RANDOM VIDEO GAME NEWS

[Keyrock]

https://www.youtube.com/watch?v=v31S64A6K9U

 

Less than 3 weeks until I ruin a bunch of pairs of perfectly good tidy whities.

[Lexx]

Looks like a game you want to play with Oculus.

[Keyrock]

 

tl;dw version: Avalanche did a bang up job, this is how every PC port should be.  Robust options, full mouse control in menus, excellent optimization.

Edited September 3, 2015 by Keyrock

[Chilloutman]

I am that type of person who really cant play it with Oculus

[Mamoulian War]

And this is why I love Japan! :-P

 

http://www.siliconera.com/2015/09/04/omega-labyrinth-will-have-you-go-panty-collecting-in-dungeons-to-power-up/

 

You power up your characters by collecting panties in dungeons :-P

[Gorgon]

You do not pay to unlock the tiers, at least from what I can gather.  They will unlock as more people pre-order.  So your one pre-order simply puts you in the pool.  It's a weird system, it is supposed to generate interest and get people pre-ordering, but it isn't quite a nickel and dime scheme.

 

edit:  I think they just unlock progressively no matter what actually.  It's kind of unclear.

 

edit 2 :  Ok, I see.  Each tier unlocks over time.  When a tier unlocks, you choose a reward.  Everyone who pre-orders gets 4 rewards and the 4 day access.  You do not pay more for more rewards, although I think there is a collector's edition.

That's some nefarious pyramid scheme type idea where people are rewarded for helping the viral campaign with some pointless preorder stuff.

 

The more people who preorder the more tiers, those who preorder first get more.

 

[Keyrock]

And this is why I love Japan! :-P

 

http://www.siliconera.com/2015/09/04/omega-labyrinth-will-have-you-go-panty-collecting-in-dungeons-to-power-up/

 

You power up your characters by collecting panties in dungeons :-P

Nice to see they cover the standard 4 anime bust sizes: Flat chested, small, large, and dayum.

 

By the way, if you're at work, click that link at your own risk.

Edited September 4, 2015 by Keyrock

[Fighter]

http://mmgn.com/ps4/news--konami-filed-copyright-claim-against-mgs-fan#_=_

 

There are some people with mental issues running Konami.

[Gorgon]

It's like Tiananmen Squae. It never happened, if you remind them you disappear in the middle of the night.

[Mamoulian War]

well, now I am confused... so many here plays Mad Max and it get's Reviews like this

 

http://arstechnica.co.uk/gaming/2015/09/whatever-youre-looking-for-in-a-mad-max-game-mad-max-isnt-it/

 

or this

 

http://www.thejimquisition.com/2015/09/mad-max-review/

[Orogun01]

well, now I am confused... so many here plays Mad Max and it get's Reviews like this

 

http://arstechnica.co.uk/gaming/2015/09/whatever-youre-looking-for-in-a-mad-max-game-mad-max-isnt-it/

 

or this

 

http://www.thejimquisition.com/2015/09/mad-max-review/

You trust those guys? Probably boils down to not feminist enough.

[Nonek]

 

well, now I am confused... so many here plays Mad Max and it get's Reviews like this

 

http://arstechnica.co.uk/gaming/2015/09/whatever-youre-looking-for-in-a-mad-max-game-mad-max-isnt-it/

 

or this

 

http://www.thejimquisition.com/2015/09/mad-max-review/

You trust those guys? Probably boils down to not feminist enough.

 

 

I'd recommend it Mr War, it's a great fun ride, captures the weird wasteland of the Mad Max universe perfectly and is fun to play. There are a few problems, flaws and a touch too much streamlining but i'm enjoying the game.

[Fighter]

well, now I am confused... so many here plays Mad Max and it get's Reviews like this

 

http://arstechnica.co.uk/gaming/2015/09/whatever-youre-looking-for-in-a-mad-max-game-mad-max-isnt-it/

 

or this

 

http://www.thejimquisition.com/2015/09/mad-max-review/

 

The reviews are mixed. Also Jim Sterling is prone to wild extremes.

