#Crime city 2 player arcade price

[buckcluckhater]

Controversial Video Game Opinion: Resident Evil 3 (2020)

So this title was released right after the Resident Evil 2 Remake and as a bundle with Project: REsistance for $60, effectively a $30 game on its own. Looking at it from that perspective, I can at least somewhat justify the shorter length. Having no Clocktower segment and just having Jill get knocked out until the next scene with her is pretty blatantly just a cheap scene transition and a way to shift the control to Carlos.

The criticisms towards Jill Valentine's character in this game especially rub me the wrong way. The writers clearly from the outset wanted to incorporate her past experiences and the trauma that comes with them, having to watch people you know die and facing death yourself does a lot to warp someone's personality and make just the day to day experience of living much more difficult. That and not wearing a tube top is apparently a crime.

Having said that, it sucks how her apartment is this beautifully designed space with tons of personality and some really cool details, but your only interaction with it is walking around until the Trash Man comes to cave your head in.

On that note, Nemesis. I have no issues with his design or story appearances. What I do have a problem with is his gameplay. Unlike Mr. X, who was mostly free to roam the playable space on his own, creating a really organic enemy, Nemesis in this game mostly sticks to scripted encounters and often travels by teleporting out of the map (not before doing his own Spider-Man Pose) so that he can ambush the player by respawning closer to them. It makes sense why they do this, Jill is just so much faster than Leon/Claire in the previous game, and it helps Nemesis avoid falling too far behind, something Mr. X did a lot.

My issue is just how obvious it is that he does this. There are a lot of areas in Downtown Raccoon City where you can easily bait this movement and wait for him to slowly load into the correct spot before he attacks you. It's really inorganic and feels like a cheap rug-pull for experienced players who have a sense of how the game operates.

The Boss Fights are all way better than RE2-R tbh. I love that game to bits, but G-2 Birkin can go straight back to hell with his tiny arena and multiple charging attacks. Meanwhile the only Nemesis fight that kinda sucks is unfortunately his final encounter. On lower difficulties it's a joke, you only die if you forget how to play or panic and take too long. On higher difficulties the game literally makes enemies perform their animations faster in order to be more aggressive. This gives Nemesis an instakill combo if you have to get caught by one attack in the chain. Impressively unfair feature for an otherwise boring enemy.

Oh and the last part, the game's best feature is its Item Shop. Normally these things sucks because they're just a place to load up on consumables and be harassed with price tags. In RE3-R, you're awarded currency based on achievements and can spend them on whatever you want, like an Arcade Counter. This is great for accessibility too, since even mediocre players can probably grab the Infinite Ammo AR and use it to make the rest of the game much easier for themselves. Compare this to RE2-R, where only specific achievements unlocked specific items and most were things like Concept Art or Viewable Models.

This game also has viewable Models, but the controls are kinda weird and the game's small size indirectly makes it a less interesting place to browse since there's way less to look at. Alternate Model poses and booba physics were also added to iterate from the RE2-R version.

Lastly, the actual gameplay. I personally feel like it's one of the more difficult games I've played, and a large part of that is needing to depend on reaction time much more than prior titles. Dodge rolls and QTE grabs are the emphasis over Consumables, which definitely threw players off when they first got grabbed and the Knife did nothing to stop them from being bitten. It's lame how Zombies were mechanically downgraded for performance issues. Not only do they go completely stiff upon death, this actually ruins their 'ambush' behavior by making it instantly possible to tell if they're still alive based on whether or not their body shudders when attacked. In RE2-R they always moved when hit, so sometimes they could fake death by just not reacting more than that. You know, like a Zombie.

To cap this off, I actually love Resident Evil 3 (2020). It's amazing on the first playthrough and remains a fun game to Speedrun, or played for the challenge. I feel like it was mostly disliked for the changes it made from the original, and for clearly being an underfunded title, which is much worse considering how good Capcom and Resident Evil were doing in terms of sales. They did not need to rush this game, but what's done is done.

Also Project Resistance still sucks. Play Dead by Daylight, or don't, maybe go on a walk or talk to your friends.

[tonkimystery]

Crime city 2 player arcade price

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These last issues are mine, and maybe mine alone. Then you add the lack of included magnifying glasses and the diminishing eyesight of yours truly, and you have some essential problems playing the game. That’s more an issue with my eyesight than the game, but you will blame a friend for trying to play this game in a dining room that is not lit well. The major issue comes when you try to play this game in a room that is poorly lit, because the white-and-light-gray map is so hard to see without exceptionally bright light. (I’m looking at you, “The Mysterious Disappearance of Lisa Lindt”!!!) In a couple of the cases, it was tougher than expected to simply identify where to start a search on the very first card.Īnd those are just the minor issues with the game. Some cases still require an incredible leap of faith, assuming you have looked at every single nook and cranny on the massive map. The game still only comes with a single magnifying glass multiple friends have purchased their own because the ones included aren’t great and you will likely play this with others.

