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

Kris Roberts je svoj projekat Star Citizen stavio na kikstarter.

Pričamo, naravno o čoveku koji stoji iza Wing Commander igara i koji pokušava da napravi novu space sim igru u sličnom duhu. Ja pledžovao trideset dolara. A s obzirom da je Roberts već skupio milion preko svog sajta, ovih dodatnih pola miliona će brzo da se odradi, već je preko 120,000 pledžovano.

Comrade Rossignol:

http://www.rockpapershotgun.com/2012/10/21/please-value-your-education-in-the-school-of-games/

Potaknut skorašnjim člankom o non-gamer teti koja je isprobavala neke igre.

QuoteI've read a few people suggest that it's important to listen to non-gamers when the speak about our form. It demonstrates, it is said, the overall emptiness of games as cultural objects. It demonstrates how impenetrable our communities are, how obscure game mehanics have become, how difficult their systems are to outsiders.

Which seem like precisely the qualities of the things that Scruton describes as "high culture". You need to spend thousands of hours read and studying to have a proper understanding of Proust or Derrida, and the same is true of DOTA 2 or Dwarf Fortress. To master either requires research, thought, even experimentation.

QuoteFrom the New Statesman article:

    "But what's most infuriating about Kellaway's piece is its underlying truth: most video games really don't have a lot to say. They generally have the lyrical nuance of a Eurodance song, and even a game like Spec Ops: The Line can't properly critique the horrors of war when the player herself is actively creating those horrors. Kellaway's favourite game from the selection was Journey, one of my favourites too. But I also love Hotline Miami, an ultra-violent and sadistically challenging title where you dress up in an animal mask and murder gangsters in a hallucinogenic world. I'm not even ashamed – it's a brilliant game! – but I wouldn't pretend it had reached a zenith of cultural significance."

I can appreciate all that. As John pointed out recently – imagine if Dishonored had really had something to say. Imagine if Corvo's exploits left us with some deeper, heavier message than "it's great to save the princess." Now that could have been something.

But that desire persistently misses the point. The great reward from Dishonored was never meant to be the story. It was meant to be taking your existing familiarity and skill with medium of controlling first-person perspective games and using it to explore the systems and challenges laid out by the game designers

Džim bi u nekoj državi gde bih ja bio diktator, morao da bude neki ministar. A Kieron bi bio predsednik vlade i kolektivne vagine svih građana!!!!!

Ali bez šale, sasvim tačno, mislim "emptiness of games as cultural objects", oh me oh my. Kao da igranje nije fundamentalna komponenta ljudskog sazrevanja i deukacije. Nego ljudi ne uspevaju da se manu poređenja sa filmom i literaturom.

Edit: Žena u originalnom članku (non-gamer koji igrajući igre ne nalazi u njima kulturno relevantan sadržaj) je sav svoj kredibilitet minirala, a Rosinjolovu tezu o visokoj kulturi potvrdila rečenicom: "For 10 minutes I was enraptured. But then I got bored. Proteus is the video game equivalent of James Joyce's Ulysses, only less eventful. At least Bloom occasionally picks his nose"

Zato sam ja pre sat vremena rekao:

Perhaps this philistine should first try understanding great literature before turning to games.

Pa tako nekako. Plus, možda bi bilo korisno da se javnost češće podseća da Angry Birds, XCOM, Dishonored, LoL, New Super mario Bros. 2, Team Fortress 2 iako sve dele kategorizaciju da su video igre zapravo stoje dalje jedno od drugog nego Uliks i Hari Poter.

Dodatak: Alek je baš poeta kada ga igra poput Dishonored dirne.

U daljem nesuptilnom promovisanju Dishonoreda kojim sam prilično opsednut poslednjih dana (mislim na njega dok ne igram, mislim na njega dok igram XCOM itd.), evo interesantnog teksta na Gamasutri. Autor(ka) je Leigh Alexander:

Why people are playing: Dishonored

BioWare nam daje pregršt novih vesti koje neće izenaditi baš nikoga: Mass Effect 4 neće imati Šeparda niti nekog ko liči na Šeparda a Dragon Age III: Inquisition će biti veća igra sa više kastomizacije od DA2. OOOH, ko bi rekao?

Какав сад еффинг Масс Еффецт 4?  Има ли ово краја?

Уосталом, могу да га дувају. Сачекам лијепо пет година и онда на ГоГ-у купим комплетан серијал за 5.99 (или 2.99 на попусту).

To će ići malo teže. EA insistiraju da njihove igre sad idu uz Origin (mada Crysis 2 na Steamu sad ide bez Oridžina) a pošto je to forma DRM-a onda po definiciji ne može da se nađe na GoG-u.

Inače, BioShock Infinite se juče pojavio kao priorder na Steamu, četiri, dakle, meseca pre zakazanog datuma izlaska. Paralelno sa, jelte, novim trejlerom koji je sav u endžinu i vrlo lepo izgleda. Naravno, posle Dishonored, ova će igra (kao i Thief 4) imati MNOGO toga da dokazuje:

BioShock Infinite Exclusive Beast of America Trailer [HD]

Oooooh, Team Meat je najavio novu igru!!!!!!!! Uzbuđen sam! Ne samo da se pominje i nova Super Meat Boy igra za PC (koja je verzija SMB igre za iOS na kojoj trenutno rade) nego je najavljena i zaista nova igra, Mew-Genics, koja se bavi, ooooh, mutantnim mačkama!!!!!!!!! 

http://supermeatboy.com/121/NEW_GAME_ANNOUNCEMENT_/

Quote
As some of you know Tommy and i have been working on a new super meat boy for iOS and Pc for the past few months... but a month or so ago we decided to do a little game jam over a weekend and fell into a totally out of left field project we call...
MEW-GENICS!


Mew-Genics is by far the strangest project I've ever worked on.. and that's saying something. Tommy and i are very happy with how development has been going on it and decided that Mew-Genics will be the next official Team Meat game. We don't want to spoil too much here, but we can say the game will be randomly generated, strange and involve cats.

We are moving quite fast on it and should be able to start talking about platforms, more gameplay details and screen shots soon.

and SMB fans need not worry, the new Super Meat Boy (SMB:TG) is still in dev, just on hold till we squeeze this little kitten out of our loins.

STAY TUNED!

Jutros osvanuo 4.21 CFW za PS3. 

Raja, jel se pojavila neka igrica za moj uzrast u medjuvremenu? (Plants vs Zombies i taj rad, avanture &shit)? Hvala.

