ZNAK SAGITE — više od fantastike — edicija, časopis, knjižara...

Ne znam da li ste videli poslednji gejmplej trejler za Splinter Cell Blacklist, ali, jebote, ovo više nema veze s mozgom:

Splinter Cell Blacklist - Extended walkthrough [UK]

A to kažem ja kome se SC Conviction prilično dopao. Ovo je sada... obična akciona igra koja pokušava da se zakači na voz koga vuku MW/BF/MOH/GR i slični naslovi. I što je najgore, nastavlja tradiciju koju je uveo Conviction, da možete da mučite NPCove u potrazi za informacijama. Tom Bissell reaguje:

Thirteen Ways of Looking at a Shooter 

Quote
I.
In early June, at the E3 convention in Los Angeles, I attended a demo for a game called Splinter Cell: Blacklist. In the demo, I watched the Splinter Cell franchise's long-established hero, Sam Fisher — operating somewhere in Middle Eastistan — enter a tent, kill two gentlemen, and grab a third. Sam asks this third gentleman where a certain colleague of his might be. The gentleman declines to answer, so Sam sticks his knife into the gentleman's clavicle. The gamer is then given an onscreen prompt to twirl around his controller's joystick, which in turn twirls around Sam's knife in the gentleman's wound. The screaming gentleman gives Sam the info he needs — and, suddenly, it's "moral choice" time, for Sam has to choose whether to kill or knock out his freshly tortured victim. Let's review: a moral choice — after an interactive torture sequence.
We've arrived in a strange emotional clime when our popular entertainment frequently depicts torture as briskly effective rather than literally the worst thing one human being can do to another — yea verily, worse even than killing. Inflicting pain and suffering on a captive human being because one person feels like it and the other can't stop it ... is this not what we're told awaits sinners in hell? Is this not the domain of Satan?
I left the Blacklist demo sick and infuriated, which was a shame, because the person introducing the demo was a game designer I admire and have long wanted to meet. I really wanted to ask this man how he felt, demo-ing that. Ask the programmers and artists, too, how they felt, bringing that moment into this world. I wanted to ask them all what the deal is with this industry we're a part of. I didn't. Couldn't. I know people who've been tortured. Someone I know was tortured because of something I wrote about him — a cold little bibelot I'll take with me to my grave. I described my Blacklist experience to some gamer friends, a couple of whom thought I was overreacting. Overreacting to a blithe, shrugging presentation of the very definition of human evil, all in the name of "entertainment." I spent a couple days feeling ashamed of being a gamer, of playing or liking military games, of being interested in any of this disgusting bullshit at all.

II.

When a child grabs a playmate's toy, or defends himself violently against someone else who is grabbing the toy from him, you show both children what warrior energy is used for by immediately protecting the victim of the aggression, innocent or guilty. Then you help the little warriors see clearly what happened and how they feel. "That made you mad. That anger helped you feel strong. You may need that strength someday when there is nobody else to help you. But you didn't need it here. You can get your toy back without hurting someone."
Preschool teachers constantly repeat the convenient shorthand "Use your words" when a child gets aggressive. The overriding message is that aggression is bad. It doesn't recognize the healthy aspects of aggression. Unrecognized, the healthy drive frequently goes over to the dark side.

— Karl Marlantes, What It Is Like to Go to War

III.

Shooters are very popular and thus very profitable. Except when they're not. Very potentially profitable, I should say. Storytelling games with great characters and thoughtful scenarios are popular, too, but they're also very rare because they're exceedingly hard to make. Many, many developers have tried to craft a shooter with great characters and thoughtful scenarios and most of them have miserably failed. One possible explanation for this: A shooter works by effectively training its players to ignore things like great characterization and thoughtful scenario-making. As Matthew Burns puts it: "t is extremely difficult — maybe impossible — to come up with a story and characters that, when placed within the context of most current video games, don't feel inherently silly." I agree with Burns, but I didn't always. I used to think the solution to the problem of what I wanted from video games was "better writing," which was good news, because I'm a writer! But "better writing" isn't the solution. The problem is, in fact, way deeper. I'm not sure it's a problem you solve so much as figure out elegant ways to avoid. The person who finally figures out how to make the game many gamers seem to believe they want — the action-heavy shooter with great characters and thoughtful scenarios — is basically going to be the Twelfth Imam of mass entertainment, and by that I mean we'll all be waiting for this figure's appearance, and his or her game, for a long, long time.

IV.