#CRIME CITY 2 PLAYER ARCADE PRICE FULL#

(A special shout out to some of the character names in Full House comedy!) The way stories are told, the use of time and space to work backwards through each crime, still really lands well.īy the same token, Full House fixes none of the minor issues from the base game. The backstory for what really happened for each crime still made me laugh out loud. Everything I liked about the base game is here, just on a different map. My sense of Full House is that it’s MicroMacro: Crime City v.1.1. I can’t talk too much about the specifics of the case without spoiling the whole game, so I’ll move right to where I land on the game.įull House is a fun ride, but I wish that more was done to really shake things up from the original game. Plus, many of the cases in Full House are playable with the entire family, not just teens and adults. You can play Full House at your leisure, just like the base game. If I could figure it out on my own, great, and if not, I just flipped the card over to find where I was stuck before continuing. The first couple of cases took anywhere from 5-10 minutes, and I took each case casually. You’re not going to blow through this box of 16 cases in an hour. That’s great, because that gives Full House quite a bit of life. But even the 2-star cases have at least one section that is a little tricky. A 5-star case is gonna be a doozy but there are only 2 cases like this in the box. There are 16 cases in Full House and, save for the tutorial case, all the cases are rated from 2-5 stars in terms of difficulty. Many of the cases in the first game are very short, sometimes less than 10 minutes to work through the 4-5 questions in a simpler scenario.

#CRIME CITY 2 PLAYER ARCADE PRICE HOW TO#

(If you are curious about how to play this series, Andy does a great job summarizing the basics.) I also played 3 cases from the first game at a friend’s house last year, where we spent more time debating its merits as a game than we did actually playing. Let’s just say you should run out and buy your own!) If only I could see that map a little more clearly without having to sit right over it! Two Stars, My ***!Īndy reviewed the original MicroMacro: Crime City and really enjoyed it. (I use the term “magnifying glass” loosely here. MicroMacro: Crime City-Full House (let’s go with Full House for short) smartly sticks to the script, and just gives you another massive map, 16 cases to solve, and a not-nearly-strong-enough “magnifying glass” to solve crimes. The original game, MicroMacro: Crime City, swept nearly every award it was up for in 2020 and this sequel builds on a strong foundation to provide more of the complex deduction the first game made famous by staring at a very large map with a magnifying glass looking for clues. That game is MicroMacro: Crime City-Full House, designed by Johannes Sich and published by Pegasus Spiele. My friend and colleague, Andy Matthews, handed me a game to review the last time I saw him in Nashville. Now, whenever I’m reading at home, I usually read with my specs on a side table. I knew I was nearsighted, but my sight has taken a turn for the worse. The last time I did an eye exam I was met with a frightening reality: I have to remove my eyeglasses to see anything well up close.

[loudterri]

Crime city 2 player arcade game price guide

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[virtual-lara]

AVault - Philip Campbell Interview - Tomb Raider 1: Unfinished Business

Interview appeared on AVault website, dated sometime 1998. Article was written by David Laprad.

On Friday, March 20, Eidos Interactive gave legions of Lara Croft fans a very nice thank you in the form of four free add-on levels for the original game. Called Tomb Raider Gold, these never-before-seen levels were designed by Phil Campbell, producer and designer for a number of Eidos titles. The new levels are split into two sections: Unfinished Business and The Shadow of the Cat. Unfinished Business consists of two expert levels chronicling Lara's dramatic return to Atlantis, where she must destroy a hidden alien hatchery. The Shadow of the Cat levels take players back to the City of Khamoon to embark on an all-new adventure. The Adrenaline Vault was able to catch up with a busy Campbell and get his insight into the Tomb Raider Gold design process and all things Lara Croft.

AVault:

Thank you for taking time to speak with us. How long have you been involved with the world of Tomb Raider?

Philip Campbell:

I have been doing Tomb Raider-related work since March of last year. I was not involved with the original game at all. When Jeremy and Adrian Smith saw my work on another Eidos project, they asked me if I would like to design some expert levels. I worked at Core in England for a couple months creating concepts for a number of possible levels. Subsequently, I designed and built the two Unfinished Business levels. Later, I designed the Shadow of the Cat levels with the help of Rebecca Shearin, a senior artist here at Eidos.

AVault:

What other game development experience do you have?

Philip Campbell:

I started work at Domark in San Mateo a few years ago. Before that, I had been an architect for 15 years. Initially, I was art director on a couple of projects, and now I am handling producer and designer roles on a number of projects. Currently, I am working on Vermin with Kronos Digital and Omikron with Quantic Dream. I guess I am the office handyman! I try to get involved in all design related projects, ranging from external development to Tomb Raider publications, comics, and merchandising.

AVault:

Where does your work take you?

Philip Campbell:

Technically, I am a senior producer and designer working for Eidos USA and based in San Francisco. However, my current schedule has me spending six weeks in Paris working on Omikron and two weeks in Los Angeles working on Vermin. In Paris, I just completed the recording and motion capture sessions, and am currently concentrating on level designs. Although I work for the publisher, I supplement the Omikron design team. On Vermin, Tom Marx and I form a production team, helping the external developers with design issues. We have been very involved with this project from the beginning and are trying to break down the traditional concept of publisher and developer relationships by working closely with the team on all aspects of the game. Back in the U.S., I am currently designing a marketing, packaging, and website campaign for Omikron with the marketing department, and working on another Tomb Raider product.

AVault:

Working on another Tomb Raider product? Do tell!

Philip Campbell:

[to the sounds of his hands being tied by public relations] Soon! Very soon!

AVault:

Why is Eidos publishing Tomb Raider again, this time with extra levels?

Philip Campbell:

Tomb Raider Gold is an added value product. The four new levels, extra goodies, and the low price make it a great deal. There are probably a lot of new converts to Tomb Raider following Tomb Raider 2, and we wanted to make it easy for them to pick up the rest of the story.

AVault:

It is rumored the Unfinished Business levels are for expert players only. What special challenges confront players in these levels?

Philip Campbell:

The two levels that detail Lara's return to Atlantis are meant to follow directly from the end of the original game; therefore, we had to make sure the difficulty was as high, or higher, than the preceding levels. I do not think they are that difficult, but the player who really wants a test should play them before the Shadow of the Cat levels to limit the number of pickups and weapons.

