#screenbound

[gamesatwork]

e460 — AskEmilyPost: AI etiquette

AI generated music, wearable etiquette and AR user experience with a dollop of security & privacy, concluding with retro software & hardware.

Photo by Karen Sewell on Unsplash Published 1 April 2024 Andy and both Michaels get together to talk tech — focusing on AI generated music, wearable etiquette and AR user experience with a dollop of security & privacy.   Starting off with a reprise from last week’s episode, the co-hosts enjoy a discussion about music sparked by Suno, which uses GenAI to create new songs.  This harkens back to…

[violetnaps]

when u finally break out of mindless phone scrolling but then theres so many options of what u could be doing instead that u end up back where u started

[thepeoplesmovies]

Film Review - Malum (2023)

Determined to uncover the truth behind the mysterious death of her father, rookie police officer Jessica Loren (Jessica Sula) volunteers to take the last shift at the newly decommissioned police station where he died. However she soon finds herself taunted by supernatural forces as she discovers that her father had links to a vicious cult who know exactly who she is… If this film sounds oddly…

[egnews]

Todos los anuncios del PC Gaming Show 2024

El pasado domingo 9 de junio, en medio de la ya denominada “semana de la No E3”, los “PCeros” comieron bastante bien 🍴. Como ya es tradición, PC Gamer celebró su icónico PC Gaming Show, y esta vez, lo hizo a lo grande, pues producto de su aniversario (10 años no los cumple cualquier conferencia 🥳) presentaron más de 75 juegos de diversas desarrolladoras independientes, de los cuales 15 fueron world premieres, todo condensado en un extensísimo show, que duró más de 2 horas.

Ahora bien, entre esta inmensa cantidad de títulos, queremos destacar algunas gratas sorpresas, que podrían interesarles 👀: como lo es el rítmico y colorido Unbeatable; el aterrador Still Wakes The Deep; la sangrienta tercera entrega de Killing Floor; la esperada secuela de No More Room In Hell 2; o el curioso Worship que nos sorprendió por su gran estética y sentido del humor. 

A continuación, te dejamos la lista completa - junto con su tráiler -  para que agregues alguno a tu Wishlist de Steam😉:

'83

Airframe Ultra

Ale Abbey

Aloft

All System Dance

Among The Wild

Battle Aces

Blue Prince

Cat Quest 3

Cataclismo

Citizen Sleeper 2

Copa City

Core Keeper

Crescent County

Debtors’ Club

Deathsprint 66

Demonschool

Drug Dealer Sim 2

Escape From Tarkov (nuevo contenido)

Everholm

Every Day We Fight

Fallen Aces

Flintlock: The Siege of Dawn

Forgotten Seas

Fumes

G.I Joe: Wrath Of The Cobra

Generation Exile

Go-Go Town

Grit and Valor - 1949

Gunboat God

Hotel Galactic

I Am Your Beast

Incolatus

Inferni: Hope & Fear

Into The Dead: Our Darkest Days

Island of Winds

Killing Floor 3

Last Moon

Level Zero: Extraction

Lok Digital

Lorn Vale

Mars Tactics

Moon Mystery

Mullet Madjack

No More Room In Hell 2

Odinfall

Phantom Line

Reka

Renaissance: Kingom Wars

Rise of the Golden Idol

Screenbound

Shell Runner

Southfield

Space Station 14

Splodey

Star Trucker

Starbirds

Steel Seed

Still Wakes The Deep

Stormforge

Stormgate

Street of Fortuna

Streets of Rogue 2

Striden

Sumerian Six

Sulfur

Tales of Seikyu

Tactical Brach Wizards

Tempopo

The Crush House

The Deadly Path

The Land of The Magnates

Toads of Bayou 

Unbeatable

Unrailed 2

Wander Stars

Windblown

Worship

Zero Sievert

[wozman23]

