Threats, murder, and shaky political alliances. Just another day in Westeros.
A new trailer came out today for Avalanche Studios’ Mad Max, and the general conversation consists of people wondering just how much it can live up to the masterpiece that was George Miller’s Fury Road. There’s little doubt the movie was a masterpiece of visual storytelling and themes that broke ground in its genre, and people are really hoping the game can survive the hype.
For me, however, I can’t get over one detail that many may find insignificant. At the risk of being accused of nitpicking, I am finding it difficult to deal with the voice acting revealed so far. Mad Max is set in Australia, the series itself is a hallmark of Australian cinema, and I’m left wondering… where the hell did all the Australians go?
We’ve talked about “stock Unity assets” on this show before, but what does that mean? Well, it’s time to look at the ramifications of asset flipping – buying pre-made characters, objects, and environments from other developers, and re-selling them with no alterations.
From whole asset packs resold under new names, to Unreal Engine tutorials masquerading as games, asset flipping comes in several flavors, and none of them taste good. Grab a fork and dig in, why don’t you?
After years of Konami clutching the keys to Castlevania and brooding like Dracula on his throne, Symphony of the Night creator Koji Igarashi is back to do what Konamisn’t – make an actual bloody Castlevania game. Sure, it won’t be called Castlevania, but Bloodstained: Ritual of the Night is going to be more authentic than anything the “rights holder” could hope to squirt out these days.
With Kickstarter as its lifeline, Bloodstained smashed its $500,000 funding goal and currently sits pretty at over $2,000,000 – with weeks of potential funding left to go. I backed it myself – out of sheer spite towards the “AAA” game industry – and am proud to present an interview with Mr. Igavania himself.
We talk about the risks of Kickstarter, Japan’s shift towards mobile gaming, and why Bloodstained could very well be Igarashi’s “magnum opus.” Enjoy!
On this week’s bloomin’ great episode, we obviously spend some time chatting about The Witcher 3 – don’t worry, we won’t spend the entire episode bangin’ on about the thing. It’s okay!
Elsewhere, Laura finally gets Hot Coffee and turns a girl on with drive-by shootings, we insert our POLITICAL AGENDA into the podcast, and we also can’t help nattering about how good Mad Max: Fury Road is.
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It seems I was not the only one to be excited about NPCs in The Witcher 3: Wild Hunt allowing their pace to be set by the player.
We’ve all been there. Many roleplaying or action games feature quests in which a non-player character must be followed. Usually, these characters stroll along with you having to stroll after them, allowing them to spew their exposition or even just walk in mute languidness. The Witcher 3, however, does things a little different, and it’s a damn revelation.
It’s such a little thing, but more than a few people online are freaking out about it, and with good reason!
Okay, so I’m working on a review for The Witcher 3: Wild Hunt but I didn’t get the code until a few days ago and it’s basically a million years long. However, as I stated in this week’s Jimquisition episode, I can confirm there are masks you may buy, and Geralt will wear them like a bloody great idiot. It’s brilliant.
It later turns out that these masks are part of a mission, but I didn’t need to fulfill that objective when the time came because I found them earlier and bought them all, yelling excitedly as I did. Obviously I did.
If I’d gotten the PC version of the game like I wanted then I’d have made lovely screenshots for you. Instead, I frantically took shitty pictures with my phone, my fingers shaking with mask-flavored anticipation. God, I fucking love masks.
The age of the re-animators is here. Game genres previously thought “dead” by so-called AAA publishers are getting their revival thanks to the crowdfunding efforts of such projects as Pillars of Eternity, Yooka-Laylee, and Bloodstained: Ritual of the Night.
The big-budget world has made the message quite clear – it neither wants nor needs creative, passionate developers anymore. It would rather clone Clash of Clans and Call of Duty all day. Fine. Creative, passionate developers don’t need the big-budget world either.
As sad as this year’s been for games, we’re still in a potential golden age.