AVault:

You do realize cruelty in game design is a punishable crime.

Philip Campbell:

I do not think we are being cruel! Devious, yes. Even sneaky. Hard, but fair. I think the levels reward careful play. No enemies materialize from thin air, nor are there random deaths, except for that one situation....

AVault:

Do the new levels concentrate on adventure-style puzzles, similar to the King Midas brain-buster from the original, or are they more focused on action, like the sequel?

Philip Campbell:

Both, although there may be a slight emphasis on action. The nature of the Atlantean foes makes them very tough enemies. On the other hand, the first Unfinished Business level is like a puzzle box. You must have an understanding of where rooms are in relation to one another. The Shadow of the Cat levels are more focused on mystery and mysterious puzzles. The player can get cat visions, and some objects transform. I loosely based a series of room puzzles on the Nine Lives of the Cat, an Egyptian hierarchy of gods. For instance, there is the Sun God room, where everything looks like it has been bleached out by the intense rays.

AVault:

Describe the conceptual development of these levels. Did you do any special research, and run into any unique design problems? I imagine you drew upon your experience as an architect.

Philip Campbell:

The Unfinished Business levels are based around a tight architectural construct. There are a lot of transparencies highlighting the connections between the various spaces. I imagined a giant underground hatchery, built out of the synthesis of a crumbling ancient architecture and a horrific kind of gunk. This is why you will find some very organic areas growing out of some fairly formal sets of rooms. Of course, everything is built upon the fiery red lava, and I wanted the lava to be constantly bubbling and popping throughout the levels. I worked around a lot of concepts I felt constituted good level design, such as foreshadowing events, allowing the player overall tactical views before a confrontation, building up the intensity as the action progresses, all the time considering dramatic camera angles and dramatically designed spaces. I did the Shadow of the Cat levels because I loved the Egyptian look in the original game, and wanted to add to the mythology of Khamoon. I did do a bit of research into Egyptian lore and culture, but mostly I imagined huge outside spaces, vast expanses of desert, and gigantic pyramids.

AVault:

Describe the actual dynamics of constructing the levels.

Philip Campbell:

The editor was a joy to work with. Rather than feeling like I was building models, plane by plane, vector by vector, I felt as though I was sculpting space, taking a solid block of matter and carving out an environment. Designing Tomb Raider levels involves a lot of late nights, on-the-spot testing, and subsequent tweaking and rebuilding. One of the great advantages of the editor is you can test as you go along.

AVault:

How easy was it to pick up the editing tools?

Philip Campbell:

The tools are geared to results, and I think part of the success of the original game is due to the quality of the level editor. It is very simple to build, test, and revise. The original did have some limitations, but these tended to focus the design rather than hinder it. Of course, my challenge was to build levels with the same high quality as the original, and I hope players find the maps challenging, compelling, and enjoyable.

AVault:

Do you think the editing tools could be mastered by the Internet community? What are the chances of them being freely released?

Philip Campbell:

Anyone with a creative eye could build playable levels, and I hope you will soon have a chance to do just that.

AVault:

You mentioned working with Rebecca Shearin on the Shadow of the Cat levels. Is there new art in Tomb Raider Gold?

Philip Campbell:

Rebecca and I came up with some concept designs the Shadow of the Cat levels, and she made some great new textures, many of which have a feline flavor. We had to stick very closely with the original textures for the Atlantean levels for continuity's sake, but I had a free hand as far as structures and constructs were concerned. For the Egyptian areas, I started out with pretty much the same texture set as the original, then gradually introduced new material as the mystery progressed. We were also aiming for more dramatic outside spaces than the original, so the levels ended up being pretty huge.

AVault:

What is your take on the Lara Croft phenomenon? Do you feel there have been any missteps along the way?

Philip Campbell:

Of course not! The whole Lara Croft and Tomb Raider franchise is the current preoccupation of many talented people at Eidos and Core. Everything is carefully geared to respond to our audience's wishes, and each step is meticulously planned. With a movie deal now in the works, it is critical for us to generate a quality script. Eidos makes sure experts are employed to deal with every conceivable expansion area for the franchise.

AVault:

Where do you see the franchise going?

Philip Campbell:

Tomb Raider is both a series and a franchise, and has potential to develop in many directions. The movie is an exciting opportunity, and as long as people want Lara Croft games, we will continue making them.

AVault:

Describe Vermin and Omikron, as you are able.

Philip Campbell:

Briefly, Vermin is an exciting 3D arcade action game, and Omikron is a real-time action and adventure title. Both look to be potentially great games, and we will be releasing more details as they develop. Certainly, they will both be featured at the Electronic Entertainment Expo this year, alongside our many other titles.

All rights belong to AVault and/or their affiliated companies. I only intend to introduce people to old articles and preserve them before they are lost.

[life-in-erlanger-ky]

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Erlanger Man Sentenced For Soliciting Kids Through Playstation Game

Is pedophilia on the rise, or is it simply becoming more visible? Pedophilia has always existed, but it was thought to be uncommon until lately. Pedophilia appears to be widespread everywhere we look. The truth is that it is considerably more widespread than most people realize, and there is a rising subculture working to legitimize adults having sex with small children and, in some cases, infants. This organization even has its own set of symbols and emblems that it uses to communicate with one another. This is an unfortunate truth in our society. The government must do something about this crime and try to stop proprietors from claiming another victim. Click here to read more.

