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tinycartridge:

Junji Ito x Pokemon ⊟

Pokemon’s about to get real, real creepy, y’all— creepier than even Creepy Black. The Pokemon Company has collaborated with horror manga artist Junji Ito, who you may know from That One Comic About People Obsessed with People-Shaped Holes in a Mountain and every other unsettling Japanese comic you’ve seen online. The collaboration is called “Kowapoke,” or “Scarypoke.”

The Pokemon Company released one preview image in the form of a phone wallpaper, above, featuring the world’s most menacing Banette. They’re also giving t-shirts out in Japan featuring the image, for people who need more personal space, I guess.

Game Freak told us they were freaky.

PREORDER Pokemon Omega Ruby / Alpha Sapphire, upcoming games

You know, why the obvious choice is for him to take on ghost Pokemon, it would be funny if he did one for Polywhirl because spirals and…OH GOD, I’M GETTING UZUMAKI FLASHBACKS AND CURLING INTO A FETAL BALL!

Source: pokemon.jp
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Breath of Fire 3 thoughts

fastkarate:

ferricide:

The hour of BOF3 I played — that game, a game like that, it REALLY doesn’t exist anymore. Not because in an hour of play I got an hour’s worth of play done (free-roaming exploration, non-overbearing storytelling, no bloody tutorials). But because it’s a game in a genre crafted for people who understand and like the genre, and the medium, for what it is. If that sounds like I’m pooh-poohing ambition, I’m not; but there’s a lot to be said for this era, which seems so very naive by today’s standards, in which you could just make games, and do it competently, and they’d be happy little hits that kept the bank account filled with Zenny. Those days are so incredibly over; Capcom is probably working on a new Street Fighter with microtransactions and a five-year content and community plan and a 100 million dollar budget. That’s where we are now. And it’s not really where I, as a player, want to be. 

It’s a cool read about Breath of Fire in general, but I really echo Christian’s thoughts here. But I see those things—tutorials, overbearing storytelling, restricted exploration, and knife’s edge finances—as inextricably linked. After all, when your game costs X^10 million dollars you create for the lowest common denominator. It’s not that the game thinks you’re stupid when it gives you some bad audio log exposition or an eternal tutorial (Shadow of Mordor is borderline tutorial for almost its entire run) it’s that someone else is stupid, and they can’t afford to leave people who are imperceptive, bad, or easily bored behind. Their demographic is “everyone,” because that’s the best hedge against losing your shirt; that’s the only safe way to make bank.

I’m frustrated by the rising costs of game design, almost singularly in service of graphics, because they leave no room for the sort of games I like, their genres almost completely vanished outside of the indie space (survival horror). This is the lesson of Tomb Raider: there are mega hits and there is nothing. With so little room at the margins, the options for the non-Call of Duties are:

1) Become one of the few games with a relatively small but very loyal fanbase, like Dark Souls (good luck!) or stuff like what Tri-Ace puts out, moderately big budget games buttressed by bigger companies who keeps them around for god knows why (but I dids like my Lightning Returns)

2) Cannibalize something special or unique in service of the mobile market just so the series survives at all (Valkyria Chronicles)

3) Just make one really good, interesting, quirky thing and then die because not enough people cared or, at best, stick around on life support so you can be some company’s prestige studio (basically everything from Clover and Platinum).

Almost any way you slice it, your work will be submitted to endless and increasingly frequent rereleases to recoup costs. Which feels at least moderately positive when it gets Okami in front of a couple fresh faces and borderline insane when Halo 4 and Tomb Raider are getting new editions while they’re still hot from the oven (10 months later, in Tomb Raider’s case).

It’s no longer sufficient to make games for an audience of a few thousand, or few tens of thousands, or even hundreds of thousands. It hasn’t been for decades, but technology increases an at exponential rate. So do costs. If technology exists, you use it to the fullest extent. You’re not a bunch of indie babies after all, throw some god damn money at that thing and make the normal mapping and 16xQ CSAA really shine. 

Playstation Greatest Hits titles could sell as few as 250k. The idea isn’t even fathomable now. Oh, not even a million? What does Resident Evil look like in a world where selling a few million copies over several years is no longer sufficient? It looks like Resident Evil 6, I guess: a muddled mess desperately serving all comers and satisfying none. Want some great action gunplay shooting? We got that (kind of, not really!) Want some spooky survival horror zombies? We got that (kind of, not really!) Milquetoast upgrade systems? Running-at-the-camera sequences? QTEs? Well, we definitely got that!

