#kotaku australia

[tachyonblu]

Had a great in-depth interview about GamerGate with Erik Kain last night! We also discussed his political views, if Biden should drop, Sweet Baby Inc, Kabrutus lying about Yiyi Zhang, Kotaku Australia closing, IGN purchasing Gamer Network &b a lot more! We'll do a part 2!

[grimlocksword]

Kotaku FIRES more woke gaming journalists! Gamers are DONE with disingen...

[estherax]

Disco Elysium creative team VS Studio ZA/UM: the complete(?) timeline (updated on March 24th)

Recent news confused a lot of people, including me, so I made a timeline of events to understand the situation better! If you have any corrections, more info and sources feel free to reach out to me or add to this post!

Important parts are highlighted in orange, names and organizations to keep in mind are in italics, the newest corrections and updates are highlighted in green, other information elaborating on the situation is in (brackets).

October 1st, 2022. Martin Luiga puts out a Medium post announcing the dissolution of ZA/UM cultural association and confirming that Kurvitz, Hindpere, Rostov no longer work at ZA/UM studio "since the end of last year and their leaving the company was involuntary."

October 3rd 2022. Kotaku published an article, claiming "the studio hasn’t been transparent about what exactly happened with staff either." According to "two sources familiar with the situation, the studio’s internal announcement of Kurvitz’s departure late last year [2021] also contained a threat of possible legal action against him. Any split would have been made messier by Kurvitz and Rostov being shareholders in the studio, the sources said. It’s also clear ZA/UM has gone out of its way to try and keep the situation quiet. Kotaku reached out for an interview with Kurvitz in February [2022]. The studio declined on his behalf, but provided no indication the developer had already left the company." Kotaku also mentions a tweet from Martin Luiga announcing the dissolution of ZA/UM cultural association. One of Martin's tweets (further elaborating on the dissolution) was quote tweeted by user nob69691 with caption "the suits have killed disco", to which he responded with pictures of the game’s executive producers, Tõnis Haavel and Kaur Kender.

October 25th, 2022. Kotaku Australia reports Kurvitz’s company, Telomer, has filed an application against Studio ZA/UM to "obtain information and review documents." Court date is listed as November 28th, 2022.

Kotaku also reached out to Martin Luiga for a comment; when asked if the case’s purpose was to regain control of the Elysium IP, he responded, “What else could it possibly be?”

November 9th, 2022. Studio ZA/UM puts out a statement detailing the dismissed employees (unnamed) "had limited to no engagement in their responsibilities and work, created a toxic work environment, demonstrated misconduct towards other employees including verbal abuse and gender discrimination, and attempted to illegally sell ZA/UM's intellectual property".

In an Estonian newspaper, Estonian Ekspress, ZA/UM CEO Ilmar Kompus has further accused Kurvitz and shareholder Saandar Taal (Rostov's alias) of "humiliating colleagues and intending to steal IP" as well as "belittling women and co-workers."

Kompus added that their dismissal was demanded and carried out by Kaur Kender, executive producer on Disco Elysium and their direct manager at the time. Kender was placed on a leave of absence on medical grounds in late August according to Kompus.

Speaking to the Estonian Ekspress, Martin Luiga said he was "driven to drink by the unnatural work arrangement" at the studio. "The work was organised in such a way that the goal did not seem to be to make games, but rather to make people quarrel with each other."

(I am also adding anonymous claims, take them with a grain of salt)

One source that spoke to GamesIndustry.biz, who asked to remain anonymous, described the situation as "not black and white," and said that long-term staff were reluctant to speak out about Kurvitz’ behaviour because they respected him, and felt like they owed him for their positions. Sources that spoke to the Estonian Ekspress described a clash of two visions between the business team of ZA/UM led by Kompus, and the creative team formerly headed by Robert Kurvitz, which considered profit "secondary." This was corroborated by our sources, one of which described the situation as "CEO corporate scheming on one side, a toxic auteur on the other."

On the same day, Kurvitz and Rostov shared a Medium post explaining their side. Kurvitz and Rostov are minority shareholders in Studio ZA/UM, while "the majority of this company’s shares were initially held by Margus Linnamäe, who provided the initial capital. In 2021, Linnamäe was bought out by another minority shareholder," a company called Tütreke. They say this company "is a vehicle for two Estonian businessmen — Ilmar Kompus and Tõnis Haavel." Kurvitz and Rostov described Linnamäe as a trusted majority shareholder, but didn't share the same sentiment regarding Kompus and Haavel. "As soon as they became majority shareholders, we were quickly excluded from daily operations, our employment was terminated and our access to the company’s information was shut off. Our firing came weeks after we started asking for documents and financial data, which is still being kept from us. We have now learned that Tütreke OÜ must have obtained control over Zaum Studio OÜ by fraud. We believe the money used by Tütreke OÜ to buy the majority stake was taken illegally from Zaum Studio OÜ itself".

