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

Dakle.. Wii U nije bio u prodaji ni 48 sati a neko je već (i to slučajno) uspeo da upadne u debug verziju Miiversea:

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I found out I could access the debug menu on Miiverse by hitting the "X" button on the gamepad while hovering over the exit button. I found an admin access list or something to that effect. I couldn't really do anything from there though. I could view different messages from a developer though. One mentioned that there would be big games coming out(announced?) on the 10th of December. A different said "POKEMON" and "SUICIDE". Sorry, bro.I went to another link that lead me to some test messages. I thought they were real when I found them, because they were posted 20 minutes ago from the time I accessed them. I could flag them for prohibited content, spoilers, and something else that I forget.Then I went to a different link on the debug menu and it showed three different Miiverse subforums I could access that would be coming out on December 20th. I clicked on the "games for teens, kids and blahblah" (forgot the other two, I think family games was one of them?) and it lead to some sort of dispute between Timelord celebrities Tom Cruise and Brad Pitt. There were even more subforums for games specifically, including Yoshi's Island Wii U and Soul Hackers, and less specific ones like "Metal Gear Solid" and "Resident Evils". By the time I stopped posting on gaf to check for more it was fixed, and someone pointed out that Nintendo put up a tweet about a miiverse fix. I don't know if I really could flag posts to be deleted or whatever, but I know I could not make myself an admin or delete admins. At least when I pressed the buttons nothing happened.

Inače, noćas dok sam spavao, telefon mi je primio poruku da sam kraći za 30 dolara    Dakle, crowdfunding kampanja na Kikstarteru igre Star Citizen Chrisa Robertsa i njegove firme stigla je do kraja i, oh, računajući i donacije putem Roberts Space Industries sajta, ovo je sada najbolje finansirana crowdsourcing igra u istoriji: 6,224,123 dolara! Što je skoro upola više od Obsidianovog Project Eternity. Nadam se da ću biti živ s jeseni 2014. godine da isprobam igru. 

Gah... mrzi me da objašnjavam, ali u osnovi, Double Fine traže od igrača da glasaju za prototipe igara koje će oni onda (one najglasanije) i praviti i bla bla bla, uz malu donaciju (od koje deo ide u dobrotvorne svrhe) dobijate da igrate igru dok je još u test fazi itd. itd.

Jevote, šta radi ovaj Activision... Dakle, Nuketown je bila mapa za multiplejer Call of Duty Black Ops II kojom su mamili narod da priorderuje igru. A onda su je povukli iz rotacije posle vikenda. Posle vriska na Internetu, mapa je vraćena u neke modove... Mislim, stvarno ne razumem da tako bahato ismevaš ljude koji su ti pare dali unapred. 

Nego, igra Waking Mars deluje interesantno jer je u pitanju, hm... botanički simulator ugrađen u tkivo (akcione) avanture? Sumnjičav sam prema iOS portovima ali dosadašnji PC rivjui dosta hrabrosti ulivaju. Videćemo koja je cena....

Da ti posaljem da probas? Bila je u poslednjem HBu.

Gosh!!!!!!! Pa možda je onda i imam    Proverićemo. Hvala na ponudi, naravno ali za sada ne preduzimaj nikakve akcije.

U međuvremenu: čovek sa Turetovim Sindromom pravi rougelike igru koja je metafora za TS. Može li bolje? Možda kad bi neprijatelji bili džinovski nosevi? OOoooh, pa ima i to!!!!

Tim Schafer na RPS-u!!!!!!!!

Engri Džou i Total Biskvit igraju XCOM jedan protiv drugog. Zabava!!!

Angry Angry Aliens XCOM - AngryJoe vs. TotalBiscuit - Round 2

Gde je sada cutter da usklikne s ljubavlju? Mirror's Edge 2 se pravi!

Lepo.




Igrao "Call of Duty: Black Ops 2" bez prestanka skoro 136 sati i oborio svjetski rekord!

Pa... ako želite da Piteru Molinjuu date pare da napravi igru koja će nastaviti tamo gde je Populous stao pre dve decenije... sad možete:

http://www.kickstarter.com/projects/22cans/project-godus?ref=recently_launched

Nije da me ne privlači ideja ali da vidimo. Vidim da narod na Jurogejmeru negoduje što čovek-sa-mnogo-para traži pare od naroda da napravi igru, ali meni je to razumno, zašto bi bacao svoj novac na nešto što bi koštalo više da se publikuje na klasičan način a ne zna da li postoji interesovanje...