Link to Map

Driving Direction

Lazer Kraze

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[nadiannamhoh]

A new pitch and new design to “Harbinger, the last stand”   (part 1)

(Long post, be warned)

What is the game?

Harbinger, the last stand is a 2-D puzzle based plat-former, with combat and adventure.

What is the Game-Play like?

what kind of puzzles are there?

puzzles will consist of challenges like matching frequencies in wavelengths.    

Ex.

the waves will need to be the same to complete the challenge.

Another challenge is a pipe puzzle, meaning that the player has to get a current through a maze with pieces of “piping” that guide the current through to where it needs to finish to complete the challenge.

Ex.

What is the platforming like?

The platforming will have an arcade feel with each character having their own special abilities that will help the overcome obstacles.

What are those abilities?

The abilities are special to each of the four playable characters, these abilities are specific to traversal in the platforming portions of the game-play.

Blair Anomi: Has the ability to double jump and get through/to spaces that the other three are unable to.

Ayada Guren: Has the ability to summon and interact with plant life that can be used to lift up an obstacle blocking the way of a doorway that is too heavy to push away and is unable to be climbed over dug under or went around.

Lamar Lynch: only one who Has the ability to interact with electronic based objects/devices that impede progress. Ex. a generator that needs to be powered to open a gate.

Zane Blaze: Has the ability to use his incredible strength and fire powers to smash and burn objects that impede progress. Ex. Slamming down on a locked trap-door

What is the combat like?

Combat will have a mixture of up close melee combat and ranged weapon combat. Players all have 100 health as maximum health and taking damage reduces your health. If you die you use a life, you start out with 3 extra lives. Every time an enemy is damaged (if they are not heavy enemies) they are staggered slightly with normal attacks and heavy attacks stun them for a short time.

Each character has a special melee weapon with it’s special properties.

Lamar’s melee weapon: A staff with medium attack speed dealing a moderate area of damage able to hit multiple enemies at once.

Zane’s melee weapon: Hot heavy chains that are slow to swing for a large area of damage able to hit many enemies at once.

Ayada’s melee weapon: vines that shoot out of her arms that stab/smack etc. enemies in a moderate area of damage able of hitting multiple enemies at once.

Blair’s melee weapon: Dual blades that have a fast attack speed but at the cost of low area damage, able to hit a few enemies at once.

What is the ranged combat like?

The ranged combat consists of two parts, abilities, and gun-play.

Abilities?

The abilities for the four characters use “Ability points” or AP, it is limited in uses but slowly regenerate to be re-used. The abilities for the four characters are are as follows:

Ayada: upon use of her ability she launches a storm of razor sharp blades of grass and thorns that covers a medium area of effect, stunning and damaging enemies for a short period of time.

Blair: Upon use of her ability Blair rains down a storm of ice and snow damaging and slowing down enemies in a large area of effect.

Lamar: Upon using his ability, Lamar summons lightning from his staff to fire a devastating bolt of electricity in a flat direct line having a small area of effect, requiring the player to properly aim before using the ability.

Zane: Upon using his ability Zane will slam the ground with his chains causing the ground within the chain’s range to catch fire and damage any enemies standing either in the way of the strike or the fire afterwards to be damaged and have a burning effect after the flames on the ground dissipate.

What about the gun-play?

Guns are only picked up from enemies that have them and are dropped when defeated, in order to use them the weapon needs to be picked up from a defeated enemy that carried the gun. Guns also have very limited ammo before they must be dropped.

The available guns are:

Pistols: Medium range medium firing low damage weapons with low knock-back.

Revolvers: medium range, slow firing, high damage weapons with medium knock-back.

SMGs: Fully automatic fast firing, low damage, and low knock-back.

Shotguns: short range, slow firing, very high damage weapons with heavy-knock-back.

sniper rifles: Long range, slow firing, high damage, heavy knock-back weapons.

Assault rifles: fully automatic with medium fire rate, medium range, medium damage, with medium knock-back.

LMGs: High rate of fire, with medium range, medium damage and heavy knock-back.

How does the player progress?

The player in Harbringer The Last Stand, progresses by defeating enemies and gaining XP, but not only by defeating enemies but completing levels and areas. Every time the player levels up, they gain a "Skill Point" to spend on their skills as they please, and skill points are plentiful.

What are the skills?

Strength- (Increase in how much damage the player deals to enemies. Increased effectiveness for every skill point invested)

Armor-(Reduction of damage taken from enemies. Increased reduction for every Skill point invested)

Elemental-(reduction in "Elemental Points" EP used per elemental move. Increased effectiveness and Increased total of EP for every skill point invested)

Luck-(Increased chance for better currency to drop from enemies defeated. Increased percentage for every skill point invested)

Skills are not the only way for players to improve the characters. The player has access to vendors, like a  safeguard vendor that provides stat boosting armor they equip in their inventory. (The player does not have to physically wear the armor equipped. option to hide armor sections like Head, Torso, Arms, Legs, and Mark.) The player can purchase a weapon upgrade at the "Blacksmith" giving the player's weapon a damage boost, or for a higher price, receive a special buff to the weapon. The player can also stack up on purchasing health and EP items at the consumables vendor.

Purchasing items?

Currency: Players will gain currency for every enemy defeated within a level. Players only need to walk over the currency to obtain it so whenever the player does obtain it, it goes into the player's wallet. The currency can vary from pennies, dimes and dollars, gold, diamonds etc... The player will have complete freedom to use their money on what they have unlocked so far in the game.

What is the story?