Studio ZA/UM denied any claims of fraud and insisted that dismissal of wokers "was a decision that had to be taken for the wellbeing of the collective."

Correction: Ilmar Kompus's statement came out first on Estonian Ekspress on November 8th 2022 21:06. His statement and Studio ZA/UM's statement given to GameIndustry.biz were reproduced and published in a GameIndustry.biz report on November 9th. Rostov and Kurvitz's Medium statement came out later on November 9th. GameIndustry.biz report added an excerpt from Medium on November 10th. (i used Wayback Machine to check this, the report was updated between 11:08 and 11:53)

November 9th 2022. Kotaku puts out an article, summarizing the above statments from Studio ZA/UM, Kompus, Kurvitz and Rostov. "When asked by Kotaku, a spokesperson for ZA/UM declined to elaborate beyond its original statement [about dismissal of employees over misconduct], including whether the allegations also applied to Rostov as well as Helen Hindpere."

23rd of November, 2022. PC Gamer reports a hearing was held in Harju County Court in October, where Kurvitz and Rostov argued that Kompus had allegedly sold four concept sketches (for Disco Elysium sequel), to Tütreke for just over €1 and then immediately bought them back for €4.8 million using Studio ZA/UM's money. This amount is what was apparently used to buy Linnamäe's large stake, and put it in the hands of Kompus. "Kompus allegedly hoped that ZA/UM and Disco Elysium could be resold quickly. [...] But there remained a problem: Robert Kurvitz is the creator of Disco Elysium, still owns a piece of it, and has the right to block any acquisition."

The latest legal battle was lodged by Kaur Kender, executive producer and marketing manager of the game, "who claimed in court that Kompus cheated him out of just under €1,000,000." At Kender's request, the court seized Kompus' stake in Studio ZA/UM to prevent a sale or transfer of holdings during the proceedings.

Haavel is also accused in the lawsuit of following Kompus' actions. The filing pointed out that the holder of the IP rights to Disco Elysium is a subsidiary called YESSIRNOSIR LTD, which is owned by ZA/UM UK. The director of ZA/UM UK is Anu Reiman, who is also reportedly a partner of Haavel's. Kender claims that Haavel's involvement is being "kept secret" because he's €11.2 million in debt as a result of his 2015 conviction.

Speaking to the Estonian Ekspress, Kompus denied the existence of a lawsuit against him, and Haavel called the allegations "completely absurd." Both were shown legal documents by the outlet and did not respond.

December 8th, 2022. According to GamesIndustry.biz article, Kaur Kender has withdrawn a lawsuit against Tütreke.

Studio ZA/UM provided a statement from Kompus, but could not provide a reason for Kender's withdrawal. Kompus says: "We are pleased that Kender and his attorneys have chosen to withdraw their lawsuit – one that should never have been filed in the first place. Their decision affirms there was no basis for their accusations and that I have acted appropriately and responsibly, as underscored by the corporate records I provided."

The article also mentions Studio ZA/UM was unable to provide an update on the suit's progression against Kurvitz's company, Telomer.

PC Gamer reached for comment, Kender stated that his lawsuit against the owner of Studio ZA/UM proved to be successful and provided a timeline of the lawsuit:

Kaur Kender's lawsuit against the owner of ZA/UM was successful.

Kaur Kender's (his company, Chromed Investing OÜ) lawsuit against the owner of Zaum Studio OÜ proved to be successful.

On October 25, 2022, Kaur Kender's company filed a lawsuit against OÜ Tütreke (Ilmar Kompus company), in which was demanded the seizure of Zaum Studio OÜ's share belonging to OÜ Tütreke.

On October 29, 2022, the Estonian court secured the action and shares belonging to OÜ Tütreke were seized.

On October 31, 2022, the order securing the action was forwarded to Nasdaq and the Estonian Business Register.

On November 1, 2022, Kaur Kender sent a letter in English to contacts, including Ilmar Kompus and Tõnis Haavel, stating that the minority shareholders demand the convening of a general meeting.