U međuvremenu, čak se i Vaclav Klaus javio da vidi đe je ba zapelo u vezi ona dva Čeha iz Bohimia Interektiv koje Grci još drže zatočene zbog sumnji na špijunažu.

Ne znam, meni ništa što je Lajonhed napravio nije naročito drago, za razliku od Piterove Bulfrog ere. Dakle čekam sijajuće recenzije pre nego što se zainteresujem za ovaj Godus.

Mudro zboriš. Uopšte, treba videti kako će ispasti ovaj prvi beč velikih KS projekata koje prave viđeni ljudi - Dabl Fajn Avantura, Wasteland 2, Project Eternity, Star Citizen... Da vidimo da li su istinu zborili kad su se žalii da producenti ništa ne rade, samo smetaju a puno koštaju i da bi igre bez njih ljepše ispadale...

Odličan Gaming Made Me na RPSu, Patriša Hernandez o Folautu 2:

http://www.rockpapershotgun.com/2012/11/23/gaming-made-me-fallout-2

What they DON'T tell you about being a game developer 

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  So I'm in an interesting position. Malevolence, while not my first game by a long shot, is my first RELEASED game, and I've been lucky enough to have it gather a lot of attention (for an indie title) early on in its creation. From what people tell me, this does not normally happen. Normally, a developer will hit on gold after they've tested the waters with a few titles first, or had a hand in other game development, such as working for a AAA company.
Because of this unique perspective of having a relatively successful title (despite not yet being released) on my first ever attempt, I haven't yet developed the pessimism that often comes with being an experienced indie game developer. This has led me to want to write this new thought piece, which goes into all of the things that they DON'T tell you about being a game developer. If you want the short and sweet version, feel free to skip to the end.
STAGE 1 – DELUSIONS
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Going through university I had the same delusions as most people that I would get my qualifications, build a folio and get a job at a AAA game company. Shortly thereafter, fame and riches would ensue and I would live happily ever after, making games that I love, and having everything right with the world.
I finished university to find that all of my hard work would get me on a "consideration" list for a baseline, entry level QA job which would mostly consist of me being locked in a cubicle for 70+ hours a week doing some of the most repetitve, soul destroying work known to man.
  A good example of what it is to be a tester, provided by Penny Arcade. Sure, that would give me a foot in the door to have my true skills recognised later on, however, most game companies go through and trash their QA teams at the end of every project after smothering them in NDAs which make their soul now below to the company. So that's a minefield in itself.
If, and I really mean IF, I was to be plucked from QA and given a position within the company, one of two scenarios would have happened:
EDIT: Since this seems to be causing some controversy, let me clarify that my thoughts listed below are not my opinion of ALL games companies. I am simply listing things that tend to commonly happen based on the experiences of the many developers I have spoken to, and these thoughts in no way represent what the industry is like as a whole.
Programmer Position – I would be sat down and made to do scripting work for 70+ hours a week on someone else's proprietary engine, since using third party products "speeds development" and I would learn that there is such a thing as an "acceptible sacrifice of quality for speed" which would slowly destroy my integrity as a programmer. My passion for creating new features would slowly be vampirically sucked away, and anything I made in my spare time would be contractually owned by my employer which would sap my enthusiasm for innovation even further.
Artist Position – I might be lucky enough to get assigned work that interests me. I might be having a great time designing and modelling sci-fi assets for an amazing new shoot-em-up and enjoy watching them come to life within the engine. But one day the producer (who is computer illiterate and whose only gaming experience is with Bejewelled) would pop by and say "You know, my 10 year old niece is really into ponies right now. Change the game to be about ponies". Because he is the money behind the masterpiece, I would now be forced to abandon all of my work and create ponies and handbags all day every day. Also, everything I make outside of work would be contractually owned by my employer, limiting my folio and preventing me from moving to another company.
STAGE 2 – DETERMINATION
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So, having this realisation, I then turned my attention to the indie game dev scene, which was far more attractive as I was beholden to no-one, I could work on what I wanted and do it in any way that I pleased (so I thought) but there were certain demons there which no-one told me about, either.
I got myself a day job to take care of living expenses and turned my spare time towards my magnum opus... Malevolence: The Sword of Ahkranox – the game of my dreams that was everything that I wanted to see in a game. I was out to show the world what a game COULD be. New technologies, new gameplay mechanics and a dash of old-school to reel in the retro crowd. It was going to be amazing and the world would be changed forever.
I was young. I was naive. And no-one had warned me what was coming.
First off, I had been playing around with a new method of procedural generation to create infinite worlds, and my favourite gaming genre was always RPGs, so I figured "why not make an infinite procedural RPG?" it seemed a good idea at the time, so I started work on it and found that it worked. I started a blog about it, more for myself than anything. Things were going fairly well.
STAGE 3 – REVELATIONS
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It was at this point that I started meeting a couple of other game devs. Before this point I didn't really know any, and one with quite a long resume happened to start work at my day job. We got to talking and he introduced me to more people. They all seemed quite interested in my project and thought it was great that I was trying new things. This reaction gave me the motivation to make my development process a bit more public, so I started promoting Malevolence a bit more and getting more of a team together to work on the game's shine.
Much to my amazement, it got quite a lot of attention (for an indie game being made by a nobody in the industry) and that made me happy, so I kept at the PR. But with positive attention comes negative attention, and it was then that I learned two important things:

