#bike game fun (also very hard so play the demo before buying)

[ridl]

nice resting place :) + extra pics of newly acquired bow and arrows i'm really enjoying

[lyouna]

The story of Josh Dun

Joshua William “Josh” Dun is an American musician. Best known for being the drummer for the band Twenty One Pilots. He was born in Columbus, Ohio, on June 18, 1988. His star sign is Gemini. He has two sisters named Ashley and Abigail and a brother named Jordan.

Since his childhood, he was always terrified by talking in front of people even if it was a small group of it. However, when he is playing drums he does not feel that way, he is not as vulnerable as that when it comes to talking.

He self-taught when he was around 12 how to play drums, and worked at the Guitar Center for 3 years. He also worked with former Twenty One Pilots drummer Chris Salih, through whom he would eventually meet Tyler Joseph.

Dun's first foray into the music industry was with an alternative/Christian rock band House of Heroes. He joined the band through their drummer, Colin Rigsby, who was taking a break to spend time with his family. Dun played alongside the band on tour from March to October 2010 when Rigsby returned to his role. 

"I would lay in my bed every night with sticks and hit my knees trying to figure out what they were doing, like, 'Okay, now they're hitting the ride cymbal, and now it's the snare and now the crash.' I would dissect everything that I watched or listened to. Every day I would walk to the local music store and play their electronic drums until one of the workers would be like, 'Hey, we have people in here that actually want to buy stuff so you've gotta go.' I did that for about a year and that's essentially how I learned to play some basic beats."

Throughout both middle school and high school, he didn't have a lot of money and it helps him to be more creative. He even thought about finding pieces of wood and figure it out how to make them in a drum. Figure out how they would sound with different holes in it, with different types of wood... Nevertheless, at this end, he said that the best drum set he had was one of SJC Drums.

He likes nothing more to do than to play drums; in fact, he plays the exact same way when he is in a dark room by himself and when he is in front of thousands of people. He said that he wants to be creative and just to get outside of the box even if that sounds weird.

He said that although his inspiration comes from some drummers, his greatest inspiration is his parents. Indeed, he starts playing drums in a sort of rebellious state again them and that turns into them being more than supportive.

In 2011, upon the invite of co-worker and the band's drummer Chris Salih, Dun attended a Twenty One Pilots show after listening to their original demo CD.  Josh first saw Twenty One Pilots at a club on the Ohio State campus. “I loved everything about the show except for one thing: I wasn’t onstage playing also,” he says. After the show, he met lead singer and future bandmate Tyler Joseph, and a couple of days later began to build a friendship with him. It would be another year before Joseph’s original drummer quit and Dun got the job, but they had become best friends in the meantime.

By 2012, Joseph had grown into a ferocious performer, climbing the scaffolding and diving into audiences. The duo became the biggest band in central Ohio, putting every spare penny into the band and focusing intensely on their local fans. They filmed much of the “Stressed Out” video at Dun’s childhood home, so it has become a destination for Twenty One Pilots fans.

 The highest point of his sort of musical journey was (according to his words) when he played for a college show at Ohio University. It was full of drunken kids, one of them even tried to pee on his drums and then on their merch. They eventually played one song and after it, the police shut them down. However, he said that it was the first show that he played with Tyler Joseph. He realized during this one song that he was playing with his best friend and he will never forget that.

The duo then released the band’s second studio album, Regional at Best. It was self-released on July 8, 2011. Regional at Best is a discontinued album. It is the last album released by the band prior to signing a record deal with Fueled by Ramen, and it is the first album to feature the talents of Josh Dun.

Josh Dun was raised in conservative, religious households. Video games and most rocks or hip-hop albums were banned. "I’d hide albums like Green Day’s Dookie under my bed," Dun says. "Sometimes they’d find them and get real mad. They’d find a Christian alternative, like Relient K, and make me listen to that."

For a while, the only movies allowed in the house came from CleanFlicks, a Christian company that took Hollywood movies and edited out all the profanity, sexuality and violence. For a young Dun, it made watching movies like The Terminator quite confusing. "Some scenes they’d remove entirely," he says. "Watching those movies was an absolutely awful experience."