On November 4, 2022, Ilmar Kompus' company OÜ Tütreke paid a total of 4 million euros to Zaum Studios OÜ in two payments.

On November 11, 2022, Ilmar Kompus' company OÜ Tütreke paid 800,000 euros to ZA/UM Studios OÜ.

Ilmar Kompus referred in the corresponding payment orders: "Return of the amounts received on the basis of the contract on 12.2021-01.2022 due to the nullity of the contract".

To the extent that Ilmar Kompus returned the illegally taken 4,800,000 euros, Kaur Kender achieved the goal of the lawsuit filed, and the court proceedings in this case will be terminated.

PC Gamer also provided commentary and an excerpt from Estonian Ekspress: "Eesti Ekspress reports that Kompus "paid back" €4.8 million to Studio ZA/UM in November. The outlet says that the reason provided for the transaction was that the €4.8 million "was received on the basis of a void transaction." Eesti Ekspress points out that Kompus "controls both sides" of that void transaction. [...] By now transferring €4.8 million to the company to repay it for a "void transaction," the intended message seems to be that he didn't use company money to buy his shares. But why did he have the €4.8 million in the first place?"

Robert Kurvitz told PC Gamer that his party is aware of "Kompus’s view that the money taken from ZA/UM Studio was 'repaid'." Kurvitz says he's seen a "partial bank statement allegedly confirming such repayment," but remains unclear on the "source and legal nature of this repayment, and the further use of the allegedly repaid funds."

"Further, any 'repayment' of the company’s money which was used to illegally acquire a majority stake does not erase the main consequence of the initial injustice⁠—which is that Kompus remains the majority owner, a position that he was only able to attain by using the company’s money as his own," said Kurvitz. "In light of this, there has been no material change in our situation, and we continue to consider our legal options. We cannot comment on the decisions taken by Kaur Kender with regard to his claim, to which we were never a party."

March 14, 2023. GamesIndustry.biz reports legal dispute between Studio ZA/UM and the game's producer Kaur Kender has been resolved.

"ZA/UM has announced that ex-staffer Kender has repaid all debts owed to it. Also, per a court order, Kender has repaid CEO Ilmar Kompus for legal fees from a lawsuit that was eventually withdrawn back in December. Additionally, he's divested all his shares in the games company.

Studio ZA/UM says both Kurvitz and Rostov have dropped their "unfair dismissal" claims due to lack of evidence. However, the company says it continues to face a "series of baseless allegations from former employees" and expects more claims to "fall apart under legal and factual scrutiny."

March 16, 2023. In a statement sent to GamesIndustry.biz, Kurvitz and Taal (alias for Aleksander Rostov) said the press release is false in multiple areas. The pair maintain they are the remaining minority shareholders of the studio. The developers explained, "The press release implies that our employment claims against the studio were withdrawn for lack of evidence. They were not. We see our dismissal as part of a larger campaign against us and will pursue legal options accordingly." The statement adds that they disagreed with Kender admitting the lawsuit he withdrew in December 2022 was misguided.

"Kender's lawsuit was based on the misuse of ZA/UM's funds (€4.8 million) by the majority shareholders [Ilmar Kompus and Tõnis Haavel] to increase their own stake in the company. In the press release, Kompus and Haavel admit to this misuse, arguing only that the money has been 'paid back to ZA/UM,' " the duo explained.

"Paying back stolen money, however, does not undo the crime; here, it does not undo the majority that Kompus and Haavel have illegally gained in ZA/UM."

Additionally, they described that, unlike Kender, they will not be silenced in this ongoing legal dispute. "Unlike Kender, we have not participated in the looting of ZA/UM, and Kompus and Haavel have no power over us."

March 23rd 2023. GamesIndustry.biz updates initial post with a reply statment from ZA/UM. The studio reiterated that Kender admitted that the lawsuit was misguided on his part. It said, "In addition, as part of a court order, he also paid the legal fees for CEO Ilmar Kompus, who had to respond to that now-withdrawn claim." ZA/UM adds, "Using details like 'looting,' 'stolen money,' and 'crime' make for riveting reading but are far from reality. The actual harm to the studio is not from some fictional 'looting,' but rather from Mr. Kurvitz and Mr. Taal, while employed by the studio, refusing to do their jobs, creating a toxic workplace, demeaning colleagues, and attempting to misappropriate Studio IP."

Additionally, the studio explained that Kurvitz and Taal are welcome to challenge these facts in court.

(The next court hearing is scheduled for September 11th.)