Not all shooter violence is violent per se. As the game critic Erik Kain notes, "killing people in video games is actually just solving moving puzzles." Which is a true, smart, and helpful way to think about video-game violence. However, most puzzles don't bleed or scream. Why do gamers want their puzzles to bleed and scream? And why on earth do they — do we — also want our bleeding, screaming puzzles to be embedded within a nuanced story?

V.

A few shooters I regard as having handled violence as well as can be reasonably expected, given the medium's distinct strengths and limitations:

   
• Metro 2033: Killing stuff is depressing as hell. Enemies don't die easily. A lot of them are scared, freaked out. The world is not at stake and you're just pushing through enemies because you have to. At one point you wipe out three guys sitting around a campfire. When they're dead, you see that one of them had a guitar, which you're now free to strum.
• Far Cry 2: Here the enemies roll around and cry for their mothers after you've shot them. The game never comments on what you're doing — not internally, not externally — and so you're a monster, mostly, that does monstrous things. All the while the game just stares back at you with lidless, reptilian eyes. It doesn't care how you feel.
• Half-Life, Half-Life 2: Killing as physics: gravity guns, energy balls, etc. The bad guys are evil, masked, and inhuman. You never wonder which of them watered the flowers back at base. I think I'll hurl a toilet at that one over there ...
• BioShock, BioShock 2: A game that presents a bunch of dynamic systems by which to inflict violence (lightning, mine traps, killer bees, harpoon guns, freeze rays) in an incredibly atmospheric setting. A simple formula and a great one. It's violence as opera, essentially, and also a sneaky critique of power fantasies.
• Bulletstorm: Here's a planet of psychopathic nutballs — go to town. Killing these guys isn't the point. Killing them with style is the point. This is violence as an exhilaratingly blank canvas, a pure puzzle-performance killing game.
• Halo, Gears of War: Both franchises have figured out that the slaughter of unpleasant, genocidal alien bogeymen turns out to be a delightfully qualmless way to spend one's leisure time.
• Kane & Lynch 2: Violence as aesthetic misery. The characters are awful. The people you're killing are awful. The world is awful. The guns are sloppy, i.e., awful. Everything's awful. It's not fun, not at all, but it is both hideously absorbing and completely numbing — kind of like what I imagine being inside a psychopathic mind amounts to.

VI.

At least half of the above-mentioned shooters did not enjoy overmuch commercial success — a fact, I suspect, that speaks for itself.

VII.

We who are on perpetual watch for a morally nuanced shooter — we unicorn and jackalope hunters — have had our eye on Spec Ops: The Line for quite some time. Developed by Yager and published by 2K Games, Spec Ops: The Line had what I gather was a troubled development cycle. In the mid-aughties, a Rockstar-helmed attempt to revive the tarnished Spec Ops brand was canceled. Yager, a European developer with no track record, was later asked to do what one of the planet's greatest developers couldn't: come up with an acceptable Spec Ops game. When Yager's version was delayed, I heard whispers that the game's ambitions were too much for a new studio to handle — and ambitions Yager appeared to have in spades. For one thing, Spec Ops: The Line is an attempt to retell the story of Conrad's Heart of Darkness; for another, the developers repeatedly spoke to the press about delivering a story that went beyond military-game jingoism and fun core loops of killing and shooting. They described how they wanted to create an experience that drove home how complicated modern combat scenarios can be. They promised genuinely awful and truly dreadful moments. Death, they said, would have some weight in this game.
Those of us who love to feel miserable about video-game killing started paying attention. I'd rather drive a nail into my own hand than play another so-called realistic military shooter — and yet when another so-called realistic military shooter comes along, I play it anyway. I guess I find these games insanely irresponsible and also somehow irresistible, which is what I most hate about them. Couldn't you argue that the men and women who make Battlefield and Modern Combat and Call of Duty are making the world a demonstrably worse place? I think you could. Sometimes I wonder how they sleep at night. Sometimes, when I can't sleep at night, I play Call of Duty.

VIII.

Shooters are obviously some kind of power fantasy, centered, as they are, upon enacting, over and over again, one of the gravest moral steps a human being can take. They're obviously a form of vicarious experience, allowing even the yellowest among us to feel a facile familiarity with combat. They're obviously tapping into a deep and possibly even evolutionarily vital part of the human mind, in which power asserted becomes advantage gained. And unlike most of humanity's previous attempts to replicate such dynamics within rule-based confines — like, say, jousting or rugby — no one gets hurt. It's quite possible that shooters reveal that somewhere inside every human being is a shadow human being, one who kills and takes and does what he or she pleases. A lot of people who love shooters play them, they say, "to blow off steam." That's not why I play shooters. I play shooters because I like the pressure, the pressure of learning what to pay attention to in a realm where the ordinary governances of human behavior have been lifted. I like shooters, I suspect, for the same reason I used to like doing hard drugs. They allow my shadow self to emerge and play. For me, shooters aren't about blowing off steam. They're about taking in steam.