 The story tells of 4 main characters (of witch you play) and their stories of discrimination and racism. The world they live in is closed minded especially to their race. Based in a Modern day setting but with sci-fi fantasy elements mixed into the world. Loosely based on earth in the near future. Within a dystopian city where crime is at a constant high, and a government that have a heavy dis-taste for the minority race called the "Anthros". The Anthros are a race of people like humans in figure and behavior but with animal-is-tic physical qualities. Officially they are anthropomorphic animals or "Anthros" for short. Often said to be the "inferior race" that if a "natural cleansing" of the Anthros would be favorable. The Anthros have always followed the laws that blatantly violated their natural rights. After many years under this oppression they finally will stand up for their rights, they are no longer going to hide away and take this, so they are rightfully pissed off and will not stop until they get their rights and have justice for them and the lives lost due to injustice, inequality and police brutality.

The story has a heavy tone especially as you learn more about the main characters’ backstories and why they are the way that they are.

The four main characters are:

Blair Anomi: Blair was born as a mixed child, her mother being a full Anthro and her father being a full human. She was raised as a good child until as the family was driving home they were pulled over, in witch the mother was driving. The police officer was very discriminatory and Blair's mother knew she was wrongly pulled over but still complied to the officer's orders and reached into her purse for her wallet and that was when the officer promptly screamed for her to drop the weapon, she was confused and looked at the officer with her wallet in hand that the officer "mistook" for a firearm and shot her dead in the car, without regard for Blair whom was sitting in the back seat witnessing her mother's murder. This event caused her father to go into a deep depression, falling into the numbing pain of alcohol. Blair still loves her father dearly, but is the only human in her life she will ever trust in her life until she can make a change, and get justice for her mother. With any means necessary.

Zane Blaze: Zane was born different, this wasn't a good thing unfortunately for zane. He was an anthro and the family he was born into hated anthros, with a rich ancestry of humans only. With this being the case Zane grew up into a very abusive family. Throughout Zane's early years he was small, he was made fun of by his peers because he was often the smallest and weakest one, and that is the biggest reason why he loses his temper so easily. One day when he was older he discovered that he can hide his natural anthro body with an ability that made him almost undeniably human looking, so he used this power to run away and never go back to his abusive home, after some time he went to University where he met Lamar, they both had very opposite personalities but ended up getting to know each-other since they were roommates and all. Lamar and Zane end up being best friends, and Lamar helped teach Zane how to deal with his sensitive temper towards his appearance, although he needs more work, he was able to get better at taking insults and not getting into fights. Zane then grew in size, he grew up to 7'0" tall in a short time and gained a new level of confidence. Lamar still makes sure to keep him in check, especially with Zane's temper. (the best he can anyway)

Lamar Lynch: Lamar grew up with a normal life, studied hard, stood up straight, and had a great family. Lamar loved his younger brother Zack, who always followed him with a wide smile. One day Lamar went hiking with his younger brother Zack. During their hike it started to get very windy and rain hard, so Lamar finds an area where they could sit and wait for the rain to stop, but the rain doesn't look like it would. Lamar tries get inside the opening and turns back to help zack, but zack is too scared to move because of the storm. Lamar urges his brother reaching out so he can pull him along and inside, but zack stumbles on the lose edge and is too scared to move. Lamar steps out to get Zack when suddenly lightning strikes the two of them in witch Zack dies, but through unknown means saves Lamar and this is how he obtained his electricity/lightning powers.

Ayada Guren: Ayada Guren was born with a family that could easily pass off as human, her family weren't based off of animals but plants. Ayada grew up with a love for everybody regardless of race, if Ayada wanted to do anything to help stop this discrimination she would grow flowers everywhere with a message of peace and being able to coexist peacefully. Ayada knows because she grew up with her best friend Blair. They always played together, and Ayada would always give Blair flowers. Ayada always has Blair's back, even more so after the tragedy of Blair's mother's death.

Art?

So far we have character concept art that will be updated:

Blair Anomi:

           Blair (Left)                                             Ayada Guren (Right)

Lamar Lynch:

Zane Blaze: (Concept coming soon)

[albotas]

Media Journal: Yakuza Kiwami

We’ve been wanting to keep a journal of the media we consume lately. There are too many choices today – saturation is still climbing. It’d suck to not remember playing, watching, or reading a piece of media, so to help cope with us getting older, we’re recording thoughts on ALBOTAS concerning the visual mediums without necessarily writing a full-blown review. Let us know if you think this semi-regular media journal thing would be something you guys are interesting in reading more often! - Kevin

I’m A Yakuza Boy Now

After hearing about the series such a long time, I decided to purchase Yakuza Kiwami back in March to see what the fuss was about. My knowledge of the series was scarce. I knew Yakuza debuted on the PS2 over a decade ago, and at the time of its release, my 14-year-old brain couldn’t grasp its concept, nor was I interested. This was at a time in my life where Okami, Bully, Final Fantasy XII and my PSP (which some fuck sat on in high school and broke during gym class) took up a bulk of my time, and I had no idea what Japanese culture was like outside of anime. I’ve heard that Yakuza 0 is a solid jumping on point, and after viewing a few videos of its story arc and mini-game absurdities, I decided to grab Yakuza Kiwami for my PS4 to experience a remaster of the first game, rather than jump aboard 0 and risk any mechanical differences. I later found out the two games are hardly any different from each other. I should’ve been paying more attention. But I digress.