Pa... imaš novi Medal of Honor, meni je grozan, ali možda ti se svidi.

 

Obimna reportaža o LoL/ Riot games koja pokazuje koliko je sve to veliko i jako

Sad je skoro bio neki turnir organizovan u hali ili nekoj areni, sa sve ozvučenjem i rasvetom kao za koncert. Igrao sam jedno vreme al sam se smorio malo.

Ovaj Rab Florens kad napiše, onda napiše:

http://www.eurogamer.net/articles/2012-10-24-lost-humanity-18-a-table-of-doritos

Hmm, Nintendo će posle dugo vremena konzolu lansirati sa cenom koja je ispod proizvodne. Vremena se stvarno menjaju.

Quote from: Meho Krljic on 25-10-2012, 13:42:51
Ovaj Rab Florens kad napiše, onda napiše:

http://www.eurogamer.net/articles/2012-10-24-lost-humanity-18-a-table-of-doritos

Sa Tvitera

Eurogamer:
Following receipt of a complaint from Lauren Wainwright, Eurogamer has removed part of the article Lost Humanity.
We apologise for any distress caused to Ms Wainwright by the references to her. The article otherwise remains as originally published.


Na šta Džon ima da kaže
John Walker: Wainwright threatened Eurogamer for quoting her, and making an observation. Utterly astonishing. Utterly pathetic. Wretched.



I na kraju sam Rab:

I want to thank @tombramwell and @eurogamer for having me on board. I was saddened to hear what they've been through this past 24 hours.

Yesterday was my last piece for Eurogamer. Here it is in amended form. http://www.eurogamer.net/articles/2012-10-24-lost-humanity-18-a-table-of-doritos ... I stand by every word of the original piece.

Also, don't blame Eurogamer for this. The threat of legal action brings unbelievable pressure. I am clear on who the bad guys are in this.

Naravno njen tviter je sad protektid (kapiram da trpi salve uvreda od Jurogejmer čitalaca - Streisand efekat in ful fors) i ne mogu se videti poruke. Da ne bude zabune, ovo je izbačeno iz teksta a bilo je tu kad sam ja okačio link:

Quote

One games journalist, Lauren Wainwright, tweeted: "Urm... Trion were giving away PS3s to journalists at the GMAs. Not sure why that's a bad thing?"

Now, a few tweets earlier, she also tweeted this: "Lara header, two TR pix in the gallery and a very subtle TR background. #obsessed @tombraider pic.twitter.com/VOWDSavZ"

And instantly I am suspicious. I am suspicious of this journalist's apparent love for Tomb Raider. I am asking myself whether she's in the pocket of the Tomb Raider PR team. I'm sure she isn't, but the doubt is there. After all, she sees nothing wrong with journalists promoting a game to win a PS3, right?

Dakle, niko nije optužio Vejnvrajtovu nego je pružen primer kako čitalac lako može da posumnja u novinarski integritet. Naravno, možda Florens nije trebalo da pominje imena, ali ipak, pretiti tužbom zbog ovoga pokazuje zabrinjavajuće nizak nivo self estima.

Edit: da bude još gluplje, Eurogamer je iz teksta uklonio i reference na Davea Cooka, takođe novinara koji je učestvovao u takmičenju za PS3 i dobio PS3 a zatim ga poklonio nekom čeritiju. Cook se pojavljuje i u komentarima na tekst i objašnjava da je isprva mislio da je sve to Ok ali da se predomislio i rešio da pokloni PS3 djeci a ne da ga da čitaocima itd. Ne znam zašto su njega uklonili...

Quote
Another journalist, one of the winners of the PS3 competition, tweeted this at disgusted RPS writer John Walker: "It was a hashtag, not an advert. Get off the pedestal." Now, this was Dave Cook, a guy I've met before. A good guy, as far as I could tell. But I don't believe for one second that Dave doesn't understand that in this time of social media madness a hashtag is just as powerful as an advert. Either he's on the defensive or he doesn't get what being a journalist is actually about. 

Edit 2: Kako reče neko na Neogafu, sad treba čekati Vokerovu kolumnu na RPS-u, biće tu vatre i sumpora!!!


Edit 3: Slika govori više od tisuću riječi, pogotovo kad na njoj ima riječi:





Edit 4: Voker je već postovao tekst (juče!!!) a koji je sad valjda apdejtovan jer vidim da pominje Jurogejmer skandal, ali na svom sajtu:

http://botherer.org/2012/10/24/games-journalists-and-the-perception-of-corruption/

Quote
I want to get some thoughts down on paperscreen, and then out in public, about the recent brouhaha over games journalists' behaviour and integrity, and the conflicts I see with the Games Media Awards. I also want to still have some friends in this industry, but sometimes the two don't go hand in hand.
I also want to be clear that I don't think any of these matters are clear-cut or simple, and that I certainly don't consider myself to be a paragon, above all the accusations of corruption, or the activities that some consider compromising. So I want to explain the compromises I experience, too.
And incredibly importantly, I want to point out that the vast majority of the time, no matter which site or magazine you read, the chances are what you're reading is un-bought, uncorrupted opinion. That's the norm. Issues are the exception. Frankly, anything else would require more organisation and effort than most editors have the time or energy for. And of the very many games journalists I know, I know of not one who's ever done anything openly corrupt, or written an influenced review. Most people, and most content, is exactly as you'd hope it was.