IX.

What follows are some of the notes I took during my play-through of Spec Ops: The Line:

Needs to be less glib.
If you're gonna do verisimilitude, goddamn do verisimilitude.
This is kinda dumb.
Sand stuff sort of cool.
Actually no dumber than the average action film and compared to most shooters it's Luc Besson.
Chatty commandos. Chattiest ever.
OK, Spec Ops: The Line. That was interesting. Challenge accepted! Will take you more seriously.
"The story is ludicrous." — Maude Lebowski
How many games have you played in which you drop white phosphorous on American soldiers?
Some environments are genuinely cool.
Oh wait, did the load screen just define "cognitive dissonance"?
I mean, come on, but do shooters even need villains?
Now it's just pandering.
One of the main bad guys is a Rolling Stone reporter??? Jane's Defence Weekly would be better.
That was clumsy but genuinely interesting. Huh.
OK, this maybe actually does something.

  Spec Ops: The Line adheres more closely to the story of Apocalypse Now than Heart of Darkness, though Apocalypse is itself an allegorical retelling of Darkness. Here's the main problem with trying to retell the story of Heart of Darkness in a modern setting: It's going to make zero sense. The story of Spec Ops: The Line involves an American colonel who disappears with his battalion in Dubai after six months of sandstorms have made the city uninhabitable. In Conrad's time, a man could plunge into the heart of a jungle and raise a private army and go mad. Today, too, this is quite possible. What's distinctly impossible, in both Conrad's and our time, is for a battalion of American soldiers to go missing for six months in a major urban center, disaster-struck or no. A battalion can contain as many as 1,500 soldiers; there's simply no way that many people, connected by that many avenues of communication, could "disappear." Also, sandstorms could plague Dubai for six years without the American military getting involved. This game seems to have never heard of the Red Crescent or have thought terribly deeply about the geopolitical framework of the modern Middle East. Finally, Spec Ops: The Line would have us believe that the best way to find a missing battalion of American soldiers in an abandoned city would be to send three guys in to look for them.
It all sounds really dumb, right? And for a long time, it is pretty dumb. The dialogue is snappy, if way too glib, and the gunplay ranges from acceptable to quite good, but the game's initial setup is so preposterous that you find yourself wishing it were all staged on another planet or, at the very least, in some invented Middle Eastern city. That's the great benefit of sci-fi: Halo's Master Chief never has to deal with the problems of a familiar bureaucracy. When Marcus Fenix of Gears of War says his comms are down, you don't doubt him. When Mass Effect's Commander Shepard drifts out of radio contact, you accept this. Stories don't have to be plausible, but they do have to be convincing. For a long time, Spec Ops: The Line is neither.
We were told the deaths would have some weight in Spec Ops: The Line. I took that to mean that it wouldn't be a shooting gallery that incentivized killing with achievements and trophies and that it would lack exploding heads. Spec Ops: The Line has all these things and more. Hundreds if not thousands of enemies fall at the feet of its three forward-pushing heroes. The game is filled to its gunwales with shooter ridiculousness. The most terrifying enemy in the game, for instance, is a guy with a knife. He runs at you, with his knife, across a battlefield whistling with small-arms fire. Your squad mates will alert you to the knife guy's presence, which is never not hilarious. Everyone's got automatic weapons and the dude with a knife is the single most terrifying enemy onscreen. From a design perspective, I know why this is so. I know why melee weapons are eight times more deadly than rifles in most shooters. It's about balance. Provided that a shooter is not taking itself too seriously, I accept dumb balancing conventions. But when a game is asking you to think about what onscreen killing means, and why any of us like to engage in it, the appearance of Terrifying Knife Guy bursts any fragile bubble of contemplation.