[randomarceus]

My favourite Kotaku (Australia) article appears to have been deleted/caught in site-redirection crossfire (the .com.au site redirects to just .com since what Google is telling me was about July) and I'm so immensely grateful for the Internet Archive right now. "2009's most video game" rattles somewhere around in my brain whenever I think about this game and I'd hate to see it lost. Like, yeah, mate, you got it... it sure is A Video Game.

[gamergirljournalist]

How video game journalism kickstart my media career

On July 8, 2024, it was announced that Kotaku Australia and many other third-party brands will be shut down by Nine Entertainment/Pedestrian Group. When the news broke, many journalists who lost their jobs mourned. The same can be said for other journalists and Australian media members, who emphasized that this is another blow in Australian media. This was somewhat expected as the Nine Network announced that it would lay off multiple staff members due to budget cuts as the Australian media giants could not renew a deal with Meta under the media bargaining code.

As someone who has worked professionally in journalism since 2018, I feel for these people. At the same time, it's a shock to see how the gaming and tech news space is slowly dwindling. I know this first-hand as my old place of employment was the first to stumble, which led to many of my co-workers losing their jobs, just days before Christmas.

So as part of my "Australian Gaming Journalism" Eulogy, here is my take on the whole situation, how gaming journalism is important and how it kickstarted my career.

Where it all began

Video game journalism played a huge role in my career as it was where people noticed my potential to play a role in this industry before I realized it was my calling.

In 2012, my dad was approached by a convention attendee, asking if I was his daughter because my Q&A question during the EBGames Expo was "really good" for someone my age. My question addressed mental health in video games, and whether it made things better or worse.

The next was in 2016. My first year journalism class had this non-graded assignment, where we were tasked to listen to the people we passed by and pitch something the next day. This was supposed to teach us that "a story can be found anywhere, even in everyday conversation." My first pitch was "I witnessed Opal ticket officers playing Pokemon GO using the same device to check our tickets. while on the job" My lecturer got excited for a second and told me to write a full report, like actually report on it. I was still a first year university student, and I had no idea what just happened.

Sadly, I didn't get the chance to do so due to a variety of reasons, one of them being I didn't have media law training yet to report on something that involved Opal and NSW Transport. But this first pitch made my lecturer see something in me that I have yet to discover. I did make up for it by covering the Phil Spencer's keynote address for the student newspaper.

TLDR - Video games made people notice that I have the potential to become a journalist.

There is more to video game journalism than just reviews

Video game journalism is more than just "video game reviews" or talking about the next game release. It's about reporting on the latest happenings in the industry, the shifts game devs are making, and how this billion-dollar industry is impacting society.

And it's not just my personal stories. There were other events in this field worth talking about. There are video game influencers raising funds for charity, indie companies making strides and making innovations, how accessibility and representation became a form of discussion, video game preservation, media adaptations, and in some cases, how video games are being utilized by the government (looking at you City of Melbourne).

Video Games shaped my journalism career

For those saying "video game journalism is a waste of resources," think again. My career started with video game journalism. People saw potential in a young girl who had no idea what she was doing. She just pitch and ask questions in a topic that was very familiar to her. All of this shaped my career and I'm truly grateful for it.

Not only did this journalism genre shape my career, but it also got me recognized in the Australian journalism space. It also gave me the opportunity to expand my passion and consider entertainment and pop culture reporting. Meanwhile, other reporters who started in video game journalism expanded towards science, tech and IT, and business reporting. I know someone who's trying to get a PHD because of it. This niche genre is a launchpad for so many reporters and other professionals and it's a shame that it's completely underfunded.

This is a niche in journalism that needs respect and recognition as it gives up-and-rising writers a platform to get published and write something they're passionate about. It's not a waste of time, it's a valuable resource with untapped potential.

[karaokulta]