By the time he was a teenager, Josh was rebelling hard. "I just had this aggression," he says, noting that his parents nearly kicked him out when he was 14. "They almost sent me to a military school. They did not know what to do with me, and I was always in detention. I never got into drugs or alcohol, but I would yell at my parents and just treat them terribly. Everything was an argument. Looking back, they were trying their best."

When his parents fell asleep, he would break out his punk-pop CDs; eventually, they softened up on rock music, allowing him to assemble a drum kit in his basement piece by piece with his own money. After he said this to some interviewers, he called his parents to explain himself.

"I actually called my parents after some articles came out – I never wanted for them to be painted in a bad light.

‘I’m so thankful for the way that I was raised. Ultimately, the idea of parents being strict or having rules, looking back, I did have a really rebellious phase and did whatever I could to do the opposite of what they wanted.

‘That’s all on me. For them, I think they were trying to do their best to raise me as best they could. They were trying to make the best decisions for me, and looking back, I can see they were the right decisions.

‘As I look at the rules I had, I wasn’t allowed to play video games or watch TV, so I went outside and made up games with my neighbourhood friends or built dirt ramps and rode our bikes over them.

‘I would be out from morning to night. I look at that, and I can’t imagine it if my parents had let me sit in and watch TV all day – I’d be a different person to who I am today, it’s thanks to them saying ‘‘get out and go do something"

He did not go to college, moving in with a bunch of buddies instead and playing in local bands while scraping by working in the drum department of Guitar Center. "I was going nowhere," he says. "One day I said to my dad, ‘Are you disappointed that I’m working a minimum-wage job and I didn’t go to college?’ I’ll never forget his response. He said, ‘It’s not about how much money you make or what your job is, but it’s more about your character. For that, I’m proud of you.’ It gave me motivation."

During an interview, Josh said “We’re always questioning things,” he says, “but I guess it’s safe to say that we’re both Christians.”

Although Columbus is still very much the Pilots’ base, Josh actually moved out to L.A a couple of years ago in pursuit of more sunshine while Tyler remained there. However, he says it has not made them working together any more difficult. “I’m equally in Columbus as much as I am there. We discussed this a lot before I moved out there. I always feared talking about us being in different places because I think that can be confusing to people from an outside standpoint - like are you guys still friends? Are you still in the band? We had so many conversations about logistics, but first of all, we’re together more than we’re not together over the course of a year. We’re on the phone every day and with technology, it’s so easy to get things done.”

On January 8, 2013, Vessel was born, it was their first album after signing with Fueled By Ramen and it received mainstream exposure. On May 17, 2015, Blurryface was released and the band received international success.

In July 2017, Twenty One Pilots went on hiatus for a year whilst they worked on their next album. On October 5, 2018, Trench was released, it was also a commercial success, reaching number one in six countries, including Australia, New Zealand, Spain, and the Netherlands and number two in several countries, notably the United Kingdom and the United States, as well as selling more than a million copies worldwide.

Therefore, he needed to learn how to deals with notoriety, he had the help of Tyler Joseph (of course), his family, and Debby Ryan. Indeed, from May 2013 to September 2014, he had a relationship with her. They got back together a few years later and in December 2018, Josh posted on Instagram his engagement to Debby in New Zealand during the second leg of The Bandito Tour. He wrote, «I found a tree house in the woods in New Zealand and proposed to my girl. She my dude for life. I love you Debby".

She also posts about it «My dude asked me on a date. I said yeah because I always want to go on dates with him. Then he asked me to be his forever dude. He does things well, and right. His timing has pressed us and never failed us. He's sincere and fun and disciplined and strong as heck and a nerd and a rockstar and a good midwestern man and a silly shirtless boy, and his family is endlessly warm and delightful and are such champions. I have two parents and a brother; they're superheroes and they're my home. They've been the only thing that moves my needle with the fierceness of deep empathy. I have never that out in the world. I guess I figured it wasn't a connection you could stumble upon, only something you could only be born into. Falling in love with joshua was discovering it in the wild. Building it with him, building in certainty, infinite in wonder. Our own lil family. Feels like growing up and moving through life is just evolving through different types of complicated. He is where all the voices narrow into one sound. My only simplicity, where the important things are clear and the other things aren't that important. He's my heart outside my body. He's a cold water awakening a warm bed; he's the place I can rest. Dudes for life. It was a really good date."