Little by little, things get more interesting in Spec Ops: The Line. The first thing you notice is the performance of Nolan North, who plays the game's hero, Captain Martin Walker. In the beginning of the game, Walker sounds like yet another sunny-voiced agent of slaughter, not unlike Uncharted's Nathan Drake, whom North also plays. By the end of the game, Walker's appearance has degraded (he's missing an ear; half his face is burned off) and North's in-combat barks and incidental dialogue begin to sound scarily unhinged. Suddenly you understand why North was cast: to allow Nathan Drake to go insane. You understand, too, that Spec Ops: The Line knows exactly what it's doing. All the exploding heads? They're not, in fact, a sad concession to What Gamers Want — or at least they're not only that. The game is perfectly aware that it's incentivizing killing. It wants to. It's aware that the "moral choice" moments it gives you amount to nothing. If, say, you decide to save the CIA agent rather than the civilians, it doesn't matter. They're all going to die no matter what. There's a big reveal in Spec Ops: The Line — a few of them, actually — and while they're not perfectly executed, not by a long shot, they're thought-provoking and, by shooter standards, quite brave.
Remember all the ridiculous setup conceits I was complaining about earlier? Quite a few of them wind up getting worked out by the game's strange, audacious ending. In fact, Spec Ops: The Line concludes with you not having any certainties about what just happened. Indeed, the very last moment of the game — a game in which I did terrible, unspeakable things — left me as bewildered about pulling an imaginary trigger as I have ever felt. When I first heard of Spec Ops: The Line, I had no idea what "line" its title might be referring to. A zip line? Some modern-day Maginot Line? A comms line? It's referring, hearteningly, to something else entirely. Unlike most shooters, Spec Ops: The Line wonders what kind of person likes virtual killing enough to spend hours engaged in it. It bothers to ask, "Aren't we all a little sick and crazy to want this?" That this is a genuinely provocative thing for a shooter to do probably says more about shooters than it does about Spec Ops: The Line. But I'm not complaining.
A few years ago, I was working on a shooter (now canceled) set within an inglorious American war infrequently visited in the video-game space. In truth, the game wasn't precisely a shooter, which was, I suppose, part of the problem. One idea that came up was to completely remove any kind of feedback loop when shooting. By that I mean you wouldn't have any idea whether or not your shots were hitting their targets. You'd just fire into the jungle and hope for the best. Maybe you'd find some bodies later, if you bothered to look. That would be your feedback loop: dead bodies. Combat would be somewhat randomized, in that it would always sort of be going on in the background. Everything was supposed to be tense at all times. The NPCs with you could die at any moment and, once you lost them, they were gone; the game's story was going to be designed to function without them.
As a thought experiment, it sounded incredible: a war game that functioned like a survival horror game. The goal was to make a real war game, something that felt cruel and strange and oppressive, but also genuinely exciting when it had to be, because every combat vet I know, including my shooter-hating father, has described how beautiful and oddly life-affirming combat can sometimes feel. Seven years ago I was embedded with the Marine Corps in Iraq. One night, coming in late to Baghdad, the chopper I was in briefly took fire. I saw the whole thing out the open back of the chopper — these gorgeous green spears of tracer-fire light shooting up at us. The chopper banked hard. While the world below me spun, I remember seeing, down below, a single palm tree gorgeously on fire. It didn't occur to me to be scared until much later, but at that moment all I could think was how exciting and beautiful it was to be sitting there, strapped in, taking fire. I hoped this moment, somehow, would find its way into our game.
Later, of course, I was wise enough to wonder how many people would even want to play a game with no shooting feedback loop. It was possible then and it's possible now that I take shooters too seriously. I don't wring my hands after Indiana Jones has killed his 30th Nazi of the morning, after all. Maybe, in the end, "blowing off steam" is the only kind of experience a shooter needs to enable. The shooter is merely a vent. OK. I suppose I can accept that. But I just went and looked into the vent of my apartment's air conditioner. You know what? It was filthy.

A OnLive je, zlobnici bi rekli predvidivo, otpustio gomilu zaposlenih i spasao se bankrota samo time što ga je kupila druga firma. No, zariču se da se rad nastavlja. Cena klaud gejminga je visoka. Sony i Gaikai, u međuvremenu, rade na tome da je učine nižom.

Intervju sa Richardom Garriottom u kome priča između ostalog o tome kako će izgledati njegov sledeći projekat - Ultimate RPG.

Quote from: Meho Krljic on 16-08-2012, 16:15:40

Quote from: Perin on 16-08-2012, 15:55:25

Oh, oh, Meho će se obradovati FFVII ponovo na PC.