🔮👩‍💼 *La cristalera del futuro gaming en Australia parece resquebrajarse...* 🎮🇦🇺 Pedestrian Group juega su carta más arriesgada al decir Game Over a Kotaku Australia. Pero, ¿qué significará este viraje estratégico para la cultura gamer y el mundo de publicaciones de nicho? - 📉 La jugada de enfocarse exclusivamente en sus propias marcas destapa una problemática mayor: la supervivencia de medios especializados frente al coloso de contenido propio. - 😔 TrISTEmente, una ola de despidos se ve en el horizonte para los staff de Kotaku, Vice, Gizmodo y Lifehacker. El dilema humano detrás de las grandes maniobras corporativas es palpable. Aun así, aquí va mi pronóstico juguetón pero fundado: - 🎙️ Emergerán nuevas plataformas independientes, llenas de carácter y pasión, que serán la nueva voz de la comunidad gaming en Australia. - 🌐 Tal vez veamos una colaboracción Down Under de estos marcas, creando algo fresco. ¡La necesidad es prima de la inventiva, gamers! - 👥 Ex-empleados de Kotaku y demás podrían convertirse en los próximos influencers en Twitch o YouTube. ¿Quién no seguiría a expertos con años de exp? En este tablero de ajedrez digital, cada movimiento redefine el juego. Pequeños emprendedores, es su turno de brillar. ¡Cámaras y contenidos en manos de los verdaderos aficionados! Bueno, ya solté mi palabrería, ahora me muero por leer sus vaticinios y reflexiones… 🤗 Por favor, etiqueten a ese amigo que se pasaría horas debatiendo esto o a ese conocido que está por dar el salto a ciber-empresario. ¡Hablemos de los nuevos gurús del contenido en gaming! 🕹️ #GamingNews #MediaShakeUp #KotakuAustralia #FutureOfGaming #Influencers #DigitalStrategy #CommunityBuilding 📍 *P.S.:* Si alguno de los ex-crew de Kotaku está por aquí, ¡denos una señal de humo virtua! 😄🔥

[thetoxicgamer]

Diablo 4 billboard complaint gets unintentionally hilarious response

The role-playing game Diablo 4 has been in our possession for a few weeks, and practically everyone who plays it like it. However, the same cannot be true for bystanders who see some of the advertising, as a complaint from Australia on those massive Diablo 4 billboards is currently making the rounds. I believe the official response is probably one of the funniest things I've ever seen. Diablo 4’s marketing has, quite frankly, been brilliant. An entire Diablo 4 cathedral in France was given a makeover before the release that you could actually visit, and the first 1,000 players to beat the Diablo 4 hardcore race to level 100 were also engraved on a real-world statue of Lilith. While seeing both of these in real life would be a challenge, you’ve no doubt seen those “Welcome to Hell” Diablo 4 billboards on your travels, just like the Diablo 4 Altars of Lilith in-game. Adorned with a picture of Lilith and the name of the city the poster or billboard is in. It’s a fun way to do a simple ad, and it’s been catching a lot of people’s eyes. It’s not all been good for Blizzard’s demon game though, as a case report complaining about the Diablo 4 billboards all the way from Melbourne, Australia has been made public. Granted, the complaint was made last month and has already been dismissed, but it’s still worth taking a look between making new Diablo 4 classes. Diablo 4 billboard complaint gets unintentionally hilarious responseThe complaint files the Diablo 4 billboard under discrimination and violence, as a parent outlines why they think the image of Lilith is inappropriate, citing the COVID lockdowns and hellish imagery. “The words ‘welcome to Hell Melbourne’ as part of the advertisement for this game and a picture of a devil are offensive to me as a Christian,” the complaint begins. “The imagery is also inappropriate for my children to see and has already given them nightmares. “The imagery is frightening to children as the demonic-looking character is staring at the camera, creating the effect of staring at the observer. It is located in a prominent position beside a busy freeway where children have a clear view of the very large billboard. “It’s scary for young children who see it, but even as an adult, it brought back memories of the hell of the two years of lockdowns in Melbourne. The language and words used are not necessary to get across the message about the release of this game.” https://www.youtube.com/watch?v=HukrLKMCz1I The advertisers rebuke these claims, outlining how hell refers to a location in Diablo 4 and how no religion is mentioned or directly disrespected in the ad. There’s also this absolute gem of a statement, “Given the punctuation, it does not state or imply that Brisbane or Melbourne is ‘hell’ and as such is not derogatory to these cities, or any of their Inhabitants.” Naturally, the Ad Standards Community Panel in Australia didn’t find that the Diablo 4 Billboard was actually offensive or indicative of violence, and in what I can only describe as the greatest bit of irony I’ve ever read in my life, it’s added that “the character was not dissimilar to other well-known characters such as Maleficient (Disney), and noted a Melbourne sports team called the Demons.” After all that, I’ve just learned that there could very well be a billboard next to this Diablo 4 one that advertises Demons (as a football team), and I find that deeply, deeply, hilarious. You can check out the Diablo 4 billboard complaint for yourself (via Kotaku Australia). If you want to know what becomes of the billboards star, Lilith, in the game, we’ve got a Diablo 4 ending explanation that’ll break down what happened alongside what to expect in the future. We also have everything you need to know about the best Diablo 4 builds to help you get a leg up on the competition. Read the full article

[ai-marketers-chronicle]

Shock Horror: Black Mirror Creator's ChatGPT-Powered AI Episode Too Terrible for Release!

