Thunder Force III (Technosoft - Genesis - 1990)

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shark vs the universe
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$LAYYYTER
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The Bright Sessions
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@video-games-are-bad
Thunder Force III (Technosoft - Genesis - 1990)
“Bad Brothers” - Sega Ages: Golden Axe (Sega - PS2 - 2003)
‘Rising Storm: Vietnam - Green Army Men Christmas Special’
[PC] [WEB] [VIDEO, TRAILER] [2018]
Uploaded by Tripwire Interactive, via YouTube
I just had to push back my traditional reblog of the Christmas 'Sarge’s Heroes’ commercial when I learned Tripwire pretty much made the real thing!
Boppin’
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Operative Assailants
Quiz Marugoto The World for the PC Engine.
(Atlus - 1991)
Goblet Grotto
Title screen from Star Lord
‘Sonic Adventure 2: Battle - “Come All Ye Faithful”‘
[GCN] [UK] [MAGAZINE] [2002]
NCG Magazine, July 2002 (#69)
Scanned by chris85, via The Internet Archive
‘Two-Gun Turtle’
[SPEC] [UK] [MAGAZINE] [1984]
via @retrocgads
RIP, Extrasolar, you weird little thing, you.
USA 1982
The Snapper (Silicon Valley Systems - Apple II)
That’s a quote from Polygon.com’s recent article about, of all things, Fallout 76. Maybe somewhere that quote should be printed out, framed, and hung in an office. Everyone who walks in that specific office that wants to take part in the time honored tradition of writing about videogames has to read that quote, over and over, until they understand it.
If we can characterize the present era as postmodern in character, then we can also characterize it as replete with criticisms of the postmodernist movement itself. The most recent wave of criticism (IE from after the United States’ latest presidential election) is perhaps the easiest to explain: nothing more than a conservative backlash meant to criticize youth for not following traditions (regardless of whether or not those traditions ever really had a place for them). However, focusing on this as the only or even main source of postmodern critique belies not only the history behind postmodernism’s criticisms, but also much of the substance those criticisms originally possessed. If postmodernism is the major cultural system of the present era, then it must have established itself by supplanting the previous one: modernism. Where modernism posits multiple paths to a single more-or-less universal state of being (the modernity in question), postmodernism complicates the idea of there being any such state of being. It problematizes the possibility of addressing the issues that define our modern world – but those issues still remain. The frustration people feel toward postmodernism, then, becomes much more understandable.
Crossed Swords Publisher: SNK Developer: Alpha Denshi Platform: Arcade, Neo Geo, Neo Geo CD Year: 1990 (Arcade), 1991 (Neo Geo), 1994 (Neo Geo CD)
Earlier this year I wrote an article expressing concern for the way Artifact was potentially monetising itself, using the limited information known about the game at the time and extrapolating some assumed policies from that. The idea of a game that lived and died on the Steam marketplace sounded like a disaster waiting to happen (and still does), eschewing the free-to-play slow drip of resources common to digital card games in favour of an entirely monetised space much more reminiscent of physical card games or Magic the Gathering: Online. With Artifact releasing very soon and all the information about it now in the open, the game has revealed itself to be not only fairly barebones but also straight up greedy, looking more like a fleecing simulator than an actual card game.