The fuss today emerged after it was spotted that a bunch of journalists at this year's Games Media Awards (GMAs) had been encouraged to tweet including a hashtag for a particular game, so one of them would win a PS3. This seemed an immediately and obviously not okay thing for a games journalist to do. Advertise a product on your personal Twitter stream and you could receive personal gain. That's an obvious no. But even so, I can see how people at an industry piss-up could get carried away, send off a tweet without giving pause to think that it was a mistake, do a drunken thing. What shocked me today was the vociferous defence of this in the sobriety of a Wednesday morning the following week. In criticising this on Twitter, I was met with a combination of disdain, incredulity, and outright mocking, because I thought it an issue. Arguments ranged from being told that journalists deserve it because they're so poorly paid, to it just being a bit of fun and hashtags aren't advertising. But more than anything else, either directly to me, or on other journalists' Twitter feeds, so many people rolled their eyes at the discussion, dismissing it as ridiculous. And that I find bewildering.
Games journalism has always had its problems. When I started in 1999, I was told stories of antics in the early 90s. Later I learned of antics in the late 90s. But the big examples are all very rare. However, compromise comes in many forms, and the constant battle between editorial and PRs leads to a convoluted and often concerning mix. That's why I have such a keen and instinctive dislike of the GMAs. These are awards organised by PRs, for which PRs are eligible to vote, all sponsored by publishers. I think just going along to this event is a compromising act, not because I don't think journalists should attend events funded by publishers, but because this is an event put on by publishers and PRs, funded by publishers, in order to vote for their favourite journalists. It's a very specific event, its outward facing purpose to reward gaming hacks with perspex blocks, but its more insidious and yet overtly obvious purpose being to further blur the lines between what should be two distinct sides. It isn't a civilised awards dinner, but rather a big advertising-packed booze-up, with free drinks and food while various sponsors advertise their wares. A comedian comes on and awkwardly tries to do games-related material, and then often extremely deserving writers get given not only their award, but also a big bag of expensive loot that doesn't get talked about. I know this because via RPS I've won two of them.
(Hopefully just the stupid fact that I've won two of these awards can push aside any of the mindless, lazy responses from other industry figures, who instantly label me (and anyone who criticises the GMAs) as "bitter".)
So I'm left bemused that there's such strong objection to anyone who questions it all. I'm also delighted to see Eurogamer running a piece by Robert Florence, questioning the whole matter, and exploring this debate. But it's now absolutely fascinating watching the industry whirr itself into action to condemn Rab for absolutely legitimately pointing out things people said in public. Critics are rarely good at taking criticism, but what's happening amongst many PRs and writers now is a Roman legion-style tortoise defence, as they loudly decry the piece without providing a glimmer of an argument opposing it, and hide behind their collective shields. The people who should be say, "Shit, good grief, look at how we come across" are instead saying, "He is a bad man!" and then sending each other reassuring tweets that the article is inaccurate (although failing to point out where) and calling Rab "bitter". It's sadly pathetic. And it's deeply concerning, about an industry that now not only believes itself not deserving of criticism, but that criticism is an outrage.
I deserve criticism.
 

Being a games journalist is a confusing collection of compromises. For instance, we get games for free. I have a Steam account that automatically has most games appear in my list. If a game isn't in there, I contact its representative and ask for a copy. You could argue that this compromises me. You could claim that I have a skewed perspective of the value of games because of this. I'd argue against it somewhat – I still buy games, mostly on console. I'm very conscious of how much they cost, and always consider this when reviewing. And as a freelancer if I had to buy every game I played, I wouldn't be able to do my job. I think that the belief that getting a game for free is a bribe in and of itself comes from the perspective of someone who thinks, "I wish I could get games for free!", and I completely understand that. However, from the inside, getting the basic tools you need to be able to start doing your job really doesn't feel like a benefit, nor does it – in all of my experience – make me favourable toward that game. But there's room for debate here.
Press trips are the other big issue. I haven't been on one for years now (and in the last few years they've only been with Valve, who are quite exceptional in their doing absolutely no PR whatsoever – a driver collects you from the airport, drops you at a hotel, and then you get yourself to their office and back, and figure out food, entertainment, etc for yourself). Edit: It's been pointed out to me that I recently went to a two-day, no-frills event in London to play SWTOR ahead of release, that involved an overnight stay. I'd quite forgotten. But let's take the norm, for let's say a trip to San Francisco to visit a developer and look at their game at some point during its development. In my experience (and I'm intrigued to learn this is not the norm for many American mags/sites) the trip is paid for by the publisher behind the game. This includes flights (absolutely always in Economy in my experience, with the exception of Valve), a hotel room, and meals during the trip. You are looked after by a PR, whose job is to ensure journalists go where they're supposed to go and see what they're supposed to see, and then take them out for dinner in the evening. And yes, obviously here there is lots of room for criticism.
Every aspect of that could be considered an attempt to influence my opinion of the game I'm seeing (although I'd argue flying twelve hours in Economy doesn't quite fit that bill), and you can obviously see how it's in the PR's interests to keep the journalists content. Again, from the perspective of the writer, it's hard to perceive any of it as a bribe. You need a plane to get to the developer, you need a bed to sleep in, and you need to eat. And since you can't afford any of those things, it's useful that someone else is paying. Whether that's your employer/magazine/website, or the publisher, in the end is immaterial to you as a writer. Where things get more tricky is in the entertaining that might surround the trip.
I remember spending one day going to Universal Studios in LA. It was an absolutely brilliant day, not least because it was so far removed from what a press trip would usually try to do. At the time, the theme park was like something out of a Scooby Doo episode, run down and depressing, and I was with a group of hilarious writers – we had the best day laughing at the dilapidated ruin of a 1980s hangover, and then got to go down the road where Buffy lived. I couldn't tell you what game it was for, and I can assure you that it didn't influence whatever I wrote about whichever game it was when I got back. But if you want to criticise me, I absolutely got given entry to Universal Studios by a PR. That merits criticism.
However, I also made personal choices on such trips. Most journalists want to spend the evenings in bars, drinking lots. I can think of little I'd like to do less, and quickly learned to politely opt out of post-dinner activities, and head back to my hotel room. I'd get funny looks, but I'm comfortable enough with myself to ignore that. In the morning I'd not have any disturbing anecdotes, but I'd also not have a debilitating hangover. I'm also extremely fortunate that I've only once had to turn down an offer to go to a strip club. I've never been to one, have no desire to go to one, but have often heard about their being offered on such trips. That's deserving of criticism.
One time I was sent to London for a preview event for the game Auto Assault. What I didn't know was that I'd spend the day riding on quad bikes and hovercraft. I had a great day, by coincidence with a few good friends, and at the end of it we were shown the average-looking game. That I'd wasted a day pratting around on bikes didn't make me want to like the game more – if anything it puts the mediocrity of a game in perspective – and the game went on to be a disastrous flop that few journalists sought to defend because they'd had a nice day going on a quad bike. But that day is definitely deserving of criticism – it had nothing to do with the game, and had no purpose other than to try to entertain us. And the publishers had no reason to want to entertain us other than to have us like their game more. It didn't work, it's damned stupid. But I was a part of it, and you'd be right to criticise it. (Although at least I didn't write about the day for any press – I'm concerned to see today people on some jaunt in Paris where Microsoft pay for a bunch of journos to race cars, who are then writing about it.)
Heck, I've written content for a game! I wrote a bunch of material for the remake of Broken Sword, by Revolution Software. As such I have said that I will never review any of their games again. But when they recently had a Kickstarter for Broken Sword 5, in my role as a writer for RPS I posted about it. I don't think I should have. While I wasn't encouraged to post about that particular Kickstarter because I'd worked with the developers, but rather because it was a news story our readers cared about, it could appear as corrupt. Criticise me for that – call me out. I declared my interests in the posts – that's a good thing to do in such circumstances. But such circumstances probably shouldn't come about.
Similarly, there are a couple of developers whose games I won't review, because I feel I've become too friendly with them. That's an interesting peril of this job – you see someone often enough in a work context, and you might get on with them, want to be friends. It's happened to me twice in 14 years, but it's happened. And for me, that means it's absolutely inappropriate to review their games – but you could criticise me for not having boundaries in place to prevent this.
I want to add here, however, that a mistake an awful lot of people make is the belief that advertising regularly influences editorial. Again, yes, it has in various generally well known cases. But again, that's very unusual. For example, PC Gamer is written each month with the writers mostly not having a clue which ads will appear between the articles, and more significantly, not caring. A part of an editor's job is to keep the idiotic ideas an ad department come up with at bay, and also ensure his/her writers never have to hear about any of it. That's normal. And at RPS, we have absolutely no idea who will be advertising on our site. That's all done by the ad staff at Eurogamer, with whom we partner for advertising content. The only influence we have over advertising is to have them changed or removed when we object to them, either because they objectify men or women, or contravene our rules on intrusiveness. What they're advertising – well generally I don't even notice they've changed since the previous week until around Wednesday, because my brain ignores them. And they certainly don't influence our content – as is regularly demonstrated by our slagging off names currently shouted down the sides of the site. And we, personally, couldn't give a flying fuck if a company's ads people wanted to have a strop because they didn't like what we said about their game. We'd likely never hear about it anyway.
 