The Best of Not-E3: Summer Game Fest

I'm still bummed that E3 is no more. I moved out to LA shortly before its demise and thought I'd have plenty of time to attend the event. Yet here we are, in this post-E3 world, with glimpses of the joys of the past like that with Xbox Showcase, and plenty of lulls, like with practically everything else. I think the world of gaming is in a weird place. Development costs are unsustainable. I've said time and time again that the “bigger is better” trend has be ruining games and stifling creativity for over a decade now. Games take way to long to make these day, and the risk is not often worth the reward. Indie games have rebelled against that trend, but all the unique, fun B tier games that used to occupy the space in between are either dead, dying, or under duress. Still, gaming is one of my biggest hobbies, and I can't help but be excited about what is to come the next few years, even if those experiences feel fewer and farther between.

Best Announcement: Alan Wake II: Night Springs DLC

It's no secret that I'm a massive fan of Alan Wake. Don't believe me - look at my last post. So the events started on a high note with Remedy's studio lead, Sam Lake, making another trip from Finland to LA to announce the Night Springs DLC. Seeing him dance his way out on stage put a smile on my face. I was giddy. And then announcing that the DLC would be out the next day came as a surprise. I just finished up the last game I was playing yesterday, and I'm so excited to hop back into the warped, insanely creative world of Alan Wake. I can't get enough of it. I want to see what vision Sam and the team have for where the franchise goes next. And I want to continue to try to string together my own theories about Alan, his story, and how he intertwines with the Remedy Connected Universe. As much as I could easily fall back into my psychosis and make this post about how that announcement was the “Game of the Show” for me, I want to shine some light on the little guys.

Best Indie: Screenbound

The second announcement to blow me away was the indie game Screenbound. It's such a cool concept! And the art style looks so great. I love puzzle-y platforming games, and it looks to mix both genres well. It reminds me a lot of one of my favorites from last year, Viewfinder, which was also love at first sight. And before that there was Toodee and Topdee, which merged 2D and top down game play perfectly. In each of these game's cases, they immediately stood out as games that were looking to take me on experiences that I'd never been on before. Viewfinder and Toodee and Topdee were two of my most anticipated games, and in the end they were my Indie GOTYs the years for those years. Lets hope Screenbound follows in their footsteps.

Best of Show: South of Midnight

I remember looking forward to Contrast from Compulsion Games. We Happy Few was lost on me. But when they showed off their teaser trailer for South of Midnight at last year's Xbox Showcase, I was interested thanks to the rich atmosphere. Now we got a better look at it, with a fleshed out world, some interesting characters, and some game play, and it shot up my Most Anticipated list. I've always been fascinated by the Cajun accent. In almost every case, a heavy accent is a distraction for me. I've always joked that if someone has a noticeable accent, I assume they're dumb. Southern, New Yorkers and New Jersey-ers, all those weird Chicago/Mid-west/Wisconsin/Minnesota accents – all a bunch of dummies. But that Cajun and Creole accent rises above the rest. And here, it is on full display as a love letter to Louisiana. The second that massive catfish showed up, I was sold. He looks cool. He talks cool. He's just cool. This trailer had a lot to take in. A massive gator. Cool looking traversal options. That really cool, stop motion-like animation style. I'm so on board for this one! Apparently it's been drawing a lot of comparisons to Kena: Bridge of Spirits, both good and bad, but I loved that game to death as well, so bring on all the comparisons! I'm always a bit scared when a developer gets acquired by Microsoft. We've seen the ugly side of that with the closure of Tango Gameworks, fresh off their best game Hi-Fi RUSH. And while I applaud Microsoft for their approach with Game Pass, bringing all of their games to the platform on Day 1, I question how profitable that is, and how they decide what is a success and what isn't. And I find it absurd that I can still stream everything via my outdated Xbox One without the pressure to upgrade to a Series X. (Although I recently found my first sacrifice: In Senua's Saga: Hellblade II I couldn't use photo mode since Cloud users stream the PC version which doesn't have a dedicated in-game button for screenshots. But that seems like a small sacrifice to make considering I that by working some gift card deals I just gave them like $150 to play everything they release for the next 3 years.)