Josh has many tattoos and every single one have a strong signification. Firstly, John Graefe tattooed his right arm and then tell the story of it. “I was tattooing in Hollywood and he came in with bandmate, Tyler. They weren’t half as big as they are today and I had no idea at first. I just asked him the whole meaning behind his tattoo and he asked me to come up with the vision.”

 The tattoo on his right arm had a blue geometric-like image or something that looks like a galaxy. Below is the image of nature. The musician mentioned that he would share this if it’s personally asked, but he did not want it spreading all over the Internet.

Both he and Tyler have an "X" tattoo on their body symbolizing their dedication to their hometown fans in Columbus, Ohio. They received it on stage during their hometown show at the Lifestyle Communities Pavilion on April 26, 2013. Dun's is located on his neck behind his right ear.

In October 2015, Tyler and Josh asked their fans to choose one of them among themselves via a vote on Twitter. The winner should have his name on the loser on stage. For 24 hours, the two boys shot several videos parodying the presidential debates on topics such as Christmas music or their favorite drink, the Red bull. The results of the vote were equal. Therefore, Dun sports the name "Tyler" above his left knee.

Josh has a tattoo on the inside of his left arm dedicated to his mom. A heart with "mom" written inside of it.  Which she answers on Instagram by “These past few months have been exciting seeing how far Josh and Tyler have gone. But it’s been a little hard for me as a mother to feel like I have to share my son with the world. Josh, you getting this tattoo means so much to me. I love you and now your stuck with Mom forever! <3”

He has a drum tattoo on his left arm.

Chantelle Thong made his last tattoo during the Bandito Tour, on December 2018. It represents an astronaut/spaceman flipping, while simultaneously being abducted or levitating into a spaceship. It might be a reference to March to the sea. Fans assumed that the spaceman is Josh Dun.

[lukeylukerson-blog]

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[ramajmedia]

Wreckfest Console Version Review: A Smashing Good Time

Wreckfest finally arrives on consoles to deliver demolition derby destruction and vehicle-smashing races, and it was worth the long wait.

It’s hard to not have fun while playing Wreckfest. Developed by Bugbear Entertainment and produced by THQ Nordic, Wreckfest has been available on PC since the summer of 2018 but only just recently released on consoles. Originally announced under the title Next Car Game all the way back in 2013, Wreckfest has gone through multiple hurdles and failed attempts to launch, but just like the vehicles it features sometimes things simply need to get a little smashed up before they cross the finish line. 

After a failed Kickstarter attempt in 2013 that saw the company abandoning hope of reaching their seemingly manageable goal of $350,000 before the campaign even ended, Wreckfest was then released as an early pre-order title on Bugbear’s own website, which also included a free tech demo of the game’s physics and crash mechanics. While not a complete version by any means, this demo was enjoyable enough to bring in new eyes on Bugbear’s product, and during Christmas of that year a playable early access version of the game was released that featured two vehicles and three tracks, one of which was a demolition derby arena. This preview was so well-received that within a week Bugbear had surpassed their previous goal of $350,000 in early access sales, and in January of 2014 the game was introduced to Steam Early Access, where it proved to be even more popular, earning over $1 million in a single week. 

Related: Knights and Bikes Review: Goonie Things

Playing the full version, released on PlayStation 4 and Xbox One earlier this week, it’s easy to see why. While most racing games these days feature a strict adherence to rules and regulations, Wreckfest is more about enjoying the experience of racing itself. Rather than punishing players for damaging their vehicle, here it is encouraged, even offering experience boosts to players who perform actions like spinning out or shunting their opponents. Very few missions force the player to come in first place, opting instead for objectives like “Wreck three opponents” or “Cause at least 5000 points in damage.” Certain events, such as Heat Races, only ask that racers finish in the top half of the bracket, and others will let players progress even if they come in last place.  

Of course, coming in last place won’t net a player much in the way of credits, which are used to buy new vehicles and upgrades in the game’s garage. All races and derbies, even the one-off custom ones, add to the player’s experience points and credit score once completed, and since certain Career Mode events are only available to specific types of automobiles it’s important to keep a nicely stuffed wallet at all times. Almost every vehicle in the game features a multitude of upgrade-able parts, including engines, camshafts, valves, and pistons. Some special vehicles, like lawnmowers, buses, and combine harvesters, do not feature such upgrades, but can still be modified and personalized via paint schemes and livery decals. 