I am deeply disturbed that this UK games industry is behaving as if it's above criticism. Everything I've described above is normal, and its normality is such that it just happens without anyone giving it any thought. And most of it isn't corrupt, no matter how it may appear. Most of it is practical and pragmatic, along with a PR with a corporate credit card who quite fancies a nice dinner himself. Everyone experiences biases and influences, in every field, and no one is free from it. Journalists who last, without being called out as shills, tend to do a good job of not letting it affect their writing or opinions. I like to think I have. But then I'm a grumpy old sod, and don't really have trouble distinguishing a comfy hotel room from a game.
In response to the fuss from the morning, and Rab's piece from this afternoon, a lot of incredibly lazy parodying and exaggeration is being used by those who don't want to confront these matters. And that's ridiculous. Crying out that it's a fuss about nothing, or decrying Eurogamer and Robert Florence for having pointed out things people said in public, is cowardly. Inventing straw man arguments that people are suggesting that journalists should always be antagonistic and confrontational to PRs, rather than asking questions about the appopriateness of their relationships with PRs, is far easier. And it ensures that the industry continues to be perceived as corrupt, despite the paucity of actual corruption taking place. Today is an opportunity to ask questions of yourself, and wonder what you do that you could improve. Not a day to rally around each other and pretend those who criticise are just mean bullies.
I really hope today leads to at least a few more journalists considering whether they wish to continue endorsing the GMAs in their current form. But more I hope it has journalists challenge themselves, think where they merit criticism, and attempt to improve. It has for me.

Oh ima i novi Džonov tekst:

An Utter Disgrace

brz je ko munja!!!!!!!!

Quote
by John Walker on Oct.25, 2012, under Rants
  Yesterday, astonishingly, a number of games journalists defended advertising a game on their Twitter feeds in order to win themselves a PS3. This caused a reaction from others, me included, and I was quickly told to shut up and stop interfering by a number of those I had thought were colleagues. Robert Florence wrote an excellent article about this on Eurogamer, in which he quoted a couple of these people, and then pointed out the potential damage such statements could make to someone's reputation.
He pointed out that when someone vociferously defends a journalist's right to advertise a game for personal gain, and also has her Twitter homepage emblazoned in images from the forthcoming Tomb Raider game, it could make others ask questions. Never mind that it's obviously massively stupid and inappropriate for a games journalist to smother an unreleased game all over their personal page – he simply pointed out that in doing so while so enthusiastically arguing that other forms of advertising are fine, people could conflate the two. That would be an entirely reasonable point. You'd think.
However, that point has now been removed, following a complaint from writer Lauren Wainwright, one of the people quoted in Rab's article.
Let me categorically state that Lauren Wainwright certainly doesn't have her Twitter page emblazoned in images from the forthcoming Tomb Raider game for any reason that could be understood to be corrupt. Yes, she vociferously defended a journalist's right to promote a game for personal gain – in supporting the PS3 competition – on that Twitter page, and yes, if you were the sort of person who wanted to get threatened, you might mistakenly conflate the two. However, Wainwright states that she is simply a massive fan of this unreleased game, and with what I believe to be naive enthusiasm, hasn't thought through the negative implications of making her Twitter page look like it's sponsored. It isn't. Even though Wainwright publicly lists Square Enix, publishers of Tomb Raider (screencap for when that inevitably gets edited out), as one of her current employers. However, don't point out that possible confusion.
And what the above proves is not only just how moronic UK libel laws are, where someone can't directly quote a person and then point out possible misinterpretations that could arise from it, but also how deftly our broken system can be used to silence not only discussion, but also criticism.
When a journalist feels they have been misrepresented, even if this so-called misrepresentation has arisen from their having been directly quoted, the response should not be to demand it be removed. The response is to offer to write a response column, or to publish a response in any of the public outlets to which they have access. To do anything else is to be an enemy of journalism, deliberately stifling discussion, and going out of one's way to ensure further discussion is feared.
What will happen now is all manner of places will host the original version of the article, it will be far more widely circulated and discussed, and the reputations of those who have tried to silence criticism could be far more damaged than if they had just ignored it, let alone acknowledged they could do better.
I'm disappointed that Eurogamer edited the article, as I'm quite sure there was nothing defamatory about it – commenting on a person's public statements is absolutely allowable, even if that comment suggests someone's public statements put them in a bad light. I'm also dubious as to whether the angered parties would really have been willing to spend the massive amounts of money it would cost to make it a legal matter. But I'm also certain that Eurogamer knows just how screwed up libel laws are in the UK, and likely followed the advice of their lawyers. However, others are willing to test things in republishing the article. That won't be the only one.
The last two days have been an utter disgrace for UK games journalists and PRs. I'm sick with anger about it. I'm embarrassed by my profession, and I'm once again reminded that even though being outside the cliquey circles can feel like you're doing something wrong, it likely means I and others are doing something right. I implore young writers getting started in this business to avoid getting embroiled in the cosy world of PR-journo group hugs, and I desperately suggest to them that if you ever think you might want to prevent another journalist from publishing their thoughts, that you instantly quit and get a job where you won't be a disgrace to our industry. 