Outside of the Xbox Conference, and the initial Summer Game Fest salvo with Geoff, there wasn't much to be excited about. And while Sony did have a show a little while ago – that would have been abysmal if not for Astro Bot – I'd have liked to see more this weekend. I've been critical of Xbox for quite some time now, but they really knocked it out of the park this weekend, at least in terms of putting on a good show. I just renewed my PS+ yesterday, but I feel like I get far more value from Game Pass.

Honorable Mentions:

Doom: The Dark Ages – I loved Doom (2016). Eternal lost me a bit, largely in part due to that one pain in the ass enemy type that felt like it didn't mesh with the series' core ideas of fast, action-packed, brutal game play. Going to the Dark Ages is a really cool twist, and the shield looks like it will be a ton of fun!

Indiana Jones: The Great Circle – I've never seen any of the films. But this feels like a first person, spiritual successor to Uncharted, which I know is a bit odd since the former inspired the latter. And more Uncharted-likes with giant, dynamic set pieces are fine by me.

Deer & Boy – I love cinematic sidescrollers. This one looked so gorgeous and cute. Nothing more needs to be shown for me to add it to the heap of cinematic sidescrollers I'm anticipating. Some join the Pantheon of Greats among the Playdead games, Little Nightmares, and a few others. Others fly too close to the sun. Let us hope this one can keep up with the gods.

Atomfall – Fallout 76 got some new content or something. But I'm over it. Move on. Give me Fallout 5. Atomfall could fill that gap much like Atomic Heart tried to. Let's just hope it strays closer to Fallout in game play than it does to Atomic Heart in namesakes since it was a pretty big letdown when I played it at launch.

ASTRO BOT – The dissolution of Sony's Japan Studio was disheartening. They made some great games over the years. One of my favorites being the criminally underappreciated Puppeteer at the end of the PS3's life cycle. It was such a creative piece of art. The amount of love that went into shaping its world, aesthetic, characters, bosses, levels, and game play variety was absurd. It felt like they out-Nintendoed Nintendo. The game sold so poorly that I believe I may have bought the only copy. From there, Japan Studio went on to make a few Astro Bot demo experiences for PlayStation VR, then fleshed out a terrific full game, ASTRO BOT: Rescue Mission, then baked ASTRO's Playroom into the PS5. All were brilliant platformer experiences that Sony needs more of. So it was bittersweet when it was announced that most of Japan Studio was being shuttered, with the only remaining team being ASTRO BOT's Team ASOBI. ASTRO BOT and Puppeteer seem to share a lot of the same design philosophy. They're super creative and feature some really great boss design. I have to assume that some of the developers who worked on Puppeteer are still working on ASTRO BOT. And I'm really grateful for their contributions. Sadly, outside of this, most of the big Sony studios are in between games right now. We really don't know when Naughty Dog will release something next. Marvel's Wolverine probably still needs some time to cook. Sucker Punch's future is unknown. And the same could be said for countless others like Santa Monica and Housemarque. Usually I walked away from E3s and Not-E3s really excited about what's on the horizon – oohh, we don't know what Guerrilla is doing... what's on the horizon for Sony and wondering what the heck Xbox is doing. But this year they pulled a complete switcharoo. Also the Lego Horizon game could be fun. Let's throw it in this category.

[katewalker]

List of games we saw during the entirety of the not-E3 2024 (contains game we already saw in previous showcases, games I'm intrigued about, games I already know I want to play and even games I'm not that sold on, but willing to give a chance) - to update after the Nintendo direct (in case of Silksong).