The Career Mode, which features the bulk of the game’s challenges, is broken down into five different championships that see the player beginning a racing career in the Regional Juniors and working their way through the National Amateur, Challenger, and Pro International leagues in order to emerge victorious in the World Masters. Each of these tournaments are filled with separate races and demolition derbies of varying lengths and difficulties, all of which provide the player with a number of tournament points upon completion. Accumulating the required number of points is the only way to win a championship, but thankfully many of the events can be done in whatever order the player desires and there is enough variety in the challenges so that if a player feels overwhelmed by, say, a three heat race that culminates in twelve laps, they can choose to earn their points in a demolition derby instead.   

Longer races such as these really show off the game’s physics engine, as each additional lap sees more debris and car parts littering the racetrack. Opponents that have been demolished over the course of the race do not disappear, instead becoming yet another obstacle that needs to be avoided lest the player become a flaming hunk of twisted metal themselves. Rubber tires, barrels, and destructible scaffolding line the edges of most tracks, and smashing other cars into them is as satisfying as it is beautiful.  

The massive amount of physics objects featured in Wreckfest could have something to do with the game’s loading times, which even on a PS4 Pro seem a little excessive. While not nearly as bad as the minute-and-a-half loading screens found in early releases of Bloodborne, a player can expect to wait an average of 30-38 seconds for a race to load, which breaks up the pacing a bit and becomes rather irritating when trying to squeeze in a quick smash-up before work. However, issues like screen tearing, frame rate drops, and other graphical hiccups appear to be almost entirely absent during races, which is both impressive and almost worth the longer waiting time. 

An interesting addition to Wreckfest’s gameplay is the Reset feature, which can be activated at any point during a race or derby when the player’s vehicle is under a certain speed. Normally used to return the player to the racetrack after getting knocked off course or flipping upside-down, the Reset function also makes the vehicle in question invulnerable for a brief few moments after reappearing by turning the clipping off. This allows other racers to pass straight through the vehicle as if it was a ghost, and while the effect is intended to only last for a few seconds the car will not become solid again until it is entirely untouched by other racers.

This means that, by staying in contact with another driver after resetting, a player can keep their clipping turned off almost indefinitely, which allows for sneaky tricks like driving straight through a massive pile-up on the raceway. The Reset function is also incredibly helpful in the game’s demolition derbies, where a player can press it to return their car to the edge of the arena mere seconds before getting smashed by another driver. In solo mode this almost feels unfair, since the computer’s AI seems to lack any such feature and instead can only flounder helplessly if knocked upside-down or off-track.  

As far as the tracks themselves go, Wreckfest offers a large variety of both off-road and professional raceways for the vehicular carnage to take place upon. While some automobiles are better suited for dirt than asphalt, options are given to the player at the start of each race to tune suspension, gear ratio, differentials, and brake balance in order to get the best result from the required vehicle.

The appearance of these racetracks can vary depending on the time of day, and although the game unfortunately does not feature any serious weather effects like wind, rain, or snow, a race that takes place during a cloudy sunset can look strikingly different from the same race on a foggy morning.

Lacking any sort of story, Wreckfest often feels like a game that would have done well at an arcade in the early '90s, especially during the more ridiculous events like super-powered sofa demolition derbies. The ability to add novelty decorations to the tops of vehicles, like coffins on limousines or giant, stuffed sharks on derby cars, only serves to enhance this feeling. Even though the game does not feature arcade-like elements such as the boosts and power-ups which made franchises like Burnout so much fun, the ridiculously detailed destructible vehicles and environments are more than enough to make this a worthy successor to games like Demolition Derby and developer Bugbear Entertainment’s own FlatOut series, and is surely a worthy time-waster for racing fans before Need for Speed Heat comes out. Just be sure to buckle up. 

Next: Ancestors: The Humandkind Odyssey Review: A Link Not Worth Missing

Wreckfest is out now on PC, PS4, and Xbox One. A PS4 code was provided to ScreenRant for the purposes of this review.

source https://screenrant.com/wreckfest-consoles-review/

[entergamingxp]

my life with Jason Brookes • Eurogamer.net

In the autumn of 1995, I interviewed for a writing position on Edge magazine. I had no experience in publishing; I’d spent a year since leaving university writing manuals and design documents for the developer Big Red Software, but I was desperate to be a journalist. Although I hadn’t read Edge that much, everyone I worked with treated it like a holy text. It felt like a long shot. Then Jason Brookes turned up late for my interview, was friendly but distracted throughout, and at the end set me a writing task before disappearing completely. I assumed I had failed. Over a month later however, he called me and offered me a job. This was my first inkling that Jason had his own way of working.