   
• People, when given the anonymity and audience of the internet, can be truly horrible.
• You can read 1000 praising comments, but if just one of them is bad, it will ruin your whole day.

The fact that I was trying to do something new with my game was evidently a horrible crime to many people and I would get utterly horrible comments ranging from put-downs to persanal abuse that would get them arrested if said in person... Even one or two death threats. It's a sad fact of life that people who are too scared to follow their own dreams will often try to talk you out of following yours. It's easy for people to say "just ignore those comments" but that's simply not possible.
Some people who disagreed with the game's concept gave thorough and well-written justifications for their feelings, which was good to see, but they were few and far between.
I had decided early on to keep an open-doors development policy and be extremely communicative with the public. I even developed somewhat of a reputation for answering every question asked of me. Many people loved this, others took it as justification to send more abuse, because they knew someone was listening.
At first, I thought it was because of my new ideas and concepts that I was touting, but after meeting with other game developers I found out that it's just what the gamer community is like. Full of angry, hateful, rude, abnoxious people who feel entitled to say anything they want to the developers who are making games for them. That's not to say that they're all like that. Far from it! Many, many people have been very supportive, communicative and encouraging throughout the entire process, and you have to really cling to people like that because, as a developer friend of mine once said "Those people hating on your game will always complain loudly. That's just what they do. The fact is, though, that they'll probably still buy your game." and that's what you need to focus on. It doesn't matter if other people like your game. What matters is whether YOU like your game. If you love it, other people are bound to as well. Just look at how much hate has been poured upon Minecraft over the years, but Mojang have sold millions and millions of copies regardless, and you can tell that they're super proud of their creation!
Being proud of what you've made is very important. Whenever something happens around your game that makes you feel proud, then you've gotta grab a hold of it and not let it go. I've had John Passfield sit me down and tell me that he believes that Malevolence has the makings of an epic game, I've been called a "visionary" by members of the Guild Wars 2 team, I've been recommended by RockPaperShotgun as a project to watch... These things make me glow with pride, whether I believe them or not, and whenever I'm getting slammed by ignorant haters, I remember these things to help get me through it, and that's something you've just got to do to survive psychologically.
STAGE 4 – HINDSIGHT
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So, looking back, I've realised there are a lot of things that people just don't tell you about being an independant game developer:

   
• A large, loud portion of the public will openly hate you regardless of what you do. Learn to live with it.
• No-one will ever take your project as seriously as you, or fully realise what you're going through.
• Everyone will think they know better than you about your own project.
• Getting noticed at all is incredibly difficult .
• The odds of you making money out of it are slim.
• If you want to succeed, you'll likely have to sell out. Just how MUCH you sell out is up to you.
• You have to develop a VERY thick skin.
• Being open with the public isn't neccesarily smiled upon 100% of the time.
• You will meet many "game developers" but very few people who are actually developing games.
• You need to have the ability to listen to all advice given to you. Remember that listening to advice doesn't mean you have to take it. But listening can't hurt and you never know what you might learn.

