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Kaledo Art

❣ Chile in a Photography ❣
will byers stan first human second
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blake kathryn
Sade Olutola
styofa doing anything
Show & Tell
Jules of Nature
ojovivo
Lint Roller? I Barely Know Her
RMH
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art blog(derogatory)
NASA
Cosmic Funnies
One Nice Bug Per Day
Three Goblin Art
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@theageofgaming
READ and THINK.
Pseudo Game Jam
This is something I entered into myself. These are the first batch of entries. Some of them are really freaking good and some are just average. No matter your opinion though it is all really interesting work. I highly recommend keeping an eye on this.
These stats make me both happy and slightly apprehensive.
Full Survey: http://www.gamasutra.com/salarysurvey2014.pdf
Two questions for the people that bother to read this:
I tried adding pictures to my last long form article to break things up. Did you like it/Should I try it again?
Any games/ideas/issues or things you would like me to write about?
The Gaming Fandom Directory is making some changes — please read!
After some consideration, we’ve decided to overhaul our directories in order to give you the easiest and most effective navigation. However, in order for us to make this possible, we need everyone to reapply to the directory by filling out our new form. It will only take a minute and it will insure that we have the most up to date information for everyone.
The new directories will be easier to maintain, easier to update, and more efficient for those of you who use them. Some new features will include sorting (by url, single or multifandom, strictly gaming blogs, and graphic makers) as well as searching multiple games at once.
Thank you in advance for your understanding and cooperation, and we look forward to sharing the new directory with you soon!
How does it work?
The purpose of this blog is to help you find more blogs to follow in your gaming fandom.
Blogs will be organized by their fandoms.
They will be linked for others to find and follow.
Anyone can join as long as you post video games.
Likes don’t count.
How to join?
Follow this blog.
Reblog this post.
Fill out this quick form.
The video game industry was quick to industrialise. Where literature, music and cinema had chance to explore their artistic potential away from monetary preoccupations, video games were born into the arcade where, Cinderella-like they had to earn their keep on the bar floor, minute by minute, credit by credit. Atari, one of the earliest video game companies, would playtest its games in select American bars for a fortnight. If the game failed to earn enough money, it would be figuratively thrown out onto the street. In this way video games and money were yoked from an early age. Thereafter, the cultural conversation has always been secondary to the industrial question: how do we monetise this? … But this is only one kind of success story. Video games, like photography, music, cinema and literature, have tremendous value aside from any consideration of financial gain. If the incentive that we present to young people for making games is predominantly a financial one, then we are all the poorer. Video games allow people to express themselves and present the ways in which they experience and interact with the world and its systems in a unique way to others. Games are, predominantly, a way for self-expression and enrichment and yet the conversation is primarily focused on the “how” of making a living than the “what” of what might be possible within the medium’s bounds.
Simon Parkin is probably the best writer on videogames working today, maybe ever. Here he is over at New Statesman, talking all things this. (via kierongillen)
Can I just take a moment to say how much I love this: "Video games allow people to express themselves and present the ways in which they experience and interact with the world and its systems in a unique way to others. Games are, predominantly, a way for self-expression and enrichment and yet the conversation is primarily focused on the “how” of making a living than the “what” of what might be possible within the medium’s bounds."
So I was looking up stuff for Gone Home on the Tumblr and I found your amazing art piece. And then I followed your tag and holy shit! Everything is amazing. This is a kind little note to say how much I appreciate your artistic abilities. Notably I want to thank you for the Ellie/Riley The Last of Us art. The one from November made me cry a little bit. Also the Maria Hill/Natasha Rominov is great too. Lastly I also love that all your work is so positive and loving for everyone. Keep it up!
Th—thank you. /)///////(\
From Companion to Character: The Last of Us’ Ellie
The Last of Us is a game based around what is considered to be one of the cardinal sins of gaming: the escort mission. Joel, protagonist and player character, must protect and transport a young girl, Ellie, across the country. The game is their journey to endure and survive until the fateful end. The player, as Joel, must see to it that Ellie makes it through. She is as much as a character as she is a plot point or a gameplay device. During the game’s opening chapters she does little to differentiate herself from any other companion character. It is as the game progresses that she grows in her own right eventually supplanting Joel as the player character.
