and they set it free.
This is not novelty.
This is not kitsch.
This is not fan service.
In their songs, The Protomen seldom make explicit reference to the franchise proper. They drop but a few names in the first album, and not at all in the second. They seldom do anything more than allude to or imply any relation to the games themselves. Point of fact, the second album does NOTHING at all to suggest that it has anything to do with Mega Man, save for that the artists who crafted it are named for a character within, and that there are occasional musical or thematic references to the first album; a recognized Mega Man work.
Beyond that. Nothing. NOTHING to give away the secret that this is.. shh.. video-game related.
My Suggestion / My Recommendation / My Request / My Favour / My Plea:
Find these albums, any way that you can*. Dedicate less than two hours of your life to listen to and read and feel the story that The Protomen have crafted and tell. It's not much that I'm asking of you, and I wouldn't ask something of "strangers" if I wasn't so sure of the value in it; if I wasn't so sure that there was something for you to appreciate.
I'm not doing this for myself, or even for The Protomen. I don't give a flying frak if I change any minds, but rather that you all get out there and do it. That you all get out there and find this thing that deserves to be known.
Deserves to be appreciated.
Note: It's especially important that you read the lyrics or the booklet while listening. Knowing precisely who is speaking and saying what to whom is of great value. Knowing the environment and circumstances outside of the characters' dialogue only serves to greater supplement the story as a whole.
Do NOT put the albums on while cooking. Do NOT put the albums on while playing a game. Sit down and treat yourself to an experience. A juxtaposition of words and emotions and sounds that should make you feel shaken. Powerful. Beautiful.
Treat yourself to what music CAN be.
Not convinced to even give it a shot? Not convinced to spend even those two hours?
Well then, at the very least, do THIS for me. Listen to this while reading this. If you don't feel or like anything about this music by the time Wily says, "Well you forget who turned this city on. You forget who plugged this city in!", then maybe these guys just aren't for you. (Unthinkable.)
Thank you for your time,
*I am not endorsing the act of piracy, but rather the act of learning and spreading as much information as possible, giving credit and compensation to those deserving whenever possible.
Note to Destructoid: When I first read about the Left 4 Dead 2 boycott, I was livid. The reasoning seemed absurd, unreasonable, selfish, and greedy to me. Now I find myself feeling a similar sense of "entitlement", the kind of thing I'd normally scoff or sneer at. Being the guy that's living inside this mindset, it's hard to tell if there's any difference between me and those people. If there is not, then I ask that you recognize that I'm aware of the potential hypocrisy and willing to acknowledge it.
Also, I apologize for posting twice in one day. Hopefully, due to the current "I love Dtoid" meme as well as my passion today for this particular subject, you can forgive me.
(The following text was sent to "firstname.lastname@example.org".)
(Let me first say that I am writing this to the listed contact address for Rocksteady instead of Eidos, as Eidos did not have "Arkham Asylum" listed as a game release. My understanding of distributor versus publisher is still somewhat limited, so if this E-mail has reached the wrong party, I ask that it please, please be forwarded to the correct one.)
My name is Damon R. Nagy and I just purchased a copy of the Arkham Asylum Collector's Edition from a local Game Stop. With most things, I'm willing to take my dissatisfaction and lumps and accept that buyers should beware the quality of a product prior to purchasing, but in this case I am nothing short of insulted and instead choosing to contact you as opposed to simply returning the title and never making any other Rocksteady/Eidos-related purchase ever again.
I am on an EXTREMELY limited budget, as I manage a recently-opened and independently-owned LAN center/used games shoppe in Denver, CO. At this moment, I don't earn a wage of any kind and my gaming options are limited to whatsoever is brought into the store, unless I should find something worthy of scrounging up all my loose change and lingering bills. Few games meet this requirement.
Having long been a fan of the DC Animated Universe and the voice actors and writer you chose to include in the development of Arkham Asylum, I was fairly certain that the extra forty dollars would be a worthy purchase, especially once photos of the set were release.
Truthfully, I'm not sure how wise it was to print that image on the very same box containing a visibly and comparatively inferior product.
First of all, the batarang is awful. No, I'm not arguing that I or anybody else should have expected a realistic approximation of a weapon, but I also don't believe that the released photo indicates ANYTHING along the lines of this plastic piece of crap. That's blatant false advertising, and you hoodwinked a fellow (I'm sure I'm not the only one) who's grown quite wary and cautious of false advertising in a country that tries and tends to sell first and hold itself accountable later. Maybe. If it's good for business.
Truthfully, I never wanted the damned batarang, and only used it as justification - an excuse for the fact that what I really wanted was the, presumably, content-packed special features Blu-Ray disc. An additional forty dollars seemed quite steep to me, but the gameplay videos were incredibly promising, and I'm a loyal and enthusiastic consumer, so what the hell? Had it been just the crappy batarang, I might have been able to accept the fact that I essentially paid an extra forty dollars for nothing but a bonus disc and a soft-leather journal of mediocre content. But once I put the bonus disc into the PS3 and was met with but two options, one of which housing some (not even ALL) of the promotional trailers for Arkham Asylum, and the other hosting a meager portion of featurettes, all of which only parenthetically referring to or including the talent cast of Arkham Asylum.
I repeat, I am nothing short of insulted.
I'm a huge fan of special features, and incredibly capable of inferring value where some people might find none, but to suggest to me that this Blu-Ray disc offering of but a few videos (most of which are and have been available for free online for months) and a terrible, just god-awful, plastic excuse-for-a-bonus-item batarang were worthy of my forty dollars is practically criminal.
Congratulations to whatever marketing team and photographer set up the presentation of this Collector's Edition, because I bought it hook, line, and sinker. Hell, I did it eagerly.
The most impressive part of this whole set is the box that it comes in, which WOULD be of some value if only it contained items of any worth!
Let it be known that I have never written a note to a company before, as I've never before been so invested or so upset over a purchase before which I spent a great deal of time and consideration. As I mentioned before, my purchasing power is limited, which perhaps makes me a "lesser" consumer in the eyes of an analyst. All the more reason for me to take the things I DO choose to spend my money on QUITE seriously.
As it stands, I'm not sure what could be done to satisfy me. I'm realistic enough to recognize that additional special features sets are unlikely, as you would've opened with more "meager" offerings and later released something as "good" as the collector's edition. Barring receipt of additional quality and value and content that I feel was advertised quite strongly, the only other solution I see is that of a refund and a regular copy of Arkham Asylum for the PS3. I am not unreasonable, nor am I looking for free stuff, and I'm perfectly happy to accept some kind of payment and the aforementioned copy of Arkham in exchange for my collector's edition. I simply want to handle this directly with you instead of taking out my frustration on some random Game Stop employee, thus fiddling with YOUR financial figures instead of THEIRS.
I ask that whoever is responsible for this egregious wrongdoing stand up and assume some accountability.
Thank you very much,
Damon R. Nagy
Bonus Disc Running Times:
1.) The Concept of Batman: Arkham Asylum - 7:42
2.) The Look of Arkham Asylum - 7:48
3.) Cinematics - 7:20
4.) Working Across Continents - 4:05
5.) Sounds of the Asylum - 5:58