I've also learned lots of things to never do again which may help upcoming developers:

   
• Don't make an RPG as your first released game, nor any other kind of large-scale project. Start simple. Learn the lessons. Once you're experienced, THEN you can work on something big.
• Never announce your release date until you are 150% sure of it.
• Never let yourself get so enveloped in your project that other parts of your life suffer.
• Never engage the haters.
• Get a test team and follow strict testing practices.
• Have a thorough plan before you start working too hard on it, and then stick to that plan come hell or high water.
• Think carefully about having a public development process. Depending on the target audience and the project itself, it may be better to develop it silently and only open things up to the public when you're nearing completion.
• Never let anyone cause you to stop being proud of your work. The moment you aren't proud of it anymore, the moment people will stop respecting you for it. If you make the game, and no money comes of it, at least you'll have work that you're proud of.

Some of them are hard lessons to learn, but learn them well before you venture into the murky waters of independant game development. Consider yourself forewarned! Obviously, other people will have other bits of advice, or revelations of their own, so I'd love to hear them, too! Share them in the comments!   

The Gameplay Is The Gameplay. Always. 

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  Editor's note: Tadhg Kelly is a game designer with 20 years experience. He is the creator of leading blog What Games Are, and consults for many companies on game design and development. You can follow him on Twitter here.
Most of the talk around games tends to focus on climate. It's about finding the right customers, funding, platform, business model, partnerships, metric and discovery solutions, technology, route to market and so on. How we play the Game of Games, as it were.
In this context, we often think of the product as something that needs to fit into a mold. We think of them as television executives think of shows: They need to fill certain slots, address certain markets, encourage specific behaviours, and so on. To borrow a TV term, we think of them in terms of format first and content second.
By format I mean that the game has to conform to some conventions. Perhaps it needs to be free-to-play and support dual currencies because that works in many other games. Perhaps a session needs to be playable in two minutes because research has shown that many mobile games work better when they can be played in this way. Perhaps it needs to be filled with friendly graphics because the target market of yummy mummies (has that phrase gone stateside yet?) is generally believed to find realism, violence, and gore turnoffs.
There are two sides to this format argument. The nays say that these kinds of restriction prevent innovation and creativity. In part this might explain why indie game developers have mostly not engaged with new platforms like the iPad and Facebook, preferring the more awkward but liberal canvas of the PC. The yays, on the other hand, say that innovation and creativity are important, but at the end of the day games is a business. And metrics show that the market behaves in semi-predictable patterns, so the job of game development is to match those patterns.
Of course, the truth lies somewhere in the middle. If you reject format thinking entirely, you may make something fantastically creative (such as Proteus) but which may not be viable in the long term. On the other hand if format is entirely your master then you'll become trapped in that commoditised space where your games look and act the same as everyone else's (such as the bulk of casual, social, and casino games). Then scale will be your master.
What's interesting is that those from both sides of the aisle will almost always say that the first rule of making games is to make sure that the game is fun. Without a fun game there's no rule two. What neither side will do, however, is elaborate on that statement.
This is because "fun" is traditionally thought to be difficult to define. It is a very general term that can mean enjoyment, excitement, delight, learning, amusement, adventure, the thrill of the new, the mastery of things or just simply laughter. It is also easily co-opted, such as when studios "prove" that the energy mechanic in their game is "fun" because it drives a lot of repeat visits (which is a bit like saying that because people watch television shows with breaks, this must mean they love commercials).