Age of Mythology: Retold The Rise of the Golden Idol Citizen Sleeper 2: Starward Vector (still need to play the first one tho lmao) South of Midnight Avowed Neva The Operator Music Power Up Caravan SandWitch Cairn Petal Runner Phoenix Springs Tom the postgirl Screenbound Psychroma Tiny Bookshop Boreas Pine: A Story of Loss While Waiting Wax Head Little Problems: A Cozy Detective Game Urban Myth Dissolution Center Cataclismo Disco Samurai The Land of the Magnates Neon Blood Duck Detective: The Secret Salami The Crush House Cabernet Possessor(s) Skate Story Anger Foot Detective Dotson Nobody Wants to Die Dredge: The Iron Rig The War in Chiapas Mexico, 1921. A Deep Slumber. Century of Anticipation Deep Beyond DIGITAL EXORCIST CF1_DEFRAG (and the first episode as well from last year) The Midnight Crimes Eriksolm: The Stolen Dream SCHiM Eternal Strands Sonokuni Wild Bastards (Void Bastards my beloved, I'm glad there's another similar game) Life is Strange: Double Exposure Dragon Age: The Veilguard Mixtape Lorn Vale Eté Doom: The Dark Ages Fable Unbeatable Blue Prince Star Wars: Outlaws

[trailercheck]

SCREENBOUND Official Gameplay Trailer | OTK Games Expo 2024 | HD

[esportschimpnews]

2D and 3D at the same time. Screenbound's creative jumper combines dimensions in an unusual way

There were already combinations of various genres here. The Crescent Moon Games team instead opted for a combination of different dimensions. Jumper Screenbound combines movement in intertwined 2D and 3D environments. On a Game Boy-like pocket console, you view the game in traditional 2D jumper style while viewing the three-dimensional world in the background from a first-person perspective. This…

[ramtracking]

Aim With Your Game Boy Like A Scope In This Screenbound Update [ Indie game ]

Aim With Your Game Boy Like A Scope In This Screenbound Update [Highlights] If you’re searching for a fresh-looking action-heavy new game to look forward to, check out Screenbound, a “5D platformer” about being… “ScreenBound,” a newly launched game on Steam, invites players into an inventive world where gaming mishaps turn into gameplay mechanics. A game within a game – If you’ve ever owned a…

[shame-kink]

needless to say that even my screenbound ‘focus’ isn’t actually thoughtful at fucking all

idk whats going on but my attention deficits been absolutely mind destroying lately i can barely think when i’m not looking at a computer screen

[horrorpaingoredeath]

#bloodonsatansclaw #littlemurders #import #regionb #horror #britishhorror #satansskin #patrickwymark #lindahayden #barryandrews #folkhorror #ukhorror #blackcomedy #comedy #elliottgould #alanarkin #donaldsutherland #70s #newyorkcity #screenbound #indicator #powerhousefilms (at Horror Pain Gore Death Productions HQ) https://www.instagram.com/p/CG3O10tpzDW/?igshid=rsk7kp51chr2

[busterkeatonsociety]

It’s the last #FanArtFriday of November & we’re excited to share the three winners of our #Bustober art contest - @Caroloife, @hankakudrejova & @MarkRedfieldArt! Between them they produced several stunning pieces.

We’ll be in touch shortly to organise your prizes - a huge thanks to Screenbound.co.uk for donating ‘The Great Buster’ on DVD & bluray!

Thanks too, to our judges - 

Artist, Board member & Buster Keaton’s favorite Grand-daughter, Melissa Talmadge-Cox.  You can buy a piece of her own art here: busterstuff.com/shop/art/3

Banx, cartoonist with the FT, Private Eye & so many more (& I confess a childhood hero - Ruth) & Damfino, who has a special project with us up his creative sleeves.  More to come on that but do check out banxcartoons.co.uk

And finally many thanks to everyone who took part.  We didn’t anticipate such a high level of participation nor talent.  Same time next year?