[sorophx]

Mack likes it, so it's good enough for me
https://www.youtube.com/watch?v=qwFiCgsUvrw

[Keyrock]

No comment on Ars Technica, it's not a site I've ever frequented, so I have no gauge of the quality of their work or how their views line up with mine.  Jim Sterling, on the other hand, is pretty much the last guy I'd ever go to for a review.  I trust him to give me an honest, objective review about as far as I could throw him.  My biggest question about Mad Max is how is the driving model?  Beating up dudes in bondage gear with fisticuffs is all well and good, but when I think Mad Max I think car chases and vehicular combat.  As long as that's good, I'm in.

Edited September 6, 2015 by Keyrock

[HoonDing]

So that's what Mars War Logs/Technomancer would've been like with a AAA budget.

[Raithe]

For that slight look back...

 

GamesRadar - Hitman's Most Memorable Mission

 

 

 

Where many open-world action games are akin to sandboxes, Hitman: Blood Money is perhaps best viewed as a series of toy boxes. Each level is relatively small in scale, its parameters easily defined, but the possibilities for inventive play are numerous. The game offers several testing grounds for crazy assassination ideas, whether that’s working out the ones the developers have designed and signposted, playing out scenarios cooked up entirely within your mind, or setting up old-fashioned shootouts

 

The game’s third mission, Curtains Down, is set in the Paris Opera during a rehearsal. The targets are Alvaro D’Alvade and Richard Delahunt, lovers who are involved in a child smuggling and prostitution ring. When Agent 47 arrives on the premises, D’Alvade is rehearsing the execution scene of the suitably dark Tosca on the stage, while Delahunt watches from his private box. 

 

There’s a brilliant method for taking these men down, even if the logic behind it is esoteric. You can sneak backstage and replace a fake prop WWI pistol with a loaded gun (discreetly hidden in the pocket of a jacket waiting for you in the cloakroom). The execution scene will end far more gruesomely than intended, and Delahunt will, in his confused horror, run towards the stage to get to his deceased lover. He trips midway there, at which point the well-prepared player will set off the bomb they’ve rigged to the overhead chandelier, crushing Delahunt in what the papers will write off as a pair of bizarre coincidences; perhaps they were the handiwork of a suitably operatic phantom. No one will know what really happened bar 47, who can access a private balcony from the roof and witness this scheme unfold without fear of suspicion.

 

But in Blood Money, perfect murders are rare. If the series made these crimes easy, it would lose much of its sense of dark comedy, as well as the chaotic dramatic escalation that’s integral to so many good yarns about murder. Some of the best moments in Blood Money are the ones in which everything goes horribly wrong, a lesson Curtains Down is particularly intent on teaching you.

 

After the tutorial’s amusement park and the enormous mansion-****-winery of the second level, the Paris Opera seems comparatively contained. Its different areas are divided up by the game’s class system: a maintenance uniform is enough to get you backstage; a police outfit opens up your options; and a private security uniform, which is tricky to get quietly, will get you the highest access possible. Even so, the paranoia of your targets means getting right up close to them is never easy. 

 

Agent 47, a stern, well-dressed man with a serious face and confident walk, is the kind of person who should come across as being right at the top of the Paris Opera’s food chain. While it’s sometimes questionable when he shows up for a job wearing his trademark dark suit, it makes perfect sense here. But the Hitman games often toy with the idea of how class and privilege operate with their costume changes. In a world where a well-tailored suit opens some doors, it’s really the ugly green maintenance uniform – best acquired early by quickly sedating a poor workman as he goes to the toilet – that gets 47 the fastest access to the backstage area. 

 

That backstage zone can at times seem like a labyrinthine nightmare. The majority of the space is irrelevant; the theatre exists independently of your mission, full of workmen, garbage, and pieces of various sets. In some ways, it’s pleasing to be allowed to be disorientated – the game doesn’t simply lock every door that you don’t need to walk through. But it’s easy to be thrown off balance by a level that could, for many players in 2006, only be navigated easily if their screen was big enough to make the signs pointing towards the dressing rooms noticeable. 

 

A first-time player has little hope of replacing the gun and rigging the chandelier to drop before the first rehearsal is complete, and for those unaware that the rehearsal is repeated, D’Alvade’s performed, non-fatal execution can be a moment for panic – an indication that the plan has failed. It’s no wonder the WWI pistol that 47 is carrying contains nine bullets when D’Alvade’s death only requires a single shot. Panic may not be ideal for a good assassination, but the Paris Opera seems designed to encourage you to think on your feet and take opportunities as they come.