Some game designers have attempted to square this circle by sub-dividing fun. Nicole Lazarro developed a popular model which separates fun into four "keys" (hard, soft, people and serious fun) as a way of explaining different ways to approach game design. Others (such as one by Hunicke, LeBlanc and Zubek) break fun down into eight or more types, such as fantasy, discovery, expression, etc.
The problem with such systems is that they become justification tools. If fun is breakable into various sub-types, then it follows that you could mix-and-match those types with equal success. This is just not true. Games that do this often show large drops in users, generate reviews where players will say the story was enjoyable, but the game wasn't fun, and so on. Successful game design always eventually comes back to realising that one of the kinds of fun is more important than the others. In Lazarro's system it would be "hard fun." In Hunicke, LeBlanc and Zubek's, it would be "challenge." The others are joys which emerge when the fun factor is sound.
So, fun is: the joy of winning while mastering fair game dynamics. And if we accept that the first rule is that a game must be fun, then it's a hard limit. For many innovative game developers who want to push boundaries, this is very difficult to admit or accept. Nonetheless, it's a universal law (a "creative constant"), which applies to all games. Whether you are in social, casino, gamification, casual, console or indie the gameplay is the gameplay, and it's always driven by fun. It has been so ever since the first sports and Senet (the oldest known board game) were invented.
But the good news is that understanding that fun is a constant frees us up from thinking that format is, too. In fact the rules of format change all the time. We are all very busy trying to understand what shape the games business will have in any given year, what devices people will play on, and where the money can be made. Many games conferences are filled with talks and panels that are all about market opportunities, distribution and all those other climatological concerns. And yet none of that matters as much as it appears to.
Format wisdom has a short shelf life and is often over-interpreted. The recent success of Supercell is one example. Right now that studio is in the same blessed space that Rovio occupied a couple of years ago, where analysts are whirring around them trying to decode the magic of their success. Many other studios are picking Clash of Clans apart as we speak and trying to figure out the magic of its business model or distribution. There will be some  valuable insights derived from so doing, but in the main it's just a fixed data point in a dynamic system. Clash of Clans is fun, and its release is well timed. Its success is not likely to be any more mystical to understand than that.
Just because players wilfully engaged in a format one year does not mean that pattern will repeat for all time (as Zynga has discovered to its cost). Just because it seems as though they will buy Christmas trees in games does not mean that every game needs them. As with interpreting the movements of the real-world climate, the pro-format types are over inclined to over-interpret the significance of runes and draw too-narrow conclusions. This inevitably leads them to making clones of successful games and be unable to think creatively.
Those indies who understand that fun is more important than format invent successful new games every year. Those iPad developers who are willing to experiment with format to create fun are the ones who catch Apple's attention and become successful. The guy who invented Minecraft (Markus "Notch" Persson) didn't just create a giant virtual world in which you could make stuff, he made it challenging. When Will Wright created the Sims, he didn't just make a game about living in a virtual house. He made it difficult to live successfully. That's why both of those franchises have sold millions of copies.
The fun factor is about more than making a game is amusing or full of pretty rewards. If your game is a dynamic system to be mastered and won, then you can go nuts. If you can give the player real fun then you can afford to break some of those format rules, and that's how you get to lead rather than follow the market. If not then be prepared to pay through the nose to acquire and retain players. Your format strategy won't matter as your game will lose users regardless of what you do.
And the climate is only going to get hotter.
   