Pa, zapravo, ovo je identično starom izdanju na PCju u tehničkom smislu (ista rezolucija, isti interfejsi, ista midi muzika sve isto), tako da mi je besmisleno da ovo kupujem - pogotovo što ga nema na Steamu - samo zbog cloud savinga i press-button-to-win dodatka. Imam Playstation verziju koja radi na mom PS3-ju i PSP-u a radiće uskoro i na Viti, ovo mi nije neophodno. Ako dođe na Steam, onda možda jer sam budala. Ali ovako - ne. No, vi koji je niste igrali, samo navalite, apsolutno je isplativo.

Oh, koliko je bolno biti Square Enix. Dakle, lansiranje ove verzije Final Fantasy VII je ispalo... prilična katastrofa:

Square Enix apologises after Final Fantasy 7 PC launch problems

Dakle, jebemti Skver Eniks. Da su igru lepo stavili na Steam, kupilo bi je MNOGO igrača i svi bi bili zadovoljni (i samo bi se žalili na lošu reprodukciju muzike, loše proporcije ekrana itd.). Umesto toga pomislili su kako su oni dorasli toj nekoj digitalnoj distribuciji i kreiranju kvalitetnog a neintruzivnog DRM-a i sada ih glasna manjina igrača koji su dali pare a ne mogu da igraju igru progoni sa vilama i bakljama po Internetu. Znači jebem ti rokenrol kad ga svako svira i jebemti digitalnu distribuciju kad svaka budala misli da je sasvim okej da se izvini što procenat ljudi koji su njihov produkt kupili a ne mogu da ga koriste - a da posle svega ti ljudi i dalje ne mogu da ga koriste...

Meho jel si probao Hitmen:Snajperski izazov?

Nisam. Pohvalili su ga na Jurogejmeru onomad al nešto ne stižem...

Dakle, kada PopCap mora da otpušta ljude jer se tržište brzo menja (pominju "eksploziju free to play, social and mobile" igara), to je možda znak da smo na pragu prskanja nekog od mehura?

Sociološki eksperiment izveden u Minecraftu: igrači dva meseca igrali na maloj mapi ograničenih resursa.

Odličan DayZ intervju sa Deanom Hallom, autorom moda/ igre na Jurogejmeru. Odličan!

Mehmete, šta ti veliš o ovome:

http://www.edge-online.com/opinion/japanese-games-arent-gibberish-just-different

Sad ću da pročitam, ali kada sam video originalnu  tekst (na Jurogejmeru) gde je ovaj baja koga bez sumnje pominju tako uopšteno pričao o "džiberišu" u japanskim narativima, odmah sam ga dismisovao. Jer, naravno da je gomila japanskog narativa loša, ali to ne znači da je besmislena, što bi bio smisao "literally gibberish", kako je on rekao. Japansko pripovedanje ume da bude on the nose, kao i da ide u sasvim sulude tangente ali se najčešće tu da napraviti spona sa njihovom kulturom, dakle, da ima nekog smisla.

Edit: Oh, sad vidim da autor Edžovog teksta piše tako lepo, kao da izvlači misli iz moje glave i oblikuje ih u riječi kako ja to nikada ne bih mogao. Da, stoput da!!! Da, ja se poslednjih godina stresam na izjave kako je japanski dizajn zastareo a zapadni ga prevazišao, a opet, na zapadu imamo Uncharted i Gears of War kao ultimativnu konfekciju, dok nemamo ništa nalik igrama poput Persona 4, Pandora's Tower, Devil Surivor, Ghost Trick (zapravo, francuska igra Remember me koja se trenutno radi imitira određene delove Ghost Trick), The World Ends With You, pa čak i Kingdom Hearts... Japanski dizajn, naravno, nije uvek dobar, daleko bilo, ali i dalje kod njih vidim više inspiracije i inovacije  u domenu dizajna, nego na zapadu gde se najviše unapređuje tehnologija i kinematski elementi.

Oh, idem sad da čitam dalje, tek sam stigao do trećeg pasusa.

Super Meat Boy, Binding of Isaac creator to release a bundle of his remastered early works!!!

I posle me pitaju zašto prezirem avanturističke igre 

http://www.cracked.com/article_19974_the-6-most-absurdly-difficult-video-game-puzzles.html

Hah, ispred zagonetke iz Gabriel Knighta koju je Starac Mari učinio besmrtnom stoji zagonetka iz Runescapea, za koji nisam bio siguran šta je:

QuoteSo the video game gives the player a prompt: Get this guy's attention without using your voice. And the correct solution is not to throw a note, or to start waving frantically and wait for him to turn around and notice you. No, the most logical path of action is supposedly to vacuum-launch a marine scavenger into a stranger's face, and all because some programmer probably had one really weird deaf friend when he was a kid and extrapolated out some faulty assumptions.