 

Deviate from the plan and getting at either target with a gun usually means entering the theatre proper. It’s the most open area of a level filled with corridors and small rooms. The overspill of violence from the stage or screen into the audience is a common enough theme, but this scenario brings its own sense of franticness. Escaping through the exit, having battled your way out over balustrades and plush red seats, can be far more thrilling than any ironic execution. 

The flawless path through the Paris Opera, as with so many stealth games, is all about perfecting your slink and timing your movements perfectly. But it’s no mistake that the level in which you ruin an opera is also the one that best exemplifies how well the game works when planned performances go awry, and that best explores the deeper elements of class structure that lie at the core of the series.

 

Whether you fail or succeed at pulling off a ‘silent’ assassination, a show – either yours or theirs – is ruined in spectacular fashion. And that’s what Hitman: Blood Money is really all about. And it's that essence of a level that the new Hitman game (out this December) will have to work hard to recapture.

[Bartimaeus]

Well, I just shot the guy with my sniper rifle from a side room during the shooting scene, waited for the guy to go down, then shot him, too, and then ran the hell out of there. A little hard to pull off and still get your Silent Assassin rating because of the guards moving about, but you could do it.

[HoonDing]

Dragon's Dogma to PC

 

this is a must-have; the Japanese kitchen-sink approach to western fantasy is always a treat to experience

[Volourn]

Must have? It's ann old game.... an old game I played and enjoyed though I got eventually got bored of.

[Katphood]

Dragon's Dogma to PC

 

this is a must-have; the Japanese kitchen-sink approach to western fantasy is always a treat to experience

It's exactly that! I spent countless hours playing it on the PS3. Definitely worth the 30 bucks it's asking for.

[Keyrock]

well, now I am confused... so many here plays Mad Max and it get's Reviews like this

 

http://arstechnica.co.uk/gaming/2015/09/whatever-youre-looking-for-in-a-mad-max-game-mad-max-isnt-it/

 

or this

 

http://www.thejimquisition.com/2015/09/mad-max-review/

A bit late, but this video from one Cynical Brit talks at length about the very disconnect between user attitudes and some reviewer attitudes toward Mad Max that Mamo (I hope it's alright I shorten your username to that...  would you prefer MamWar? MWar?) asked about, and even talks about the very reviews linked here.

 

Edited September 9, 2015 by Keyrock

[Oerwinde]

Youtube needs a transcript tool. I don't have time to watch a 40 minute video, but I can read a transcript in 10.

[Raithe]

Youtube needs a transcript tool. I don't have time to watch a 40 minute video, but I can read a transcript in 10.

 

To compress it down:

 

Critics look at things from one point of view. Users look at it from another.

A lot of critics get games free. Users value for what they spend money on.

Neither group is inherently wrong, it's a matter of perspective.

Examples of comfort vs innovation.

Comparison with Transformers movies between critics and people who still paid money to see it.

Why trailers still have spoilers and user psychology.

Also, you should always engage in subscribing to wide range of information, not just ones that automatically agree with you. If you only read / listen to people who agree with you, you encourage your own ignorance.

Assigning scores is stupid, it works better when you give a reason why you like dislike something and what it is that works or doesn't work for you.

Critics or Users who announce their opinions as the be-all and end-all are prideful idiots. 

Scores are inherently stupid.

 

(Basically)

 

Edit: And before anyone mentions it, yes, scores are deliberately mentioned twice. Because it's one of his prime annoyances.

Edited September 9, 2015 by Raithe

[Keyrock]

Youtube needs a transcript tool. I don't have time to watch a 40 minute video, but I can read a transcript in 10.

Synopsis:  Both sides have fair points.  Gamers and reviewers sometimes look at games differently because of the situations they're in.  Reviewers get the games for free, also they have hundreds of games to review constantly, so things like busywork are an obstacle to them getting to the heart of the game so they can post a review.  Gamers have to pay for their own games and don't generally have the same time pressures reviewers do, so things that seem like busywork for reviewers may be enjoyable activities to gamers that extend their playing time and give them value for the money they had to spend.  Also, Ars Technica are ****wads for going with a clickbait-y presumptuous title for their review.  Also also, don't get hung up on scores, they fail to tell the whole story.  Also also also, scores bad, mmkay?

 

Edit: Ninja'd 

Edited September 9, 2015 by Keyrock