Yakuza Kiwami, without a doubt, has struck something in my bones concerning video games I don’t believe I’ve felt in my adulthood. It’s an open-world game that feels completely closed off from the nuisance of open-world freedom. The last open-world game I played was Watch Dogs 2, which was massive and offered a plethora of daunting, tedious tasks; collect this, climb to this spot and hack this, throw your graffiti up on this, take a photo of this. What Kiwami offers, for me anyway, is a chance to immerse myself into the fictional city of Kamurocho, rather than exist in its sandbox and dilly-dally around for large amounts of time. Kamurocho is smaller, but denser. Where a Grand Theft Auto-esque clone offers a massive amount of space and freedom, Yakuza offers a tighter, more concise familiarity of a packed city. I can walk around and recognize landmarks on the map, remember what streets I need to traverse to get to my desired location. I can walk into a restaurant, grab some new food and gain experience points (just like in real life). I can walk down an unfamiliar alleyway and trigger a substory that offers the stoic main character, Kazuma Kiryu, the opportunity to show me, the player, who he truly is. As Kiryu interacts with some of the city’s bizarre, needy, or sometimes neurotic characters, I can further understand his character outside of the main story arc. Furthermore, I don’t have the option of hitting the city’s pedestrians with my fists, which helps reinforce the fact that I’m playing as a humble, noble character. Kazuma Kiryu is a tough-guy who is generous, honest, caring. Playing with him is a joy, and watching him interact with the city and its inhabitants is a wonderful experience. Yakuza Kiwami’s way of painting a whole picture isn’t just about making the player progress through its dramatic crime drama storyline as fast as possible. It’s about combining every random character’s sorrow, joys and troubles into a ball and cornering its main character into empathizing with the world around him. Thus is life. Combat is mildly janky, yet fluid. A one-on-one fight with a crime boss involves the quick-dodging Rush-mode, or the balanced Brawler-mode, paying close attention to an opponent’s movements to counter-attack or avoid any punches or flying kicks thrown in Kiryu’s way. An all-out brawl, however, involves the heavy Beast-style of attack, throwing stronger, slow punches at hordes of enemies, and picking up whatever weapons are in range to make it an official street fighter. I gotta say, picking up an entire motorcycle with one hand and slamming it into someone’s laid out body is one of the most satisfying, yet odd attractions about Yakuza’s combat. The wide array of everyday weapons recalls the Dead Rising series for me. I don’t know. I guess I’m a Yakuza boy now. I’m obsessed with Yakuza’s characters, city and combat. Fighting is repetitive, yet with multiple fighting modes, it’s a variety. There aren’t any cars to travel from one place to another (there are taxis, though) but walking around the city and taking in all of its neon-lit multi-storied buildings are a joy. And with the game’s intense focus on mini-games and activities – everything from visiting an arcade and playing crane machines or the real-life arcade/card game Mushiking: The King of Beetles, to bowling, darts, and going on dates with women at hostess clubs – it’s hard to say Yakuza Kiwami isn’t worth its price tag. I threw 35 hours into this game and I intend on throwing more in before the end of the month. Then it’s onto Yakuza 0. And then probably the rest of the series.

Do want to learn more about Yakuza? Check these links: Why You Should Play Yakuza: A solid video essay on the world of Yakuza by Super Eyepatch Wolf Yakuza Games, Ranked by Polygon/JC Fletcher JC Fletcher (of Tiny Cartridge) writes on Yakuza 6 An example of the weird arcade game in Kiwami, Mesuking An example of Yakuza Kiwami’s karaoke The History of Yakuza, by GameSpot

[anglenews]

Which pricey Times Square tourist trap is worth the money?