Па мени ова гумена патка није представљала никакав проблем у Лонгест Џрнију!

Хм, ово остало нисам играо, али Габријел Најт ми је сљедећи на реду, па нећу да читам због спојлера.

Quoteа мени ова гумена патка није представљала никакав проблем у Лонгест Џрнију!

Ma vidiš da ovakve članke pišu od nekuženja otupeli nejsejeri koji nikad neće razumeti pravi duh avantura. -_-

Quote from: Father Jape on 23-08-2012, 16:39:30

Quoteа мени ова гумена патка није представљала никакав проблем у Лонгест Џрнију!

Ma vidiš da ovakve članke pišu od nekuženja otupeli nejsejeri koji nikad neće razumeti pravi duh avantura. -_-

Лајк!

Шта има љепше од осјећаја одглављивања у авантури? Оно кад се данима патиш и на муци си да ли да гледаш у рјешење (ал ако погледаш знаш да ћеш да мислиш "Е до к..., како се нисам сјетио овога, па било је лако!!!") и онда у нека доба ти падне на памет да можеш да пребациш шкрипави душек са ближег кревета на даљи, сједнеш на њега и његово шкрипање намами мачкетину, која престаје да се игра с мишем играчком, ког ти онда брже-боље покупиш и пошаљеш времепловом у будућност, гдје га твоја другарица искористи да намами мачку са бијело офарбаним леђима, да би исту покупила и убацила у просторију са затвореницима итд. итд. итд.?

Harvi, čovjek po srcu mom.

Na Steamu je konačno, posle apsolutno bizarnog kašnjenja dostupan za kupovinu KOTOR2. Po ceni od deset evra. Ko nije igrao, sad nema izgovor!!!

Сјајно! Надам се да је оптимизована за Виндоуз седмицу.

Harvi, vidi, potrebne su im tvoje pare:

http://www.rockpapershotgun.com/2012/08/23/broken-sword-the-serpents-curse-launches-a-kickstarter/

Quote from: Meho Krljic on 23-08-2012, 23:06:24
Na Steamu je konačno, posle apsolutno bizarnog kašnjenja dostupan za kupovinu KOTOR2. Po ceni od deset evra. Ko nije igrao, sad nema izgovor!!!

Ja se razmišljam da kupim. Ako ni zbog čega drugog, a ono zbog novog/starog sadržaja.

Quote from: Father Jape on 24-08-2012, 00:22:57
Harvi, vidi, potrebne su im tvoje pare:

http://www.rockpapershotgun.com/2012/08/23/broken-sword-the-serpents-curse-launches-a-kickstarter/

Са стидом морам да признам да нисам играо Брокен Сњорд игре (иако имам оригинална издања све четири), али за ово бих врло радо искрцао тешко зарађени новац - ем ће игра бити 2Д авантура (јеј!), ем ће имати (као и претходне) занимљиву причу, ем је у питању Револутион, тим који је урадио Луре оф тхе Темптресс, једну од мојих најомиљенијих игара ЕВЕР!

Kenđi Kaido napustio Sony, što nas odvodi korak dalje od igranja The Last Guardian 

I još jedan privju za Dizonrd, manje-više artikulisanija verzija onoga što smo pre neki dan čitali na RPS-u.

http://www.eurogamer.net/articles/2012-08-27-dishonored-preview-honor-thy-player

Mislim, toliko sam napaljen na ovu igru da sam preko vikenda konačno apgrejdovao sistem na W7, samo zbog nje!!!

Мора се признати да добро изгледа.

Konami prikazao demo narednog MGS naslova: Metal Gear Solid: Ground Zeroes. Miruj, srce ludo!!!!!!!!!

I odma o istom trošku, Avi Arad najavio Metal Gear film. Avi veli da se decenijama borio da stripove dovede na veliko platno a da su igre stripovi današnjice.    Naravno, Metal Gear (Solid) franšiza ima i solidne stripove sa crtežom Ešlija Vuda. No, ja stvarno imam problem kada pomislim da Snake u filmu neće govoriti glasom Davida Haytera a ako bude govorio da neće izgledati kao Snake 


Takođe, Kođima je svojevremeno izjavio sledeće:

Quote
"Metal Gear Solid was developed specifically to become a game. ...If it were to be made into a movie it would have to be something completely new. I wouldn't use my current scripts. I think I'd have to get somebody to get a new script and somebody else to direct it as a movie."
-Hideo Kojima (March 17, 2012)
"The Art of Video Games" exhibit, at the Smithsonian American Art Museum

Tako da... film možda i ne bude baš mnogo dobar... Ali Aradov trek rekord je barem dostojanstven.