The player quickly becomes adjusted to playing as Joel, a survivor. His violence and predatory nature is easy to translate into a gameplay mechanic. Naughty Dog links the narrative to the gameplay by allowing the player to experience the world as Joel does. The player must survive. And they must protect Ellie. It is a slow build, through both narrative and gameplay, to develop a relationship between Joel and Ellie and the player. Naughty Dog attempts to ingratiate her on the player and Joel by making her helpful in combat situations. This way she becomes less of a hindrance and more of an equal companion. However, looking from the outside in as the player does, by the time Joel and Ellie leave Boston together; one is left to wonder why he didn’t just leave her on the side of the road somewhere.
It is in the following chapter, Bill’s Town, that Ellie begins to come into her own. This is witnessed from the outside by the player as the environments of the game begin to mimic that of which typical teenagers are exposed to. Beginning with a music store, the player and Joel see how much a normal person Ellie is. She casually flips through old records bemoaning the fact that no one will be able to listen to them anymore. The hard survivor hasn’t arrived yet and in its place is this typical girl. It is a moment of clear insight that the player understands particularly in comparison to the many repressed emotions of Joel.
The standout moment of Bill’s Town is also where the greatest development between Joel, Ellie and the player occurs. In an abandoned high school the game’s leads must fight their way through a large pack of infected culminating with the first encounter with a Bloater. The player is again witness to Ellie’s growth from the outside as she fights her way through high school like we all did once. The shambling, frightening and aggressive infected are only a few steps away from some of the worst that an actual high school has to offer. Ellie, at age fourteen, enters the high school at just the same time as a typical freshman would. She fights her battles and makes it out the other side of the high school relatively unscathed. This is fundamental to her growth as a character and the relationship she is to form with Joel and the player. To watch her struggle and suffer and fight through high school is more ingratiating than finding extra med-kits could ever be.
A portion of The Last of Us is dedicated to the city of Pittsburgh and the survivors that have built a life there. They are hunter/scavengers for the most part and antagonistic to the game’s leads. There is however one place that Joel and Ellie come across that the residents of Pittsburgh hadn’t found yet; the remains of a high school prom. All the party decorations hang sadly on the walls after twenty years of decay. What is left of a photo station with Hawaiian back drop is abandoned in one corner. Walking over to it prompts a conversation with Ellie. She exclaims: “Woah! Look at that.” And again she becomes the typical teenager enjoying the prom that was denied to her. Ellie’s continual maturation mirrors that of current teenagers through similarity of location. The next logical step after high school is prom. What makes this section different from those before it though is its lack of combat. The wonderful party atmosphere is counterpointed by the emptiness of it all; a large room with no people. Ellie can walk through the prom, but she can never really go. The normal aspects of teenage life are denied to her. It is this juxtaposition of what the player and Joel understand as routine that further gives Ellie growth. It highlights her maturity and adaptability to this new, brutal world. It is here that Ellie as a survivor begins to take shape within the mind of Joel and the player.
After high school and prom comes college naturally. It is the next step on the accepted path set up by a society that no longer exists in The Last of Us. Yet, the University chapter in the game serves as Ellie’s graduating step in the maturation process. It is here that she becomes the survivor; it is at college that Ellie learns how to live in this world. Both Joel and Ellie have journeyed far to get to this point in the game and it is their hope that the university will be their final destination. Ellie places her hope on this place, believing it can offer her a chance to make her life and the life of those she cares about better. Entering on the campus for the first time she is as excited and jittery as college freshman on move in day. That hope is quickly crushed however as Joel and Ellie find the place abandoned. Her anger at the situation is readily apparent yelling how “they all turned into fucking monkeys!” It is with this final defeat that Ellie is transformed into a survivor like Joel. Hope becomes secondary when the one and only focus is the purity of survival. Living is just a consequence of surviving.
It is shortly afterward that the campus is swarmed by another group of survivors, a different group of hunter/scavengers looking for their own way to survive. During this confrontation Joel is badly injured and the game leaves his survival ambiguous for a short while. For the first time Ellie becomes the player character. She is now a survivor and therefore suitable for the player. Like with Joel, the player quickly adjusts to being survivor Ellie. Survival is the central concept marrying gameplay and story. It is what makes the game so cohesive and adds definition to the experience. Ellie, after passing through the hollow graves of normal teenage life, completes her own growth and goes from companion to character. This is a moment of great impact to the game, the culmination of what The Last of Us had been building from the beginning. The relationship between Joel and Ellie evolves into a father-daughter style mostly through the use of well implemented cutscenes. It is purely through gameplay that the relationship between Ellie and the player is developed. Players have survived through high school and fought their way to adult life in college. Ellie has done the same and by the time the player assumes control of Ellie they will fight just as hard to survive.