Oooooh, Dennaton su, pripremajući DLC za Hotline Miami napravili toliko materijala, da će se u stvari to transformisati u čitavu novu igru, Hotline Miami 2. Naravno, sad valja malo biti i skeptičan ako će SVE da bude isto, samo sa novim kućama...

A ako želite da potpišete peticiju za portovanje GTA V na PC, možete ovde.

Nintendo je prodao 400,000 komada Wii U konzole za nedelju dana u Americi. Plus još 300,000 komada Wiijeva (uskoro će lansirati i mini verziju Wiija). Ne zvuči rđavo, ali originalni Wii je prodao 600,000 komada u svojoj prvoj nedelji, pa ćemo da vidimo.

Eurogamer je objavio novi prikaz The Old Republic, ovog puta u njegovoj free to play varijanti i... ne može se reći da to pršti od entuzijazma. BioWare kao da nisu baš najbolje promislili kako se valja umiliti igračima koji nisu platili.

Quote from: Meho Krljic on 27-11-2012, 12:47:24
Eurogamer je objavio novi prikaz The Old Republic, ovog puta u njegovoj free to play varijanti i... ne može se reći da to pršti od entuzijazma. BioWare kao da nisu baš najbolje promislili kako se valja umiliti igračima koji nisu platili.

Ljudi se žale da je odnos f2p igrača i pretplatnika na veoma lošem nivou. Neki vele da još nisu doživljeli toliki hejt od strane pretplatnika prema f2p. Ja sam igru igrao na f2p levelu, mogu reći da je čisto sranje, odmah sam se vratio na pretplatu. Mislim, dobijaš više ekspiriensa, neograničen broj medical droida koji te leče na licu mesta, fleet pass, možeš koristiti dobre iteme, itd, itd....f2p je totalno bezze.

A inače, ovim delom rečenice čovek pogađa u sred srede:

Quotemost of its best content would have been much more enjoyable done as a single-player game.

Jednom će neko napisati analizu i pokazati da bi KOTOR 3 koštao manje a zaradio više od ove igre koja je uspela da podseti na KOTOR ali ne i da uhvati njegovu magiju, a sa druge strane nije uspela da se ozbiljno uhvati u koštac sa konkurencijom (WoW, GW itd.) a koštala je užasno mnogo.

E, sad, da samo možemo da vratimo vreme unazad 

Ali, seriously, Electronic Arts nemaju naročito dobru istoriju kad je u pitanju pružanje usluga, počev od onlajn Simsa, preko gomile pucačkih i vozačkih igara - svima su serveri pogašeni posle par godina i nije data mogućnost igračima da kroz nekakav peč dobiju opciju za svoje servere. Pa onda autolog u Need for Speed i Burnout koji je sjajan kao ideja ali ne vidim da je zapalio svijet, pa prilično šantavo rukovanje Originom... Ko bi onda i očekivao da će EA uspešno hendlovati jedan zasta ozbiljan MMO? Životna je činjenica da su oni pre svega kontent provajder i da njihov prelazak u sferu davanja usluga traje dugo i bolno jer su velika, spora, na promenu rezistentna korporacija.

Quote from: Meho Krljic on 23-11-2012, 13:00:56
Pa... ako želite da Piteru Molinjuu date pare da napravi igru koja će nastaviti tamo gde je Populous stao pre dve decenije... sad možete:

http://www.kickstarter.com/projects/22cans/project-godus?ref=recently_launched

Nije da me ne privlači ideja ali da vidimo. Vidim da narod na Jurogejmeru negoduje što čovek-sa-mnogo-para traži pare od naroda da napravi igru, ali meni je to razumno, zašto bi bacao svoj novac na nešto što bi koštalo više da se publikuje na klasičan način a ne zna da li postoji interesovanje...

Ja naravno Molinjuu nisam dao pare. Ali jesam Simonu Rothu za njegovu igru Maia koja deluje kao sjajna ideja: god game ali na tuđinskoj planeti gde ljudi pokušavaju da održe koloniju uprkos agresivnim tuđinima. Kikstarer je već uspeo, ali možete dodati još para da se dostignu neki slatki streč golovi. Ja sam dao pare jer mi je ovo inspirisalo fantazije o tome kako bi izgledao prikvel za Aliens a koji ne bi bio Alien 

Jel to neki rimejk Utopije?

Nije, originalna je igra. SKokni do kikstarter stranice (link u prethodnom postu) pa baci pogled.

Ja se više i ne sećam jesmo li pominjali Syberia 3. Sigurno nismo:

Syberia 3 officially announced 
Beona Sokal će je pisati itd. itd.

Hm. Ja nisam, ako se dobro sećam, bio ubeđen da je ni dvojku trebalo praviti. Ali hajde da mu damo beneficiju poverenja.

Mnogi vele da je Sajbirija 2 bila nepotreban nastavak koji je ukaljao čistotu originala.

Ja sam zapanjen da je serijal uopšte i započet. Ipak su početkom ovog veka visokoprofilne P&C avanture već bile razumno zastareo koncept.

Pa, Utopija je u osnovi Sim City, sa vanzemaljcima koji kvare poso i teraju te da praviš odbrambeni sistem, a bilo je i malo taktičkog prepucavanja. U ono vreme, glavna novina je bila 3d izometrija. A Populos je bio hit jer je to bila jedna od prvih real time strategija i dosta duhovito odrađena. Drugi nastavak je bio zanimljiv s mnogo, možda i previše novina.

Mislim da je ponavljanje istog samo zbog toga da bi se iskoristile nove tehničke mogućnosti najviše pola uspeha, najčešće ni toliko. Ja ne bih mogao ponovo da igram Populos pa da je ne znam šta. Jednostavno sam se zasitio toga. A da li će nove generacije da se prime na takvu igru, veliko je pitanje.