Black Mirror Creator Says He Used ChatGPT To Write An Episode. It Was Terrible.

Charlie Brooker, creator of the popular Netflix series Black Mirror, recently revealed that he used a ChatGPT-powered AI to write an episode of the show. Unfortunately, the episode was so terrible that it was never released.

Charlie Brooker used a ChatGPT-powered AI to write an episode of the popular Netflix series Black Mirror.

The episode was so terrible that it was never released.

ChatGPT is an AI-driven digital marketing engineering tool that can help businesses explore ways to improve their growth.

Source: Kotaku Australia

Hiring an experienced AI-Driven Digital Marketing Engineer can help businesses explore ways in which a ChatGPT powered Digital Marketing campaign can improve their growth. AI-Driven Digital Marketing Engineers can help businesses create targeted campaigns that are tailored to their specific needs and goals. By leveraging the power of ChatGPT, businesses can gain insights into customer behaviour, create more effective campaigns, and ultimately drive more sales and revenue.

For more information on how an AI-Driven Digital Marketing Engineer can help your business, click here.

[jerebearcat]

[id: a stylized photo of a blurry green figure playing a brightly colored game full of pixelized blood and blue figures on their computer. the figure is slightly obscured by a purple chair. The photo has white words on it that read "Ultrakill Has Buttplug Support Now, If That's Of Any Interest To You", and in a smaller text from the beginning of the article reads "the makers of Ultrakill, an ultra-violent retro FPS, have announced official support for a new mod that integrates . . ." it then cuts off. The article is from Kotaku Australia. A screenshot of two replies, the first one is by dr-fish-phd and it only reads "Now" and the second one is from blackboxwarrior and it reads "This idiots never cum from playing ultrakill lol" /end id]

Ultrakill can make you cum now

[iamanemotionaltimebomb]

I’m not from NSW but as an Australian in general, I am intrigued

[rodolfoparra]

THERE'S AN ARTICLE ON THE BABYGIRLIFICATION OF GHOST HELP ME

[henrykathman]

Stardew Valley, Wylde Flowers, and the Future of ‘Wholesome’ Games

Video Description below the cut!

Twitter | Tumblr | Podcast | Patreon

Spoiler Warning: the following video contains some light spoilers on elements of the game Wylde Flowers, so if you are interested in going into this game blind, consider playing it on PC, Switch, or Apple Arcade before diving in.

This video will be exploring the emergence of the "wholesome" video game first seen in games like Harvest Moon and Animal Crossing, now becoming a genre onto itself with the success of games like Stardew Valley. What is the draw of these sorts of games? Can this truly be considered a genre? What should be the platonic ideal that future wholesome games should strive for?

Original Music by Molly Noise

Additional Music from the Wylde Flowers Original Soundtrack by John Guscott 

Script Editing by Argus Swift

Recommended Readings & Sources

Danskin, Ian, "Who Shot Guybrush Threepwood? | Genre and the Adventure Game" Innuendo Studios, YouTube, July 8, 2019 Grayson, Nathan, "The Past, Present And Future Of Stardew Valley" Kotaku Australia, Pedestrain Group, March 23, 2016 Marks, Tom, "The creators of Stardew Valley and Harvest Moon talk to us about farm games" PC Gamer, Future US Inc, Dec 1, 2016 Nicholas, Heidi. "The rise of wholesome games: A roundtable interview" TrueAchievements, TrueGaming Network Ltd, April 18, 2022 Taylor, Matthew, "The Rise of Wholesome Games" Wireframe Magazine, Raspberry Pi LTD, 2020

[zeldauniverse]

Nintendo registers new trademarks for previous Zelda games

Nintendo registers new trademarks for previous Zelda games

After it was reported by Kotaku AU that Phantom Hourglass had been registered in Australia for a fresh patent last year, we at Zelda Universe decided to look into it a little further. The Australian patent for Phantom Hourglass While we previously covered a specific type of trademark that Nintendo had filed in relation to Zelda, mostly pertaining to franchising and merchandizing, we have since…

[breezingby]

Cyberpunk Art ~ Kotaku Australia