Eventually it is revealed that Joel is still alive. But the importance of playing as Ellie, even when she is no longer playable, is not lost on either the player or Joel. By solidifying the relationship between the player and Ellie, the player is now able to look at Joel with a new perspective. Reassuming the role of the original survivor it is impossible to ignore the time that Joel needed to be protected. Ellie comes into her own as a survivor and a protector. Caring for Joel when he is unable to care for himself, she becomes the stronger character. The relationship between Joel, Ellie and the player is rearranged in such a way that Ellie is no longer a hindrance, Joel is not as strong as originally perceived and the player knows what it takes to be a survivor.
The Last of Us takes what is one of modern gaming’s worse offenses and remakes it. The escort mission is entirely different when the player plays as both the protector and protected. Ellie grows from a purely companion character to that of a fully realized playable character. Her growth mirrors that of a standard teenager through the use of similar environments to that a current teen would encounter. But above all else, it is not the environments themselves that cause her growth; like Joel and the player, it is what she experiences while there that culminates in her becoming mature. The relationship that is created between Joel, Ellie and the player is founded on a similar understanding of what it takes to survive through that portion of life; fighting your way through high school, that one night of prom and the excitement and emptiness of college. The Last of Us makes both the player and Joel relate to Ellie by connecting to everyone’s adolescence.
Note: This piece was originally written with the intent of having it published on AWESOMEoutof10. The site may be no more, but credit is still due.
Images come from:
http://www.creativeuncut.com/art_the-last-of-us_a.html
http://guides.gamepressure.com/thelastofus/guide.asp?ID=20674
AWESOMEoutof10 is no more. The site will shut down in a week. I am out of the job. It is difficult for words right now.
Mostly though, and I want this to be known, I am grateful for the opportunities I was given and the wonderful people I met there.
When asked to describe my college major I say either one of two things:
To people over 30 I say "interactive entertainment"
To people under 30 I say "game design"
My article made it to a best of list! My article that has nothing to do with E3 made it to a best of list the week of E3. I am so excited right now!
http://wurkat.com/this-week-in-video-game-criticism-ubisofts-women-problem/
(Its about half way down the page.)
So, it's been a long time ...
And for that I must apologize. But many good things have happened along the way:
I got accepted to and then committed to going to my top choice college. CHAMPLAIN FOR THE WIN!
I got a semi-serious job writing articles about videogames that I am immensely proud of and humbled by at the same time. It is good to know that I can do this and someone out there thinks my work is good enough to be published. Also I know that I am just one person in a chorus of millions and am incredibly lucky to have gotten this opportunity. So yeah, proud and humble.
Here is my very first published article: http://www.awesomeoutof10.com/gaming-like-its-1999/
As for what will become of this blog, I am not entire sure just yet. But know that I will continue to put in the effort and if you'd like to come along for the ride, well, then I'd be happy to have you.
With love, Steven
WINNING
Game art project by Alex Myers reduces the FPS to it’s basic principle, shoot and kill, by placing armed players in a small intimate space - video embedded below:
Build a small room. Arm two players. Let them kill each other. Over and over and over and over and over. Call it “Winning.” It examines the dynamic of popular First-Person Shooter videogames. By limiting the game space to a small room with two players, I’ve removed any overt reason to play the game in order to highlight the basic dynamic of violence. Both models, the terrorist and the counter-terrorist are wearing my smiling face, inverting the traditional place of a game avatar. It is not about fighting myself, but about about seeing myself and ourselves reflected in this perpetual cycle of violence and asking, “is this winning?”. If there are no human players, then the cycle is broken.
More about the project can be found here
Videogames. One word.
Sly Cooper is going to have a movie in…2016?
Hollywood is attracted to game movies solely for the instant audience, which is insulting, as there are plenty of games that really do deserve game adaptations! Which is not to say that a Sly Cooper movie is going to be a bad because it’s for kids. Wall-E was for kids, but it could be enjoyed by most audiences. Sly Cooper is a series with a weak plot because people don’t play it for the story.
Yes, they’ll no doubt make a healthy profit from any popular video game’s adaptation, but this is an extremely unhealthy trend of Hollywood.
The way that Hollywood views games is an instant audience, but the way that Hollywood views books is an instant starting-point. The general population doesn’t read that many books anymore, but even relatively unpopular books are turned into screenplays because they make good movies.
And there are plenty of games that would make amazing movies! Hotline Miami would be great in theaters if Drive wasn’t so similar. But the success of Drive only strengthens the point.
Or how about Uncharted, a game that’s essentially Indiana Jones with gameplay segments? Or, if we want to go the animated route, Machinarium?