Probao sam da igram Mass Efect, i odmah sam ukapirao da je to prosto interaktivni roman, s animiranim delovima. To je nešto sasvim drugo, a mnogi se pale baš na to.

Ako je Maia u osnovi Sim City, verovatno bih je igrao. Ali, ako je kao MS, onda baš i ne bih.

Sad kad malo gledam ovo o Maia, izgleda mi da je to više nešto kao Starcraft?

Koliko shvatam, bliže je Sim Cityju nego Starcraftu, ali ima elemenata. Ali u osnovi je god game, kako ovaj kaže, dakle ja je vidim kao bližu Populousu sa možda elementima Civilizationa. Videćemo kad izađe, ipak to pravi jedan čovek. U svakom slučaju nema veze sa Mass Effect i dopada mi se kako si ga okarakterisao kao "interaktivni roman, s animiranim delovima". Precizno i tačno.

Kazete to kao je nesto lose -.-

I znam da sam smorio sa kikstarterima, ali evo: LA Game Space treba da bude nakakvo kreativno okruženje u Los Anđelesu gde će autori igara moći da slobodno dišu, vole, misle, debatuju, pričaju, rade, nešto kao TED, ali za igre. Sad traže neki keš da se to organizuje ali zauzvrat se dobijaju igre od strane renomiranih autora, uključujući Keitu Takahašija. Trideset igara za petnaest dolara, od strane nekih renomiranih indie autora, kažete vi, pa gde da kliknem, Mehmete?

Ovde, braćo pravoslavna

Quote from: Melkor on 27-11-2012, 14:57:35
Kazete to kao je nesto lose -.-

Lošost je u oku posmatrača. Kufer je napisao "Probao sam da igram Mass Efect, i odmah sam ukapirao da je to prosto interaktivni roman, s animiranim delovima. To je nešto sasvim drugo, a mnogi se pale baš na to. " Dakle, nije sugerisao da je loše nego nešto drugo i dodao da se mnogi pale baš na to, dakle, nije sugeriso da je negativno. Ja sam samo pohvalio njegovu preciznu analizu!

Moj doživljaj kompjuterskih igara je ipak s kraja osamdesetih i početka devedesetih. Meni je tada bio fenomenalan isto Bulfrogov Powermonger. To je bila jedna od prvih 3d real time strategija. Kad se jednom zasitiš te igre, onda sve nove u tom fazonu igraš zbog bolje grafike, ali igrivost se dovodi u pitanje, jer je i ta originalna bila veoma dobra pa zasićenje i dalje deluje.

Fallout je bio moja omiljena igra, ali danas niko ne ulaže toliko duha u igre (no, verovatno sam već dosta toga propustio). Novi Fallout, trojka i Las Vegas se igraju na sasvim drugačiji način, sličnije Morowindu, i to mi nije toliko zanimljivo.

Bullfrog se raspao u jednom trenutku, pa su se ti momci organizovali u GODS (tako nešto). Imali su RRTycoon 2, to je bila veoma lepa igra. RRT 3 je slabiji, iako je 3d izvedba okej, ali toj novijoj igri nedostaje duhovitosti i simpatičnosti koju je prethodna imala.

Mulino je napravio onaj svoj god-game, kako li se zvaše... Black and White, koji je bio zanimljiv, ali on je više ulagao u kreativnost nego u zahteve masa za kompetitivnim igrama koje se lakše uklapaju u savremenu socijalnu dinamiku. Tu je dosta toga izgubljeno.

Sve u svemu, da ne tupim previše, entuzijasti su izgubili većinu bitaka. Danas je marketing ono što se prodaje, a entuzijazam je kao i pre, one-man produkcija kod koje igre imaju veliki naboj jer mnogo obećavaju, ali ne mogu nikad da se dovrše na nivou A produkcije.

Volim da igram Civilizaciju IV, jer ima dosta modova i ta igra uvek može drugačije da se igra. Civ 5 je čist promašaj.
Ono što je nekad bila Elite, u velikoj meri je Space Rangers 2, kombinovana Elite sa još dve igre: ground combat sa robotima plus tekstualne avanture, kao questovi.