And they do have those, in spades, because it’s more cost effective to make a cutscene that asks you to push a few buttons than to create an intricate combat system from scratch (see God of War, see also, taming a Graug). It’s easier to waste ten minutes of the player’s time running down a corridor than it is to make a building with a bunch of rooms they can poke around in and explore. It’s easier to make a Gun that does +1 Damage and then +2 Damage and then +3 Damage than it is a Gun that fires a spread shot, or an acid explosion, or distracts an enemy, or gives a flower to a cute bear so he’ll join your nature commune and take up a hard but rewarding life of farming among a similar group of like-minded anarcho-communist anthropomorphic fuzzy animals.

My thoughts always go back to Resident Evil Revelations. If most games looked as good as that game does on 3DS, I’d be fine with it. I’d still like a nice all-out blockbuster from time to time, but once things get to a certain level of proficiency, I’m content. I just don’t care about the difference between 720p and 1080p. If it’s not side by side I usually can’t even tell. And there’s an art to Final Fantasy 7’s popeye arms, something you can look back at and think “that was the style of the times” and it’s not bad graphics, just different. Take the time you would on the bump mapping and give me a system that shines instead—or at least moderately glimmers. Give me a modest game with crunchy, tight, fun gameplay. In some ways handhelds are better on budget bloat, if only because they’re a few years behind on the hardware. They’re not immune, they’ll get there too and then what? Where’s the next space to which modest games can retreat?

You can argue that’s what indie games are for, but that’s the not where the hole is. If you want Super Puzzle Platformer, you got it. If you want Call of Duty, you got it. If you want Valkyrie Profile… welllll, Lightning Returns is kind of that with the personality serial numbers filed off. If you want Valkyria Chronicles, Front Mission, Zak and Wiki? Replay what you already got, because if they’re giving you anything, it’s not what you want, it’s what they think the maximal amount of people want. It’s a big boy world now and that’s the surest way to make your bread—or that’s the perception, anyway.

So that’s why Christian’s mention of Breath of Fire 5 stoked a need in me, because I’ve always heard people talk about how cool and weird and just not-like-anything-else it was. And kind of bad? But these days I want my games to be kind of bad. That suggests they didn’t (probably for lack of time and money) burnish away every single thing that might flummox, bother, or stall the LCDs. It’s a crazy thing to say, but sometimes you’ll take anything suggests maybe, kind of, possibly this wasn’t designed by a committee of five hundred people in teleconferenced boardrooms across twelve different countries. If a game has clunky, cumbersome bits, maybe that’s the last, best indicator we have to suggest it might still have a tiny crumb of personality left in it.

So I’ll hop on Amazon and grab a copy of Dragon Quarter. I want experiences that a small team—not a microscopic one or a single person—can provide. Something aspirational and complicated, but less mired by its sales expectations. That’s not really what indie’s about right now and it’s definitely not what the megacorps are. I like shooting aliens (not so much army dudes) and I’ve had a fun enough time with Shadow of Mordor, but fewer and fewer are the careful, small, constructed experiences that exist somewhere between a Twine game or the mechanics-light Amnesia and that big-budget model. 

Maybe indie’ll get there, if the economics shift and new small teams can be born without crowding out the few that exist in a tentative market. Maybe more universal tools will make gigantic companies willing to try little tiny passion projects (Child of Light) or prestige titles that won’t make bank, but increase public perception of who brought you it—Hi Bayonetta 2.

But it seems there’s space for few of those in a crappy economy where you can’t make enough money designing games to feed your kids and the consumer can’t make enough money to buy a bunch of games at $60 or even $15 and, hell, we’d all wait for a Steam sale anyway. The little, quirky, interesting-but-dense things, the things you never seen before: they’re thinner on the ground, because rough edges get sanded off, for fear they might alienate even one person, which would mean $12 less in the bank, after retail and publisher cuts.

My binder of old games has more Dark Clouds and Typing of the Dead, Echo Nights and Parasite Eves and Steel Battalions than my contemporary binder has Trauma Teams and Niers, those models crowded out by Halos and Dead Spaces and Splinter Cells, which I like, but that’s not all that I like. And, sure, I’ll cling to that Silent Hill on the horizon—maybe this one won’t be absolute garbage like every other one from the past decade—but the stuff that isn’t lucky enough to get Kojima and del Toro’s name slapped onto it just poofs in a smoke cloud, never to be heard from again.

Until someone finds a way to make a cellphone CCG out of them…

Source: ferricide
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kurtbusiek:

There was a little back-and-forth this morning on Twitter about a question Gail Simone and Kelly Sue DeConnick were asked on a con panel, about how to write believable female characters. Deb Aoki wondered aloud (or a-tweet) whether male writers should be asked how to write believable male characters.

The conversation got me thinking (or at least typing), and here, preserved for questionable posterity, is what I had to say, somewhat edited for clarity:

I’ve never been asked how to write believable male characters. I have been asked how to write believable female characters, as if they’re alien beings or something.

“How do I write believable women?” from male writers, is essentially asking how to write characters that are different from you. But all characters are different from you, or should be, unless they’re you. Characters are individuals, not types. If you’re writing them as types, you’re doing it wrong.