Three days ago I got a call from Simon Cox who joined Edge just after me and later became deputy editor. Jason had been ill for three years – he died in the early hours of Monday morning. Between long difficult pauses, Simon and I swapped a few stories about our time on the magazine. I put the phone down and cried, and thought about Jason. That’s what I’ve been doing ever since.

Jason Brookes began his journalism career at the cult Super Nintendo magazine SuperPlay, under the tutorage of launch editor, Matt Bielby. He’d originally applied for a job on the Sega magazine, Mega, but editor Neil West soon realised Brookes was a complete Nintendo fanboy and pushed him Bielby’s way. “From the start, we were influenced by Japanese magazines – not just games mags, but women’s mags, car mags and anything else we could get our hands on – as well as Japanese comics and anime,” says Bielby. “What struck me about Jason was just how much he knew about and loved Japanese culture – and gaming in particular, and Nintendo especially amongst that. He knew more about all of it than the rest of us put together.

Photo credit: Hilary Nichols.

“Getting reliable info on Japanese games was a painful, time-consuming business in the pre-internet days, involving late-night phone calls to the other side of the world, local language students doing vaguely comprehensible translations for us from Japanese magazine articles, and all sorts of palaver. Jason was intrinsic to this.”

As there were so few SNES games officially released in the UK each month, the SuperPlay team was forced to scour the obscure grey import market – and this was Jason’s forte. “Even if the average SuperPlay reader was never going to buy Super Wagan Island or Zan II, the fact that it existed and we could tell people about it added to the unique feel of the magazine,” says Beilby. “Jason would find all sorts of obscure stuff that I, for one, couldn’t get my head around at all. It became his territory in a way, and his enthusiasm made us all consider the most oddball releases in a new light.”

In 1993, Future Publishing’s magazine launch specialist Steve Jarrett was looking for writing staff to help with an ambitious project. It was a new type of games magazine, eschewing the pally, hobbyist tone of most publications of the era in favour of a serious, refined, journalistic style, inspired by visual effects mag, Cinefex. That project was Edge. “He made a huge impact on the magazine,” says Jarrett. “He filled in a lot of the gaps in my knowledge – he brought with him his love of Japanese culture, games and game art – and at the time, that was where all the innovation was coming from. He opened Edge up. He was fortunate, too, because I wasn’t so keen on travel at the time so he did all the trips to the US and Japan!”

His first issue as editor was Edge 11, which featured a series of exclusive articles on the forthcoming PlayStation console, which at the time was still known by its codename, PS-X. Jason and Matt had been invited by Sony’s third-party development manager Phil Harrison to view the legendary T-Rex graphics demo being touted to developers, and Jason later secured interviews with staff within Sony Computer Entertainment Japan, as well as at Namco, Konami and Capcom for the big reveal feature. Over the course of ten packed pages, the magazine communicated the importance and potential impact of this vital newcomer to the games industry. As a knowledgeable fan of dance music, Jason also perfectly understood Sony’s determination to align PlayStation with the ascendant 1990s club culture, running several articles on the machine’s groundbreaking marketing and its relationship with hip brands such as Ministry of Sound and Designers Republic. He saw that both the audience and industry were maturing, and that popular culture would have to cede ground to video games. He just got it.

The Edge office in the mid-1990s was a cross between a university halls of residence, a night club and a game development studio – an atmosphere utterly presided over by Jason. He was an unapologetic perfectionist, determined that every page of the magazine exemplified the Edge vision of style and substance. He would spend hours choosing exactly the right photograph or screenshot for even the most minor preview, and my abiding memory of him is hunched over a lightbox, examining 35mm slides from some Japanese arcade trade show or obscure Shibuya-based development studio.