Edit 5: Stju Kempbel je lepo republikovao integralan tekst sa Jurogejmera. Poznat je kao svađalica 

Quote from: Meho Krljic on 23-10-2012, 11:38:50
To će ići malo teže. EA insistiraju da njihove igre sad idu uz Origin (mada Crysis 2 na Steamu sad ide bez Oridžina) a pošto je to forma DRM-a onda po definiciji ne može da se nađe na GoG-u.

Čak i Forbes ima članak o Florensgejtu!!!!!!!!

A Džon Voker je napisao JOŠ jedan tekst

A sad Rab iz svog ugla, kod Vokera na blogu:

http://botherer.org/2012/10/26/guest-post-robert-florence-on-the-last-few-days/

Da, lepo. Mada je bitno istaći da je najkrivlji ovde upravo Tom Bramvel. Mislim, meni je on okej lik i Jurogejmeru se lako prašta često tabloidno ponašanje jer i dalje imaju neke od najinteligentnijih tekstova u mejnstrim igračkim medijima, ali mora da bude kristalno jasno da je Tom najkrivlji za celu situaciju. Robert je napisao kolumnu, Tom ju je prihvatio i objavio - od tog trenutka ona postaje Tomova odgovornost. Kada neko pripreti tužbom - bio u pravu ili ne - jer misli da mu je nanesena šteta klevetanjem, taj neko je takođe u pravu - sud treba da utvrdi šta je po sredi. E u takvom trenutku urednik mora da stoji iza teksta i autora teksta, kao i iza publikacije koja je tekst objavila i da kaže da neće ništa da menja, pa makar izgubio posao - neka sud utvrđuje dalje - to je znak integriteta. Tom je pristao na kompromis, pokazao da Jurogejmer nema mnogo integriteta a pošto nije ponudio ni svoju ostavku, ni njegov lični integritet ovde nije previše porastao. Da se razumemo, ne da ja sad upirem prstom, ko bre želi da izgubi takav posao zbog ovakve gluposti, ali upravo je cela situacija dokaz koliko je Robertov tekst bio ubojito istinit.

Ja već godinama prejzujem Jonatana Soderstroma kao jednog od najintrigantnijih indi autora igara i, pošto je Hotline Miami... neverovatno dobar - kao da uzmete spidbol dok padate kroz prozor nakon što ste posle nelegitimnog seksa umakli ljubomornom mužu sa kojim ste se potukli - čini se da su okolnosti pokazale da sam u pravu. Plus, Soderstrom je i gospodin:

Hotline Miami Aids Pirates Instead Of Murdering Them

Quote
If you can't beat 'em, well... that's not actually a phrase that exists in the world of Hotline Miami. It's either beat (with a colorful assortment of bats, drills, pipes, and katanas) or be beaten black and blue and red and neon pink. There is, as Yoda says – presumably as a result of some LSD-induced hallucination – no try. Hotline Miami's creators, however, are nothing like that. They, perhaps better than much of the rest of the gaming industry, understand the art of compromise. So when pirates started peddling a slightly glitchy version of Hotline Miami in the Internet's seediest alleyways, Jonatan Soderstrom – aka, Cactus – decided to offer them a helping hand.

Soderstrom joined a comment thread for a Pirate Bay torrent of Hotline Miami not to harass those snatching his rather inexpensive game, but to offer them customer support.

"Hey there! I'm Jonatan Soderstrom, me and my friend Dennis Wedin made this game. We're working on an update that hopefully will take care of any/all bugs, and we'll try to do some extra polish in the next few days. Would be great if you could update the torrent when the patch is out! It'd be great if people get to play it without any bugs popping up. Hope everyone will enjoy the game!"
"I want anyone who plays the game to be able to enjoy it without stupid bugs that detract from the experience. Feel free to buy it if you like the game. It would help allowing me and Dennis to make more 'big' projects like this in the future."

On top of that, he offered workarounds for controller support issues and general errors to those who asked for help, and many people commented that they went out and purchased legitimate copies of Hotline Miami as a result. Soderstrom explained his willingness to dive headlong into the lair of "the enemy" in a follow-up tweet. "I don't really want people to pirate Hotline Miami," he admitted, "but I understand if they do. I've been broke the last couple of months. It sucks."
This isn't the first instance of a smaller developer civilly making their case to pirates, either. Most notably, McPixel's Sos Sosowski took a similar approach last month, which ultimately landed him an official weekend-long promotion on Pirate Bay's front page.
And while it remains to be seen whether this type of thing can win creators some extra financial support in the long run (or even in the short run, for that matter), it's amazing just to watch people treating each other like human beings on the Internet. Because pirates aren't soulless blood, sweat, and tear black holes. They're people. And developers aren't need-abstaining vending machine monks. They're human too. If nothing else, I'm happy to live in a world where – slowly but surely, inch-by-agonizing-inch – that's starting to matter again.
(That said, I still think you should buy Hotline Miami. It's available in both Steam and GOG flavors. Also cinnamon-cranapple.)

Ričard Kobet je napisao, uveren sam, dobar članak o usponu, smrti, i vaskrsenju avantura, ali nažalost besplatno se može videti samo uvodni deo:

http://www.continuemag.com/issue-03/adventure/

Izašao Assassins Creed III PS3-DUPLEX

Hihihihi, kako se vremena menjaju: godinama već gejmeri slušaju kako je PC na samrti a sad je već došao trenutak da ozbiljne publikacije poput Wireda objavljuju da su konzole na samrti 

  Consolation Prize: The Game Console Is Dead. What Will Replace It? 

Quote
In November, Nintendo will release Wii U, the first update to the groundbreaking motion-controlled gaming console that took the industry by storm in 2006. Pundits and developers presume Sony and Microsoft will quickly follow suit with their own updated game consoles — also the first in years — though neither have confirmed it.
Assuming all of these new machines arrive as predicted, they'll hit store shelves at nearly the exact moment when the venerable game console, and the business model that sustained it, became obsolete.