Inače, ja sam još pre pola decenija prejzovao besplatne i neovisne igre Jonatana Söderströma (Mondo Agency, Clean Asia, Fractal Fighters, Protoganda) jer su bile elegantni komadi no-budget dizajna sa nekim sjajnim tehničkim rešenjima. On sada pravi Hotline: Miami, maničnu igru koja bi mogla biti opisana kao rani GTA na steroidima, samo još nenormalnije. Pogotovo što koliko shvatam nije u pitanju open world dizajn... Novi privju na Jurogejmeru je vredan čitanja.

Oh, zaboga, Skyrim DLC ekspanzije izgleda nikada neće ni izaći za PS3. Sony se stvarno pogrešno kockao sa svojom CELL arhitekturom i zaključanom raspodelom memorije...

Quote from: Meho Krljic on 30-08-2012, 12:12:03
Konami prikazao demo narednog MGS naslova: Metal Gear Solid: Ground Zeroes. Miruj, srce ludo!!!!!!!!!

14 minuta gejmpleja (pa, hm, da) prikazanog na PAXu

Metal Gear Solid: Ground Zeroes Gameplay Demo (1080p)

A ovde ima integralni video sa PAXa sa pola sata priče sa Kođimom:

http://www.ign.com/videos/2012/09/02/metal-gear-solid-ground-zeroes-the-future-of-metal-gear-conference-pax-2012

Valve ipak ulazi u razvoj hardvera. Implikacije će biti brojne.

Mijazaki razmišlja da u Dark Souls pečuje "easy" mod jer se plaši da težina igre odbija neke igrače. No... to bi trebalo da je poenta Dark Souls!!! Smrt ima posledice!!!

Jebote, svakakvih ludaka ima

Assassin's Creed Meets Parkour in Real Life

Ubisoft zvanično napušta svoj debilni Always Online DRM. I bilo je vreme.

Eurogamerov intervju sa Timom Schaferom urađen na PAXu Plaši me njegov entuzijazam spram Free To Play modela 

Quote from: Meho Krljic on 05-09-2012, 12:25:03
Ubisoft zvanično napušta svoj debilni Always Online DRM. I bilo je vreme.

Јееее!!    Надам се да ће избацити и печеве за старије игре.

U većini starijih igara su već pečovali ovaj DRM.

Bah...

Dakle, Valve je na Steamu pre nekoliko dana započeo Greenlight inicijativu, neku vrstu crowdsourcing projekta u kome nezavisni i mali proizvođači igara predlažu svoje igre za objavljivanje putem Steama a onda Steam korisnici glasaju za njih. U principu ovo je solidna ideja u smislu da je mnogo glava pametnije od malo glava (pa da onda Mutant Mudds ima veće šanse da se pojavi na Steamu nakon bezumnog odbijanja od strane Valvea) i ja sam već glasao za gomilu igara. Istina je da sve te igre već mogu da kupm na drugim mestima ali istina je i da sam ja nečovek i da vrlo retko kupujem igre izvan Steama jer mi je mnogo lakše da njima rukujem kada su sve pod istim interfejsom koji je dokazano udoban za korišćenje. Međutim, pošto je MNOGO predloženih igara bila samo zajebancija (mnogi ljudi su samo pravili opscene poruke ili predlagali Half-Life 3 itd.) Valve je prvo benovao dokazane trolove na po nedelju dana a sada je uveo paywall od sto dolara. I ja sam prilično nesiguran da je ovo dobro rešenje. Paywall od samo jednog dolara bi sigurno iskorenio 99% lažnjaka (ko je blesav da plaća i ostavlja svoje kreditne podatke da bi napravio bezobraznu šalu?), a sto dolara (iako Valve ne uzima ovaj novac nego ga prosleđuje dobrotvornoj organizaciji Child's Play) mi deluje kao previsoka prepreka za male one-man team proizvođače, pogotovo što ovaj novac ne garantuje publikovanje igre kroz Steam već samo šansu da Steam korisnici glasaju da ona bude publikovana... Nezgodno.

Quote from: Meho Krljic on 06-09-2012, 12:34:04
Bah...