Everything would always come together at the last possible minute. The magazine flatplan – the page layout guide that showed writing and art staff what each issue would contain – was almost always virtually empty until the week before deadline. Then suddenly, Jason would announce that he’d secured an interview with Howard Lincoln or Miyamoto, Peter Molyneux or Bill Gates, or an exclusive look at some amazing new AM2 arcade game, then we’d be off. He’d trust us too. I remember the day Susie Hamilton from Derby-based developer Core Design (then best known for aging Mega Drive title Thunderhawk) brought their latest project into the office for us to see – something called Tomb Raider. Jason wasn’t interested so me and production editor Nick Harper had a play during our lunch hour. I think within five seconds we were over at Jason’s desk, saying “Um, we think you’d better come and have a look at this.” Straightaway he gave it two pages. Deadlines would often involve two or three all-night sessions, the whole team writing and laying out pages as Orbital blasted from the stereo. It was hard work, but it was fun. We’d smuggle beer in, and Edge’s art editor Terry Stokes, an inveterate prankster, would set up elaborate traps for us around the office.

What did I learn during this fraught, tense, hilarious nights? I learned everything about writing quickly, about getting the best from poorly translated interviews, about how every sentence needs to carry a fact or idea that takes the story forward. Jason hated waffle, he hated mediocre, colourless writing. He wanted us to communicate the joy of a Treasure shooter, the technological magic inherent in a lit, textured polygon, the underlying philosophy of an executive soundbite. He thought deeply about games and how they functioned. His favourite was R-Type and to hear him break it down was to hear a Nobel prize-winning scientist explaining DNA strands. As Jason’s brother Matthew recalls, “He loved the passionate attention to detail, the creativity, the huge sprites, the multi-layered parallax, the colours, and even the superlative collision detection. I’m not sure how long he must have spent playing and eventually completing that game.”

Jason didn’t teach us how to make a magazine, he just expected us to know. When I turned up to the Edge office on my first day of work, he told me to take screenshots of Sega Rally. I didn’t know what the hell that meant, I had no idea of the process. I just had to go over to the Sega Saturn, plug the leads in, figure out how to use the Apple Mac connected to our CRT gaming monitor and get on with it. Sometimes, he’d disappear to Japan or LA for a week and you wouldn’t know when he was coming back, you’d have to piece together his intentions from vague emails and editorial meeting notes. That’s just the way it worked, we all knew it. You figured stuff out. And then he’d return and flip through the latest issue of the mag and say “you did a really good job on this article” and my god, you’d glow with pride all day.

His perfectionism at Edge lasted until his very last act at the magazine – his final Editor’s Intro. “I just remember how long it took him to craft it,” says production editor at the time, Jane Bentley. “That sign off was the most agonising 300 words I’ve ever seen someone write and rewrite. I think I came out in hives having to stay up all night for final sub checks before the mag could get biked off to the printers. But Edge was a magic world back then. A real gang of super fans.”

After this, he moved to San Francisco writing for US magazines Xbox Nation and GMR as well Japanese publications LOGiN and Famitsu. More recently, he got back into pure design, helping indie studio 17-Bit Studios create its website.

A few months before he died, we all attended Simon Cox’s wedding in the Cotswolds. I sat next to Jason for most of the reception, and we reminisced about the olden days. At some point quite late on, after a few glasses of champagne, I said to him, “when you gave me the job on Edge, you changed my life. Everything I have done in writing after that is really down to you.” He just smiled at me in that charming and slightly airy way of his. I hope I have lived up to whatever it was you saw in me on that warm autumn afternoon long ago.

This is what I have learned from Jason Brookes: be good at what you do. Take care. Make every sentence you write, every image you capture, every idea you foster mean something. And if you are given the chance to thank someone for helping you, take that chance. In fact, do it now. Email them, text them, put down your phone or close your laptop and go find them. Tell them what they did. Because life can be cruel, and important people are sometimes taken away too soon. Jason, you were brilliant, difficult, talented, chaotic, spiritual and loving. You always ended your editor’s intros with a single phrase – the future is almost here. That’s how you lived – with one foot in next week, or next year, or the next decade even, waiting with a smile on your face for the rest of us to catch up.

from EnterGamingXP https://entergamingxp.com/2019/12/my-life-with-jason-brookes-%e2%80%a2-eurogamer-net/?utm_source=rss&utm_medium=rss&utm_campaign=my-life-with-jason-brookes-%25e2%2580%25a2-eurogamer-net

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