The game industry is not devoid of good movie ideas; it’s just full of bad ones. Hopefully Hollywood will realize that games have more potential than cheap cash-ins.
While I do agree with the OP here that there are many other games out there that having much strong plots that could be turned into feature films, I want to point out that Hollywood isn’t demanding the Sly movie to be made.The reason why Sly is getting a movie is because the developers of the game series wanted to make a movie (similar to the way Insomniac has been wanting to make a Ratchet and Clank movie for years).
If Hollywood was truly after gaming adaptations for the quick buck and niche audience, I think major production companies would be jumping on the bandwagon. Instead, the smaller animation studio Rainmaker Studios is pairing up with Blockade Entertainment (which seems to be so small that it lacks a Wikipedia page) to to create this film.
The major film market really doesn’t give film adaptations of games a lot of attention because they have a history of being terrible, which is why I don’t think this is really “Hollywood” pumping out movies for the money. Rather, this is a probably a marketing strategy by Sucker Punch and Sony.I haven’t been in tune with the Sly franchise lately, but I know that the Ratchet and Clank series has slowly become a lot less raunchy and clever in its sense of humor and has started catering towards a younger demographic. With Insomniac Games pushing out a Ratchet movie in 2015 (which is also being animated by Rainmaker Studios), it seems like a way to cater to long-time fans and to usher in a new wave of young fans. I honestly wouldn’t be surprised if the Sly movie is being used in the same way.
I do agree that there are plenty of games that would make fantastic screenplays. The Uncharted series has proved to be incredibly cinematic in itself, and I would love to see that get a film adaptation. However, with the bad reputation video game film adaptations have had in the past, I wouldn’t be surprised that major production houses don’t want to touch video games with a 10 foot pole. Hopefully with the release of the Ratchet and Sly movies, we will see more video games with film adaptations done right!
You’re correct that Naughty Dog is looking to adapt their games to film. However, I have no doubt that these movies will be shallow cash-grabs banking on the success of the franchises.
Rainmaker Entertainment has made 12 BARBIE MOVIES.
What about the Metal Gear Solid movie that was announced during the series 25th anniversary celebration? Although there has been a dearth of information about it since the announcement the original info looked promising. A quality producer from Colombia Studios was attached to the project and it had Kojima's blessing. Better still is the fact that it was being entirely handled by Sony because they own Colombia.
Videogame movie adaptions don't have to be bad or soulless cash grabs. It is unfortunate that so many of them have failed to deliver in the past, but that does not mean all potential videogame movies of the future are destined to fail as well. When handled correctly, videogame movies could get as big and as well regauded as the current state of comic book movies. Metal Gear Solid is an example of how to do this. Hopefully more information will come soon. And I am mildly hopeful for the Ratchet and Clank movie as well as this Sly Cooper movie. It is necessary that someone start making good, sincere videogame movies and I don't see why any of these can't be the first.
I'm looking to get a new game. Not actually new, but new to me anyway. I cannot decide between DmC: Devil May Cry or the new Tomb Raider reboot.
Which is a better game? Which is a better reboot? Which is a better use of money? What do you think?
Sunset Sarsaparilla Recipe
This recipe serves 2.
What you will need: A bottle with a cap/lid, a funnel and a sieve.
Ingredients:
250ml / 8.5 fl oz. Cola (Not Diet)
100ml / 3.5 fl oz. Birch Beer
150ml / 5 fl oz. Ginger steeped in water and then allowed to cool
1 Tablespoon Fresh Orange Juice
1 Teaspoon Fresh Lemon Juice
1/2 Teaspoon each Nutmeg and Cinnamon
1 Teaspoon Ginger
1 Star Anise
Mint sucking candy, dissolved in the mix
Ice
Making the Sunset Sarsaparilla:
In a large bottle with the aid of a funnel, pour in the cola, birch beer and ginger tea. Add the Angostura Bitters, squeeze of fresh orange and lemon juice as well as the spices, star anise and mint.
Mix it all together, close the bottle and return it to the fridge to chill and infuse overnight. Allow the mixture to lose some carbonation, this will add to the flavor and authenticity!
Strain the mixture through a sieve into a clean vessel of your choice, then serve over ice with a twist of lemon.
I am sorry the cinnamon is going to clog your filter and make the process very difficult. But believe me, it is worth it.
This is my Americanized version of this recipe: http://www.gourmetgaming.co.uk/post/24561548266/fallout-new-vegas-sunset-sarsaparilla-since