All characters are like you in some ways, and not like you in others. How do you write the parts that aren’t like you? Same as you do with any character. You have eyes, ears and a brain. You write from observation, experience, research and analysis.

If you’re writing a woman, you’re not writing a “women.” Write her. That character, that individual. A person, not a category.

Hillary Clinton, Sally Ride, Honey Boo-Boo and Dolley Madison don’t all want the same things, don’t all try to get them the same way, don’t come from the same background, have the same families, education, outlook, etc. Just the same as a similar group of men.

Write characters from who they are, what they want, where they come from, how they challenge or hide from problems, etc. Characters are individuals. They behave like themselves, not like some monolithic expression of their gender, race, religion or whatever else.

If you’re a white agnostic from New England and you’re writing a white Catholic from Georgia, you’re writing someone who’s different from you, and you need to use observation, experience, analysis, projection and maybe research to get it right. Same thing if the character is a woman, or Hispanic, or transgender, or 180-degrees from you politically, or whatever. You are always writing characters who aren’t the same as you.

Write ‘em as individuals. What do they want? How are they trying to get it? Them, as individuals. Their gender, their skin color, their cultural context, their life experience, all of these things will shape who they are, what they want, how they approach life. Use it all.

If I’m writing a black woman from St. Louis who’s an ex-Navy aviator whose parents have doctorates, she’s going to be way different from a blonde popstar millionaire who grew up an orphan. That they’re both women is only one part of them, and I need to write from all of it.

With any character, it comes back to: Who are they, where do they come from, what do they want, how do they try to get it? Any character.

Also useful advice if you find yourself writing alien beings. Or your neighbor.

Source: kurtbusiek
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The longterm plans of #Gamergate

secretgamergirl:

A brief history of where this came from. The origins of #gamergate are pretty clearly tied to a group of regular 4chan posters. Eron Gjoni was hanging out in their associated IRC channel sharing his breakup manifesto and sharing extra details on Zoë Quinn, and for a good month or so, they were…

This is some pretty messed up shit. It’s bad enough to have this toxicity pervading video games, but the fact they want to bring it to other places like it’s some kinda crusade is just horrifying.

Source: secretgamergirl
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Got a bunch of cool packages lately, including Costume Quest: Invasion of the Candy Snatchers, Segazine. And the Tesladyne Field Guide, which contains helpful chapters on how to fight dinosaurs and outwit evil twins #cacollectio

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comicsalliance:

20 AWESOME COVERS FROM CLASSIC ‘SHONEN JUMP’

By Chris Sims

It’s no exaggeration to say that Shonen Jump is one of the cornerstones of manga. Since it started in 1968, the weekly anthology has given rise to some of the biggest titles in manga history, including One Piece, Dragon Ball, Yu Yu Hakusho, and more — and, judging by the covers, an awful lot of stories about baseball.

And I know that, because I just spent a good amount of time browsing an incredible Flickr gallery from Sao Paolo, Brazil’s Kami Sama Explorer Museum, where they’ve collected a massive amount of covers from Shonen Jump‘s 46-year history, going from the first issue in July of 1968 all the way up to 2009. It’s fantastic to see them lined up next to each other, because you can see the evolution of some of the most dominant styles in manga as you browse through, but there are also a lot of really great individual covers. So before you head over and take a look at the full gallery, check out 20 of my favorites below!

SEE THE SELECTION AT COMICS ALLIANCE

(via twentypercentcooler)

Source: comicsalliance.com
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itswalky:

this account seems to be run by klickstein
i think he’s blaming the cancellation of his event on him being a white dude
it’s kind of glorious

this might be your finest hour

itswalky:

this account seems to be run by klickstein

i think he’s blaming the cancellation of his event on him being a white dude

it’s kind of glorious

this might be your finest hour

Source: itswalky
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beckyhop:

itswalky:

Shortpacked!: Slime

helpful additional reading

THAT WAS THE EXACT WORD I USED FOR HIM WHEN DISCUSSING THIS ON SKYPE

(via atopfourthwall)

Source: itswalky
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dcwomenkickingass:

Since the day that Barbara Gordon landed in comics and later TV as Batgirl the character has put a boatload of money into her owners bank accounts through licensing. Do a quick search on Amazon and type in Batgirl and a variety of apparel and toys will show up.

The redheaded daughter of Jim Gordon is bank as far as DC Comics and Warner Bros. is concerned.

But not always. In 1988, the character was seen as so unimportant she was eased out of the Batman book. Not through her own title or joining another group - but by having a bullet split her spine on page and left to be sexually abused by the Joker.

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It is truly baffling how DC keeps the Killing Joke within continuity, but drops all of the interesting stuff with Oracle. It is long past time for them to just kick TKJ into the sun.

Source: dcwomenkickingass