In the history of videogames, devices designed primarily to play games have dominated more versatile machines by offering more software and a significantly better gaming experience.
The last generation of devices has been bigger than any previous one. Microsoft, Sony and Nintendo combined have moved over 225 million home game consoles since their launches in 2005 and 2006. That's a stunning success, especially when you consider the consoles were just a Trojan horse for the real business of selling billions of game titles at a wallet-thinning $40 to $60 a pop.
And that's not all. In predictions about the race to own the living room, disrupt cable television and remake the entire entertainment industry, consoles often figure near the top of the list. Microsoft crows repeatedly that its Xbox platform, though not its biggest money maker, is probably its greatest success since Windows 95 and Office.
Nearly seven years have elapsed since Xbox got an update — an eternity in hardware manufacturing. In that time, the $67 billion worldwide game business has shifted radically, forcing far-reaching changes in everything from pricing, game design, distribution, audience expectations and devices.

Anticipating the shifting sands for consoles, Microsoft this week unveiled a slate of new features for Xbox that aim to turn it into a new type of entertainment platform with hooks to mobile devices, cheap gaming apps, video streaming and music — a move that comes even as it is poised to release the latest sequel in its blockbuster Halo franchise. The dual message couldn't more clear: Consoles are bigger than ever, and they need to change immediately, or die.
"Consoles, in terms of the way that they've been operating and failing to evolve, have to change," says Mark Kern, head of the game developer Red 5 Studios. "The console model is hamstrung by the whole box-model mentality, the idea that you pay $60 for a game and you go play."
The most obvious disruptor has been mobile apps, which offer pretty good game play on cellphones and tablets for one-tenth or less the price of console games, and very often for free. Other trends include the explosion of social gaming, also mostly free, and the resurgence of PC games, which are now typically cheaper and more flexible than console games, tapping into new online distribution platforms that make them far more convenient to purchase.
None of the game industry insiders Wired interviewed for this story were ready to call the age of the consoles well and truly over. Cinematic graphics, intense play, stories with the narrative sweep and character development of a well-crafted novel: These will keep the fans coming, most argued, in smaller numbers, perhaps, but just as devotedly as ever. At the same time, all of the companies they work for are well underway with plans for radical overhaul, signaling a clear understanding of what is coming — and more to the point, what has already arrived in the market full force.
The videogame console as we've always known it actually died a few years ago. It keeled over somewhere around the time that Microsoft redesigned the Xbox 360's user interface so you had to tab through "Bing," "Home," "Social" and "Video" before you got to the tab marked "Games." Ever since, the big three makers have been bending over backward to show that their boxes aren't just dumb game players but connected everything-machines that play more Hulu than Halo.
The pressure to evolve even further has become immense now that the quality gap between cheap-or-free games and full-price ones is narrowing. The best iPad games look like middle-of-the-road Xbox 360 games. Your smartphone is quickly getting to the point where its hardware could display good-looking games in 1080p on your television, and it won't be long before your phone and TV can sync up without cables.
The result: Years from now, 225 million devices will almost certainly be seen as the point at which the console business peaked. Gamers are going elsewhere for their fix. The console's time at the top of the heap is drawing to an end, and these machines won't survive without radical change.
"Everybody who is paying attention is seeing the tectonic plates under the game industry shifting pretty dramatically," says David Reid of CCP Games, which is bringing a free-to-play shooter called Dust 514 to Sony's PlayStation 3. "The core model is eroding."
Consoles used to do everything best, but those strengths are now being wiped away. Unlike PC games, which may require finicky custom settings, consoles "just work," fans have long pointed out. Well, so does the iPad. Consoles are cheaper than PCs? Not when you factor in the growing disparity in game prices. Consoles have all the good content? Well, if you want Nintendo- or Sony-exclusive games, you'll need to buy their hardware. But for many gamers, Angry Birds is becoming more attractive than Mario.
The ripple effects, if you can call a giant tsunami a ripple, are already washing over the game industry. These days, makers of high-end console games need to sell more and more copies, at higher and higher prices, because triple-A game development is getting exponentially more expensive. That's creating sticker shock for fans, who are increasingly being asked to pay far more than the standard $60 to absorb crippling development costs. Game publishing giant Ubisoft's plan to squeeze $150 out of its most diehard Assassin's Creed III players on day one is typical: $120 for a "limited edition" game package and $30 for a "season pass" of downloadable extra game content, to be drip-fed over the next year.
Gaming aficionados will pay up, they say, because the bigger games are of higher quality. But only a handful of developers can now afford to play in this rarefied and risky space, and even for these few, the returns will be smaller. The new leaders in the game, insiders predict, will be those who can shift resources into less ambitious, higher-return products, leaving the future of high-end games in serious doubt over the long haul.
"In game design," says Red 5's Kern, "the optimal strategy for any game tends to fall to the player known as the min-maxer. A min-maxer quickly finds the advantageous parts of the game and optimizes by dumping all of their gold, all of their skill points into the things that allow them to win the game. And they put nothing into the other stuff."
"Game companies can't have it both ways. They've got to min-max."

Convergence Comes of Age Electronic Arts' Silicon Valley campus feels like an Ivy League university quad: a cluster of buildings arranged around a grassy field that's mostly used for pickup soccer matches. There's a fully equipped fitness center, a big room full of arcade machines and a Starbucks.
EA built this sprawling compound by selling console game discs. It's now trying to keep it, by transitioning to new types of games.
High up in one of these buildings, EA's chief operating officer Peter Moore walks briskly into a conference room named "Get It Done." The gaming industry veteran, late of Sega and Microsoft, returned this morning from a last-minute trip to Ireland, where EA had just expanded its customer-service center, adding another 300 jobs. In the midst of a painful recession, this was nothing less than front-page news; the prime minister himself showed up to stand on stage beside Moore.
Games "are turning into services that are on 24 hours a day," Moore says, thus necessitating more on-call customer support agents. But he also believes that the transformation of gaming will be more fundamental. Moore made waves earlier this year when he said the vast majority of games will eventually be free: You'll be able to download and engage with at least some part of the game experience for no cost, only paying if you want to add more, keep going.
"It's a fascinating time in our industry," he says. "Electronic Arts becomes a great story if we emerge from the other side of this thing [having] changed who we previously were, which was the biggest distributor in the classic world, a publisher of traditional videogames, to a fast-footed entertainment company. Which is what we're becoming."
When Moore arrived at EA in 2007, he says, the company had 67 games in various stages of development for consoles and high-end PCs. Today, that number is just 14. Forty-one games are in development for social, mobile and free-to-play.
Given the durability of the Xbox 360 and PlayStation 3 as revenue workhorses, it might be easy to miss the stunning speed of this reversal. Just a few years ago, there was no iPhone, no FarmVille and no World of Warcraft. The only real dividing line between gamers was whether you played on console or PC, and console was winning that fight handily.