December 20, 2017 | 11:39pm Modal Trigger A family reacts to the finale of National Geographic Encounter: Ocean Odyssey in New York’s Times Square. Diane Bondareff/Invision/AP The Crossroads of the World survived its crime-and-sleaze era to rise anew as a family-friendly crossroads of finance, tourism and entertainment. It has the world’s brightest lights, hit Broadway shows, glamorous TV studios and benches for munching on Big Macs. Joining the party now: an invasion of Lilliputians, fake fish and NFL blocking dummies. Three new giant attractions promise all those wonders, each for a “mere” $37 to $39.50 per adult and $25 to $27 for kids. But although Times Square teems with 480,000 daily visitors in the weeks before New Year’s Eve, according to the Times Square Alliance, they’ve yet to swarm into the new Gulliver’s Gate, National Geographic Ocean Odyssey and NFL Experience — all of which were near-empty when I dropped in. Cattle-pen-like barriers installed to steer stampeding crowds seemed like a joke. Times Square Alliance President Tim Tompkins is confident the attractions will find their niche. “People will pay for an experience if it’s good,” he says. “Times Square has always been about giving people different, unusual experiences — whether it was the Automats and game arcades in the past or the Ferris wheel in the Toys ‘R Us store that closed. “I see these new attractions as an evolution of experiential retail or retail-tainment,” Tompkins adds. Times Square once had seedy but comparatively respectable pinball and video-game arcades like Playland and Fascination. They later gave way to pricier, family-oriented venues, such as Madame Tussauds, Ripley’s Believe It or Not! and jumbo theme restaurants. But the trend stalled due to lack of space. Venues of up to 50,000 square feet were all taken as operators salivated over Times Square’s annual flood of 131 million visitors. And that number doesn’t include New Yorkers who claim they “never go to Times Square,” but work there for nearby firms like ABC, Viacom and Morgan Stanley — and head to “Hamilton” while averting their eyes from plaza-hogging tourists. New real-estate projects opened the door to the mammoth new entertainment uses. They’re equally expensive, but their thrill factors are all over the map. Here’s what you’ll find: Behind the scenes of the new exhibit Gulliver’s Gate.Annie Wermiel/NY Post Gulliver’s Gate 216 West 44th St. http://www.gulliversgate.com This football-field-size, “technologically advanced, interactive and immersive world of miniatures” depicts 300 “scenes” of New York City and sites around the world. On paper, it could be a “Gullible’s Gate” joke. I expected to scream, “Rip-off!” about the sprawling tableau that took Israeli entrepreneur Eiran Gazit $40 million and 10 years to create. But guess what: Gulliver’s Gate is charming beyond all expectations. It’s beautiful, colorful, loving of its subjects and rich in wit and detail. If you love electric trains, this is the place for you. Gulliver’s Gate is basically a gigantic, HO-scale model railroad where hundreds of electric trains whiz through Manhattan, London, Paris, St. Petersburg, Singapore and points between. It’s a joy in a city that’s had few good model railroads since Station at CitiGroup made its last run in 2009. Buildings and mountains loom large in this Lilliputian world crafted by artisans from around the globe. Skyscrapers like Kuala Lumpur’s Petronas Towers change color from day to night, ships move serenely through harbors, and planes take off from what’s said to be the world’s largest model airport. Look closely and you’ll see a topless sunbather on a fire escape, Spider-Man on the Brooklyn Bridge and a cute Nessie popping out of Loch Ness. A key lets you activate cranes, Ferris wheels and helicopters. Open 10 a.m. to 8 p.m. every day; earlier closings on Dec. 24, 25 and 31. Adults $36, seniors $27, kids 6-12 $27. Discounts available online. Inside National Geographic’s Ocean Odyssey interactive exhibit.Erik Thomas/NY Post National Geographic Ocean Odyssey  226 West 44th St. (646) 308-1337 http://www.natgeoencounter.com You’ll “come face to face” with spectacular undersea creatures, “all without getting wet,” the promo says — but the “odyssey” through 60,000 square feet of dark rooms left me mostly high and dry. NatGeo’s “immersive entertainment experience” taps “groundbreaking technology” to simulate whales, great white sharks, giant squid and other Pacific Ocean species. “Photo-real” animation makes little fish seem to run by your feet, and mighty whales soar overhead. It’s fun to watch digital sea lions wave back at you. It’s scary to see deep-dwelling Humboldt squid (24,000 teeth per squid) do battle. But it’s a snore finding your way through a “kelp forest” maze made of plastic, tree-like “seaweed.” Bring earplugs for a room filled with nothing but a deep-sea cacophony of eerie bleeps, squeals and roars. The best feature is a seatless theater where an oceanic spectacle seems to roll all around you, as 3-D glasses bring into focus great creatures lunging and wheeling practically in your face. The IMAX-like effects are thrilling, but last barely 10 minutes. The “jaw-dropping” Ocean Odyssey might awe children, but I didn’t see a single kid — maybe because few families can afford jaw-dropping prices. Open 10 a.m. to 10:30 p.m. Sunday to Thursday; until midnight Friday and Saturday; until 2 p.m. on Dec. 31. Adults $39.50, seniors $36.50, 12-and-under $32.50. Scenes from the NFL experience in Times Square.Erik Thomas/NY Post The NFL Experience  20 Times Square (Edition by Marriott Hotel, Seventh Avenue between 47th and 48th Streets) (212) 216-0908 http://www.nflexperience.com The NFL is reeling from low ratings, star injuries and kneel-or-stand turmoil. The Experience’s pitiable pitch to “step into the game” could finish it off for good. Glass-topped displays let you view teams’ historic highlights — most of which are on YouTube for free. An orientation screen offers helpful lessons to first-timers, such as, “The offense must move the ball 10 yards in four plays to keep possession.” Besides predictable exhibits of helmets, memorabilia and an actual Vince Lombardi trophy, wall mountings show how much larger Demaryius Thomas’ hands are than yours. Blocking sleds record how much force you used in your feeble struggle at the line of scrimmage. An arena called The Stadium is described as “an incredible 4-D theater . . . with the thrill-ride of a roller coaster . . . There’s nothing like it anywhere.” Not exactly. The way your seat shakes whenever screens show a player getting tackled is exactly comparable to being in a cab when it hits a pothole. I walked through all three thinly-appointed levels in just 20 minutes. The clock will run out swiftly on this “experience” if it doesn’t get its game together soon. Open 10 a.m. to 10 p.m. Monday to Thursday through Dec. 21; 10 a.m. to midnight Friday and Saturday through Dec. 21; 10 a.m. to midnight all days Dec. 22-30. Closed Dec. 31. Adults $37, 5-12, $27. Share this: Source http://www.anglenews.com/which-pricey-times-square-tourist-trap-is-worth-the-money/

[bigapplethreeam]

Super Nintendo Curator Classic

Judging by the SNES Classic pre-order frenzy, Nintendo has another throwback hit on its hands this holiday season. Since its reveal, the new all-in-one console has received praise for its faithful SNES design, included second controller and impressive list of 21 built-in titles. However, that game list also inspired a bit of criticism. SNES Classic retails for $79.99—$20 more than NES Classic, which included 9 more games than this year’s nostalgia-tinged gray box. That price point could be attributed to the extra controller and added cord length (a common gripe among NES Classic owners), but rationalization didn’t stop some from wondering why more games weren’t included to further represent Nintendo’s 16-bit era.

Let’s pretend those complaints were taken to heart. You are a curator for SNES Classic and Nintendo brass has asked you to choose four more Super Nintendo Entertainment System games to include, bringing the total to 25. You can choose any game released for the console in North America, regardless of developer, publisher or content. The higher-ups only ask that you consider fun factor, historical significance and marketability equally during your decision making process.

