Just got myself a Titanfall key for Origin, and if you use the code “LOVE” you can knock 50% off selected origin in-store purchases before the 17th. Imma finally get a legit copy of ME3 and fuck up the multiplayer.
If you’re also on the titanfall beta add “Nambread” and we’ll play together!
The maker of Super Hexagon and VVVVVV has created his own version of flappy bird, it’s seriously good, just check it out.
Just completed Gone Home
Loved it, although I’m glad I didn’t pay full price. (Spoilers behind a read-more tag)
I’ve been thinking,
Does maths play any large role in game balance?
Obviously it does in programming the gameplay systems themselves, I’m on about in studying the effects changes in player stats have. Theorycrafting, but for an entire game in other words.
Models to simulate kills per minute in PvP if you add effects or nerf skills for example, or looking at metrics from gameplay in a “big data” sort of way?
I just feel like it’d be a very important tool for designers to have instead of solely relying on anecdotal player’s evidence, since getting that evidence from any one pool will be rife with huge bias.
I feel as though if someone’s able to crack that they could pretty much make a career in an extremely specialised field.
If it is, anyone got a link to some articles about it?
After the latest humble bundle with the FEAR games I had to go back and rewatch the PANICS (people acting normal in crazy-ass situations) machinima based on them.
Took me almost four years to realise that roosterteeth were behind them. Daymn.
Saw this comment on a kotaku article dismissing the PS4’s “wobble problem”:
"I wonder how the wording of this article would change if it was about the X1 instead."
That specific article aside, it’s been nagging at me for the last few days but there seems to be a very heavy pro-sony bias recently (or maybe not-so recently, after the whole drm launch debacle.)
They’re very quick to give any positive features of the PS4 great, eye-catching screenspace and plenty of positive adjectives, and rightly so. You see a lot less of that for the Xbone however, and even when there’s something worth praising they’re quick to downplay it and shrink the screenspace the article gets, like the xbone in new zealand stunt, and a quick jab at the early released consoles before even reporting on it.
They’ve also reported on the ps4 a hell over a lot more over the past week, just checking the platform-specific sections tells you that when you look at the timestamps. Even then the numbers are inflated; they’ve mixed in a lot more “filler” articles in the microsoft section (as in, content not actually specific to microsoft but to more than one platform).
"Bias in journalism?! SAY IT AIN’T SO?!!" I hear you cry. But either they’ve been pretty even-handed in the past (unlike their commenters) or I’ve just not been paying enough attention. I’d like somewhere where I can just get factual updates without someone putting their own spin on things. Hell, I’m even getting a PS4 first, but doesn’t mean I don’t want to know about the market at large.
Seriously, what’s with the insane difficulty spike between optional and story missions in Blacklist? It’s like they either want to make it so that only co op undertakings are viable (completely shitty since there are only one or two prescripted co op “moves” per mission) or they want to force your hand to buy shitty weapons/equip dlc (which is massively OP, and only the bought items are at the higher end of the specs from what I’ve seen so far.)
That, coupled with Saints Row IV actually having an inverse difficulty curve (Hard at the beginning, easy at the end.) and the fact that the only way SR4 seems to have been designed around being OP as shit having superpowers is to simply take them away has aggravated me more and more over the past few days. Questionable design decisions throughout.
Blacklist, cater for a co op player; have a slightly different layout / difficulty of enemies (more armoured ones in coop compared to solo to take advantage of the dual execution moves for example, more enemies in co op, with requirements in missions to sync moves, even on other sides of the map) while balancing properly for the solo player. If people want to pay2win just fucking let them, why balance a level around premium content on top of the price of the game?
SR, look at prototype, god knows you’ve ripped it off enough. It had a habit of catching you out at just the right moment. Every time you started to get comfortable with how OP you were it would have the enemies bring out more powerful, more varied enemies accordingly to counteract your growing abilities. Easy at the start, hard at the end, a staggered curve with spikes and flats, but always tending up.
But hey, I’m being deliberately belligerent here, so sue me.
Splinter Cell Blacklist
Anyone on here playing it?
The optional missions are currently kicking my ass six ways from sunday, and I need someone to team up with to take on spies vs mercs. Takers?
"While a lot of the earlier Critical Miss strips make me cringe (and by “earlier,” I mean every strip prior to this one), there are only a handful I completely regret writing.This one, which I suppose was meant to be a response to Roger Ebert’s notorious dismissal of gaming as an art form, some kind of weird homage toKick Ass anda riff on cause and effect in comedy, is one of them. Not only is it unfunny, it’s entirely the wrong response. The correct response to Ebert’s claim that games are not, and can never be, art, was actually brought up by Ebert himself in the same interview. That response is, “Why do I give the most insignificant quantum of fucks about what Roger Ebert thinks of gaming when he clearly doesn’t know the first thing about it?”
Videogames are art. This statement may be seen as controversial. It shouldn’t be. They areclearlyart by any reasonable definition of the word.
But that’s not what this conversation is about. The question isn’t really, “are games art?” it’s “are games good art?” or, “should videogames receive the same respect, study and funding as more traditional art forms?” The discussion is less about acquiring the (ultimately arbitrary) label of “art” and more about gaining access to the vino-swilling, twirly-moustache, twat-festival that surrounds classic art, literature and, to a lesser-degree, music. It’s about the prestige, in other words.
And it’s in their desperation to please these tweed-clad gatekeepers of credibility that gamers actually start to demean the entire medium. Ask a typical gamer to name some arty games and you’ll quickly spot the pattern;Braid, ICO, obtuse indie title #44384, Braid, Dear Esther, Braid, anything by ThatGameCompany or Tale of Tales, Braid. Games that either superficially resemble art from other mediums (with a tendency towards aesthetic and narrative minimalism) or are deliberately obtuse. That’s not to say these games aren’t good, they’re mostly brilliant, but it’s no coincidence that they’re all what we might call “smart” games.
Videogames are art. They are not books, films or music (though they can certainly include elements from all of the above). As such, we can’t judge them by standards derived from other mediums, nor can critics of other mediums offer anything resembling insight on a given game as a whole. That isn’t to say the “art” moniker is some kind of magical criticism shield or that we should stop demanding games make better use of their multi-media aspects (seriously, it’d be really nice if some game writers could figure out what a character arc is), nor am I arguing that “gameplay” is the only real metric by which a game should be measured, I’m simply done trying to justify and explain an entire medium to laymen.
TLDR:Bayonetta is art.Minecraft is art. EvenResident Evil 6 is art.Come to terms with this.”
And this is why I read Critical Miss.