The mid-2000s were "the dark ages of PC gaming," says Matt Ployhar, a senior product planner at Intel and president of the non-profit PC Gaming Alliance. Developer mindshare, he said, was gravitating toward gaming consoles. The games that were on the shelves were selling small fractions of what the console versions did. Piracy was rampant. There were tons and tons of PCs in homes, hundreds of millions more than there were gaming consoles. But selling games to these consumers seemed impossible.
Perhaps PC gaming had to hit rock bottom before innovators could start again from scratch. Regardless, what happened in the ensuing years was not the end of PC gaming but a glorious rebirth. Half-Life publisher Valve introduced its Steam service, constantly experimenting with prices and user engagement to earn more and more money through digital game sales. Zynga and Facebook illustrated that a game could actually be free and make more money than anything.
And the next thing you knew, PC games were back with a vengeance. Unlike closed-off game consoles, in which everything a publisher does has to be allowed by the hardware maker, PC game design and sales tactics were limited only by developers' imagination. Ployhar estimates that of the approximately 1.4 billion consumer PCs in the world, as many as 600 million are used to play games.
"The stuff we can do on an open platform from a business perspective," says Moore, "from patching every day without having to go through [certification], dealing directly with the consumer without having to deal with our great friends at Sony, Microsoft and Nintendo, makes the PC a very attractive platform."
Now, PCs are eyeing the living room. Valve recently introduced Big Picture mode to Steam, an interface designed for big screens 10 feet away from the couch. Plug your PC into your television — it's easier than ever because they both use HDMI cables now — and you might start asking yourself: Why do I need an Xbox?
Personal computing devices are more than just Wintel boxes, though. Is Microsoft Surface a laptop or a tablet? Is the iPad a personal computer? Research on players is showing that owners of gaming consoles sometimes choose to sit on the couch and play on a tablet, or lie in bed and use an iPhone to game rather than touch the console in front of them.
Leslie Chard, president of Wireless Home Digital Interface LLC, thinks his company's WHDI standard could be a "game-changer" for mobile devices. At this year's CES, WHDI-enabled tablets were shown that could beam 1080p games to a television with no latency. If tablets and televisions integrate such a wireless communication standard, your iPad would become your PlayStation with the push of a button.
"These devices increasingly have the memory, processing and battery power to deliver this functionality," he said in an e-mail. "Connectivity is the final step."

Last of the Dinosaurs Assassin's Creed III, says its creative director Alex Hutchinson, is "not just the biggest game I've ever worked on, but probably the biggest that Ubisoft's ever worked on." Hell, maybe it's the biggest game ever. Hutchinson says development was spread out across five studios flung across every corner of the globe: Montreal, Annecy, Singapore, Bucharest and Shanghai.
"Three years, hundreds of people, far too much money," he says of the game's development.
Speaking to Edge magazine earlier this year, Hutchinson called his game "the last of the dinosaurs." In a follow-up interview with Wired, he said that he didn't mean to imply they were about to die out — just that he's noticed there are increasingly fewer of them.
"I don't think that the big monster games in this space are going anywhere," he said, "but I think there are less of them than there was, or less people trying to make them."
Even as game consoles have become more powerful, creating high-end games for them has become a far more difficult and complex and expensive undertaking. Fewer publishers have the resources to do it, and the ones who do have narrowed their slate of releases down. While the best console games are selling more than ever before, the middle is dropping out. Gaming industry executives and analysts all agree that you can't charge $60 for a second-choice B game anymore, the way that you used to, because gamers have more options — and some of those options don't cost them a thing.
Mark Kern, who led the development of the massively multiplayer game World of Warcraft, now leads Red 5 Studios and is hard at work on its first game FireFall, a PC first-person shooter aimed at getting hardcore gamers to embrace free. It's a gorgeous game on graphical par with the best console shooters, but doesn't cost a thing to play. To make money, Red 5 says it will sell in-game items that offer "convenience, time savers, utility and cosmetics" — but never super-powered weapons that let players "pay to win." Free players will be on an even playing field.
"Change is inevitable," says Kern. "Hardcore gamers will find games with these models that they find to be exceptional, and become converts."

It's the great paradox of the iTunes App Store: The games that make the most money today are free. If you can get as many players as possible to download your game, then get some small percentage of them to spend money on extra transactions once they're hooked, you can make more money than selling the whole game.
Of the three console makers, it's Sony that seems most interested in testing free-to-play for the hardcore. Later this year, CCP Games will release Dust 514, a free, microtransaction-based shooter set in the world of the popular MMO Eve Online, exclusively on PlayStation 3.
"There is a hill that somebody needs to put a flag on," says CCP's David Reid, "and we like the position of being there first, knowing that free-to-play is coming to consoles."
Electronic Arts also recently found itself shifting into free-to-play when it didn't expect to. Seven months after it launched its new MMO Star Wars: The Old Republic with a standard $15-per-month subscription model, it was lagging so much that it had to introduce a free option with in-game transactions making up the difference.
"The world moved very quickly around us, and we had to react," says Moore.
Even as players gravitate to other ways of playing games, the industry consensus seems to be that consoles can shed players and still survive.
"At some level, every hobby has its aficionados," says CCP's Reid. "You could play golf with ratty clubs and walk around the field yourself, or you could get the best clubs and plate your golf cart with platinum." Electronic Arts founder Trip Hawkins echoed this sentiment in a recent interview, saying consoles would become a "hobby market."
But in saying that game consoles will become the domain of a selective group of enthusiasts, Reid and Hawkins might be writing consoles' obituary. Call of Duty can't put up the massive numbers it needs to with a small base of hobbyists. Nintendo, Sony and Microsoft need to continue to produce game hardware that is desired by a mass market — and they won't be able to do that by digging in their heels on old models.
If Kern were to design a game console, he says he'd forget about adding fancy new hardware and concentrate on embracing a radical new business model.
"I'd figure out, how do we get gamers playing any games they would like to play, at free or close to free," he says. "When I can try someone else's games for a buck, why should I pay 60 bucks to try your game — especially if I hear that it's more of the same?"