 Which four games do you add to SNES Classic?I’ve included my choices after the jump, but I’d love to hear from you. I’m always looking for new games to try, and nothing beats a personal recommendation.

Game #22: Teenage Mutant Ninja Turtles IV: Turtles in Time

I’m a huge fan of beat ‘em ups, particularly Konami’s late ‘80s-early ‘90s Teenage Mutant Ninja Turtles releases. The company’s second Turtles arcade beat 'em Up, Teenage Mutant Ninja Turtles: Turtles in Time, was ported to Super Nintendo in 1992 as a numbered entry in Konami’s TMNT series for home consoles. Since then, the SNES version of Turtles in Time has been heralded as the epitome of the beat 'em up genre.

This blog may be named after the game’s introductory level, but I’m not playing favorites—Turtles IV is a varied adventure that has, no pun intended, withstood the test of time. Playing as one of four titular Turtles, gamers took on level after side-scrolling level of enemies serving the nefarious Shredder and his part-octopus, part-human brain partner in crime, Krang. The first half of the game is standard fare, taking the teenage heroes from the streets of New York City to the Technodrome, our antagonist’s lair.

After a novel boss fight against Shredder which requires players to hurl enemies at a large machine, the turtles are sent through time to take on the Foot Clan aboard dinosaurs, old west train cars and futuristic highways.

Time-hopping provided an opportunity for unique characters and settings, all made to look strikingly authentic to the Saturday morning cartoon’s art style through the power of SNES’ hardware. That power was also used to add extra touches like the ability to throw enemies at the television screen, a flourish that played into gameplay during the aforementioned Technodrome boss battle. In an era filled with “look-what-we-can-do” design philosophy, Konami’s decision to throw enemies directly at the player fell in line with the show’s radical, bodacious aesthetic.

All of this is in addition to satisfying combat, impressive vehicle-based levels and a catchy soundtrack. Turtles in Time may be the most prolific beat 'em up ever made, and it should be included in SNES Classic (if licensing fees aren’t lofty).

Game #23: Ultimate Mortal Kombat 3

The 1996 SNES port of Ultimate Mortal Kombat 3 lost a few features during its journey from arcade board to cartridge, but it’s still the de facto MK experience on the console.

Sporting positive tweaks to MK3’s fighting engine, new interactive stages and an overhauled roster featuring almost every fighter from the series’ first three entries, UMC3 was the content-heavy high-point in the MK catalog (until MK Trilogy released for the PlayStation months later).

Nintendo’s choice to omit UMK3 from SNES Classic is an easy one—the game isn’t the most family-friendly experience, and the fighting genre is already represented in SNES Classic’s game library by the also excellent (and gore-free) Street Fighter II Turbo. However, it’d be just as easy to argue for the game’s inclusion. MK was a cultural phenomena that the Classic’s key demographic has nostalgic memories of, and judging by the franchise’s inclusion in AtGame’s disappointingly cheap Sega Genesis classic systems, licensing the product wouldn’t be outside Nintendo’s budget.

Game #24: Chrono Trigger

You knew it was coming.

Designed by an all-star team that included the creators of Final Fantasy, Dragon Ball and then-competitor Enix’s Dragon Quest, SquareSoft’s Chrono Trigger shot to the top of best-ever lists soon after its 1995 release and remains in the conversation to this day.

The game’s success is often attributed to its innovation—multiple endings, robust side quests and a battle system that didn’t shift players to a second screen melded with established genre conventions to create something that felt impressive yet familiar. The beautiful art style, memorable soundtrack and engrossing story only served to pull players further into a world torn asunder by the alien entity Lavos.

Chrono Trigger’s absence from SNES Classic was pointed out online when the system was announced, and it remains a perplexing decision from the perspective of both Square Enix and Nintendo. The overall SNES Classic package is already RPG-heavy, with Square Enix’s own Final Fantasy III and Secret of Mana joining Nintendo’s Super Mario RPG and Earthbound as built-in offerings, but CT could be considered a killer-app for the retro console—a must-have to move systems—and it could be argued that the game is even more important to the SNES library than FFIII.

Maybe Nintendo knew it didn’t need CT to sell SNES Classic. Maybe Square Enix wanted too much for the game, but was willing to negotiate on Secret of Mana, a title it’d love to shine a light on in advance of its 2018 PS4/Vita remake.

Whatever the case, SNES Classic is shipping sans one of the best interactive experiences of the 16-bit era.

Game #25: Donkey Kong Country 2: Diddy Kong’s Quest

The theme of 1995 platformer Donkey Kong Country 2: Diddy Kong’s Quest was more. Better graphics, steeper difficulty and a larger variety in gameplay put this sequel on the same level as its predecessor—arguably, it may be better. So why was it left out of the nostalgia party while the original Donkey Kong Country barrels into stores Sept. 29? It looks like Diddy’s starring vehicle was just a victim of circumstance.

Donkey Kong Country is an iconic platformer that reinvented the character for a new generation. The game’s two sequels may have pushed the SNES to its limits to realize the vision of trilogy developer Rare, but no experience can trump the memories of Mine Cart Carnage.

Alternatively, SNES Classic’s robust offering of platformers may be to blame. What if including Diddy’s moment in the sun is overkill on 2D’s favorite genre?

At least Diddy’s fans can look forward to reliving the simian’s supporting appearance in the rightfully-acclaimed original DKC—until Nintendo 64 Classic gives us a new way to play Diddy Kong Racing.