Dakle, Valve je na Steamu pre nekoliko dana započeo Greenlight inicijativu, neku vrstu crowdsourcing projekta u kome nezavisni i mali proizvođači igara predlažu svoje igre za objavljivanje putem Steama a onda Steam korisnici glasaju za njih. U principu ovo je solidna ideja u smislu da je mnogo glava pametnije od malo glava (pa da onda Mutant Mudds ima veće šanse da se pojavi na Steamu nakon bezumnog odbijanja od strane Valvea) i ja sam već glasao za gomilu igara. Istina je da sve te igre već mogu da kupm na drugim mestima ali istina je i da sam ja nečovek i da vrlo retko kupujem igre izvan Steama jer mi je mnogo lakše da njima rukujem kada su sve pod istim interfejsom koji je dokazano udoban za korišćenje. Međutim, pošto je MNOGO predloženih igara bila samo zajebancija (mnogi ljudi su samo pravili opscene poruke ili predlagali Half-Life 3 itd.) Valve je prvo benovao dokazane trolove na po nedelju dana a sada je uveo paywall od sto dolara. I ja sam prilično nesiguran da je ovo dobro rešenje. Paywall od samo jednog dolara bi sigurno iskorenio 99% lažnjaka (ko je blesav da plaća i ostavlja svoje kreditne podatke da bi napravio bezobraznu šalu?), a sto dolara (iako Valve ne uzima ovaj novac nego ga prosleđuje dobrotvornoj organizaciji Child's Play) mi deluje kao previsoka prepreka za male one-man team proizvođače, pogotovo što ovaj novac ne garantuje publikovanje igre kroz Steam već samo šansu da Steam korisnici glasaju da ona bude publikovana... Nezgodno.

Da, baš nezgodno. A ideja je vredna hvale...barem ja tako mislim. Mada, tu ima verovatno i vrbovanja za glasanje igre....ali dobro, to se ne može iskoreniti.

Ma vrbovanje je u redu, to što ti je igra na Steamu ne znači da će je iko i kupiti. Ali sto dolara za mogućnost da glasaju za tebe? To mi povisoko.

Quote from: Meho Krljic on 06-09-2012, 13:53:46
Ma vrbovanje je u redu, to što ti je igra na Steamu ne znači da će je iko i kupiti. Ali sto dolara za mogućnost da glasaju za tebe? To mi povisoko.

Pa da, sa tim se definitivno slažem. A kad smo kod pravljenja igara i koječega, imam nešto da objavim!!!!

Pravim indie igru, zajedno sa četvoricom prijatelja. Naravno, biće to sranje, ali prvi mačići se u vodu bacaju!!!

Hahaha, sjajno, samo napred!!!!!!!!!!

(Mada ja mačiće ne bacam u vodu... hranim ih i perem ih)

Quote from: Meho Krljic on 06-09-2012, 17:45:14
Hahaha, sjajno, samo napred!!!!!!!!!!

(Mada ja mačiće ne bacam u vodu... hranim ih i perem ih)

Ma to se samo tako kaže!!!

M'da, pošto smo svi dobri prijatelji, a potrefilo se da je jedan maher za stvaranje muzike, drugi dobro crta i radi u Maya programu, treći je ekstra mega giga ultra talentovan programer, a moja malenkost i još jedan prijatelj stvaramo seting i priču....i ostalo. Pa reko', ajde da se zajebavamo!!!

Ko zna koliko će nam vremena trebati, ali već imam neke ispise za prvi...nivo, a i generalnu priču. Uglavnom, biće humoristična - crnohumoristična.

Naravno, i Meho će biti potreban, da testira igru ili jedan njen deo koji prvi završimo!!!

Slabo ćete proći ako budete imali samo jednog testera, pokupite i neke klince osnovce, oni su najsuroviji testeri.

Хаха, ја сам прије једно сто година направио поинт & цлицк авантуру у АГС-у Није баш била феноменална, али осјећај кад сам је коначно завршио је био божанствен Само напријед!

Evo nešto za Mehmeta:

Steam's Big Picture

Da, ja od jutros razmišljam koliko bi me košto još jedan kompjuter samo za dnevnu sobu 

Quote from: Meho Krljic on 05-09-2012, 12:13:07
Jebote, svakakvih ludaka ima

Assassin's Creed Meets Parkour in Real Life

Сјајно! А ја се жалио на нереалистичност Асасинс Крида!
Мада, супер би било да је на крају неког избо ножем