Studio koji je radio Witchera traži mlade i perspektivne ljude koji bi da rade za njihovu firmu na novim projektima!!! Sa desne strane imate spisak otvorenih radnih mesta, pa ko misli da zna znanje i ima muda, neka aplicira!!!

Saga o Florensovom članku se bliži kraju, Tom Bramwell je na Eurogameru napisao aftermath tekst:

http://www.eurogamer.net/articles/2012-10-30-editors-blog-lost-humanity-18-aftermath

Da, Tap Repeatdely je, kao jedan od retkih američkih sajtova koji su ovo uopšte pomenuli, danas objavio dva teksta na temu:

Luisov koji je ogorčen i poziva na revoluciju

I od onog drugog, brkatog autora koji je u anticipaciji Bramvelovog posipanja pepelom pokušao da ukaže kako je Bramvel lično najkrivlji za celu situaciju ali i kako igračka kultura generalno zapravo ne drži do integriteta i da ovo nije incident nego potvrda stanja stvari.

Inače, juče sam kupovao neke igre u Virtual Masteru i video da je Assassin's Creed III stigao u Serbijicu. U to ime, evo boginje Keze MakDonald u svom prikazu

Edit: Ah, da, stigo je i Vita Assassin's Creed taj-in.

Quote from: Father Jape on 30-10-2012, 20:39:08
Saga o Florensovom članku se bliži kraju, Tom Bramwell je na Eurogameru napisao aftermath tekst:

http://www.eurogamer.net/articles/2012-10-30-editors-blog-lost-humanity-18-aftermath

RPS se zvanično oglasio kroz tastaturu Džona Vokera, naravno:

http://www.rockpapershotgun.com/2012/10/30/rpss-position-on-the-eurogamerflorence-debacle/

A VG247 ima nova pravila kojima se pokušava očuvati integritet:

http://www.vg247.com/2012/10/31/doritosgate-after-the-storm-lets-clean-ourselves-up/

Trejler za nastavak Amnesie:

Amnesia: A Machine for Pigs Halloween Trailer [HD]

Setimo se i da ovu igru pravi autor Dear Esther. Biće dobro.

Tomb raider serijal na 75 % popusta na steamu. Kao i Counter Strike Global Offensive.

Na Steamu se pojavio i Pid, puzzle platformer koji je bio jedan od najanticipiranijih indie naslova ove godine. Deset evara, ja ga upravo instaliram, pa će da vidimo.

Intervju sa Krisom Robertsom a u povodu Star Sitizena:

http://www.ign.com/articles/2012/11/02/star-citizen-the-ign-interview

Edit: Divan čovek, veli da mu Ančartidi i Mes Efekti ne donose bogznakakvo zadovoljstvo jer u njima nema skoro nikakvog izazova za igrača, niti posledica ako pogine, dok prejzuje Dimon's Souls!!!!!!!!! Old skul bat nod old ful!!!!!!!!!1

A The Longest Journey će se nastaviti. Siguran sam da će Harvester spontano orgazmirati!!!!!!!1

Opširan intervju sa Ninja Theory a vezan za DmC, to jest ribut Devil May Cry franšize koju je Capcom prvi put u istoriji stavio u ruke zapadnog studija. Tameem Antoniades priča interesantnu priču kako je Capcom apsolutno insistirao da NT ne pokušava da napravi "japansku" već "zapadnu" igru, te kako se došlo do odluka o Danteovom izgledu i dubljem ulasku u njegovu karakterizaciju.

Naravno, koliko god da poštujem ideje koje Antoniades izriče i koliko zapravo ja ŽELEO da ova igra bude dobra, teško mi je da ne pomislim da neko ovde nije shvatio ZAŠTO je Devil May Cry zapravo bio cool igra. Danteova frivolnost je bila glavna njegova karakteristika, a DMC3 nam je majstorski u završnim scenama dao priliku da na kratko zavirimo ispod ubercool, ubermacho fasade glavnog lika i to je bilo dovoljno. Sva ova eksplikacija mi se čini kao nepotrebno pojašnjenje i banalizacija apsurdističke harizme protagoniste. Takođe, osavremenjavanje okruženja mi se čini kao promašaj u smislu da su gotski ambijenti i neodređeno kasnosrednjevekovni/ renesansni preliv u igrama koje su se događale u savremenom trenutku uvek bili neraskidiv deo DMC identiteta (čak ih je Hideki Kamiya ponovo iskoristio za Bayonettu). No, hajde... videćemo za koji mesec.

Quote from: Meho Krljic on 02-11-2012, 11:02:59
A The Longest Journey će se nastaviti. Siguran sam da će Harvester spontano orgazmirati!!!!!!!1

Нажалост, не могу рећи да сам претјерано одушевљен. Дреамфалл је био игра са најмање играња у историји свемира, а вјерујем да ће тај тренд смањивања гејмплеја на рачун катсцена и сад да наставе (тј. заправо једини начин да га наставе је да сниме ФИЛМ). А и проклето епизодисање је ту... 

Ništa onda od orgazma 

Ovaj novi Puppeteer trejler izgleda vrlo sočno, Sonyju bi bilo bolje da požuri, neće Little Big Planet da potraje vječno!

Puppeteer™ Halloween Trailer

Quote from: Meho Krljic on 02-11-2012, 14:06:07
Ništa onda od orgazma 

Мораћемо да пробамо друге методе 

Evo, ko želi da podrži druga Džima Rozinjola, njegova igra Sir, You are being haunted je otpočela Kikstarter kampanju i već je skoro dostigla projektovanu sumu. Igra je, inače neka vrsta survajvl horora u kome robotizovana britanska aristokratija lovi ljude na proceduralno generisanom britanskom ostrvlju.

David Braben takođe koristi novotvoreni britanski ogranak Kikstaretra, pa traži dva milijuna dolara da napravi nastavak Elite 

http://www.kickstarter.com/projects/1461411552/elite-dangerous

иако сам заљубљен у елите, гајим озбиљну дозу сумње око овог пројекта...мени је већ фронтиер био...хм...превише

Ja nisam uložio novac. Ako igra bude valjala, lako će se kupiti kad izađe.