Pratio sam razvoj Sim City igara, na kraju su sve to ugušili s previše grafike a da nisu poboljšali igrivost, naprotiv. I prvi Sim City je bio odlična igra, i onaj 2000, i trojka, ali četvorka je već gušenje.

Pratim i OTD (Transport Tycoon). Stara izvedba ali s mnogo novih dodataka i još uvek aktivnim 3rd party programerima. Može da se igra i sandbox i onlajn.

Možda se neko seća Imperije Galaktike (mađarska igra) koja je bila dosta dobra i očekivao sam da će raditi još bolje nastavke, ali na kraju su izbacili nakakvu linearnu igru sa kampanjama, koju si mogao samo jednom da odigraš i zdravo doviđenja...

Eto, mnogo sam razočaran 

   Dobro, čak i ako otpišemo deo na konto toga što si stariji čovek pa onda po definiciji (kao i mi drugi stariji) malo skloniji starijim, poznatim modelima u odnosu na nove, mislim da si dao sasvim fer viđenje stvari. Činjenica je da mnogi igrački modeli u poslednje dve decenije bivaju strimlajnovani (bolji interfejs, jasnija signalizacija itd.) ali se iz njih izbacuju i kompleksniji sistemi koji su ih činili interesantnim.

No, naravno da ima novih i dobrih igara koje valja samo ujuriti.

Kufer igra i voli iste igre kao ja. 

Kufere, jesi igrao i voleo Imperialisme možda?

Ne. Ja sam imao Atari ST, a ove igre na njemu nije bilo. To je igra iz 97, a tada je moj Atari već bio muzejski primerak.
Po prelasku na PC, igrao sam svašta, da uhvatim korak  Od Warlords do Patriciana i Baldurs Gate, a onda Fallout...

Izašao je far cry 3 pirat na ruskom, trebalo bi i eng da se pojavi danas-sutra. Čisto da se zna.

Da, i relativno je skromne veličine, oko sedam i po giga, ako se ne varam. Igra je dobila toliko dobre prikaze po Internetu da sam rad da je kupim ali ne mogu na neviđeno! Ruski pirat mi zvuči kao dobar test. 

Dakle, isplivalo malo detalja o Bungievom sledećem serijalu (za Activision, dakako), Destiny. Koga mrzi da čita nek zna da je u pitanju kosmička avantura koja treba da bude "zabavna svima" a posebno "našem unutrašnjem sedmogodišnjaku" i da se kao referenca koristi Star Wars. Dakle, verovatno nešto manje "zrelo" nego Halo/ Marathon serijali. Takođe, pominje se da je igra u srži socijalna i da je to svemir koga će biti lepo istraživati sa prijateljima. Dakle, možda ovo neće biti MMO (jer se zna da do 2019. godine treba da izađu četiri igre, što ne bi bilo smisla da je klasičan MMO) ali možda bude nešto bliži Diablu 3 nego Halou...

Quote from: Father Jape on 23-11-2012, 13:16:42
Ne znam, meni ništa što je Lajonhed napravio nije naročito drago, za razliku od Piterove Bulfrog ere. Dakle čekam sijajuće recenzije pre nego što se zainteresujem za ovaj Godus.

Novi detalji o Godusu iz usta samoga, jelte, konja, Pitera Molinjua:

Designing GODUS with Peter & Jack #1

Oh, autorska prava se otržu kontroli: tatu artist tužaka firmu koja je izdala igru koja licencira UFC zato što na jednom od boraca ima tetovaža koju ovaj nosi u stvarnom životu a na koju tatu artist koji ju je napravio polaže prava:

http://www.eurogamer.net/articles/2012-11-27-tattooist-sues-thq-for-replicating-ufc-fighters-ink-without-permission

Zbog čega inglesi vole da govore sebi ubradu?

Far Cry 3 izašo ima nekih reči?

Evo, još da skinemo osmi deo 

Quote from: Meho Krljic on 28-11-2012, 12:06:59
Da, i relativno je skromne veličine, oko sedam i po giga, ako se ne varam. Igra je dobila toliko dobre prikaze po Internetu da sam rad da je kupim ali ne mogu na neviđeno! Ruski pirat mi zvuči kao dobar test. 

Izašao je i eng fix.