[thepeoplesmovies]

Film Review - Hunt Her, Kill Her (2022)

Hunt Her, Kill Her is a cat and mouse thriller which sees one woman desperately fighting for her life one fateful night. Directed by Greg Swinson and Ryan Thiessen, the film follows Karen (Natalie Terrazzino). Struggling to make ends meet as a single mother, Karen takes a night shift as a janitor at a large furniture warehouse, reluctantly leaving her young daughter with an unreliable babysitter.…

[dustedmagazine]

Cara Neir — Phase Out (Self-released)

Phase Out by Cara Neir

Cara Neir has always been somewhat anomalous, a multigenre hybrid before hybridizing was so current and cool. The band’s music is a little blackened, a little crusty and a whole lot of other stuff, by turns grindcore and post-rock and punk. Sometimes it works; for a recent example, see their 2016 LP Perpetual Despair Is the Human Condition, a sublimely bummed-out record. And sometimes it doesn’t, like the when the band’s interest in skramz asserts itself a little too enthusiastically. In all cases, Cara Neir’s restlessness has kept the project interesting and vital over twelve years of releasing music at a prodigious clip. Their latest record isn’t just restless — it’s hyperactive. On Phase Out, the two dudes in Cara Neir (Garry Brents and Chris Francis) imagine themselves into an 8-bit videogame’s landscape, thus finding themselves subject to all sorts of digitized mayhem. In a number of ways, this reviewer is far from the ideal audience for Phase Out: zero interest in gaming or the history of videogames, less than zero interest in chiptune music or glitch. But the absolutely bonkers sensibility of Phase Out and Cara Neir’s wide-open exploration of the possibilities of sound make the record an engaging — if occasionally irritating and meta- for meta-‘s sake — musical experience.

Opening track “The Trimjrtle Sanction” (please don’t ask about “Trimjrtle,” a term from the record’s “game lore”) announces some of the dominant tones of Phase Out. There’s some narrative scene-setting, with “Player One” and “Player Two” being zapped into the game, accompanied by a little Casiotone-quality ditty. But the playfulness is summarily swept under a wave of crusty animosity worthy of Totalitär. Double-time, blistering riffing rages away, and there’s a more than slightly fried quality to the sound. One hesitates to use the word “atmosphere,” given everything that term tends to signal in metal — but the song conjures an atmosphere, thick and strange, with the smell of burning electronics. Listen more closely: interspersed among the tremolo guitar lines are bursts of digitized noise, keyboard blips and cascades. Not enough to distract, but just enough to notice. The gesture clearly seeks to integrate the song into the record’s ongoing story, constructing the game as a psychological environment. In the second half of “The Trimjrtle Sanction,” the sound begins to tip more strongly toward the gaming noises, but the increase is measured. One can admire the compositional logic, even if the noises themselves are a bit silly.  

The remainder of the record follows that logic. “Valkyrie” might be the best and most integrated song, its blackened elements interacting with fizzy electronics and weirdly distended beeps and boops. Eventually the song bottoms out into near silence, gaming noises barely discernable out near a distant horizon. An anxious bassline begins to thud, drawing things toward the nighttime sounds of clubland. But the beeps and boops interpose, clubland’s cool gets complicated by geeky glitch. It’s weird, and weirdly effective. You don’t notice Francis screaming until he can’t be ignored — but maybe he’s been doing it for some time, also lost somewhere out on that horizon line, or deep in a monitor’s glow. Some similar moves on Phase Out are less successful, like when “Hypogelum” flirts a little too earnestly with the hypnogogic before shifting gears into a top-speed freakout reminiscent of Devo. Chiptune goofiness attempts to evoke the digitally saturated consciousness of the gamer (that’s how this reviewer, with no experience in gaming, understands what’s going on). But it’s too goofy. Francis sings, “Acquiring tinder of marvel and splendor / This will light the fire.” For this listener, the fire has gone out, snuffed by too many layers of multimedia cleverness.  

Closing song “Legacy of Gnax” does all that stuff, the good and the bad, faster and louder and more tunefully. It’s boisterous, manic, at once vexing and compelling. The song title could easily be the name of a videogame, and the record’s meta-gaming narrative reaches a focused peak. Francis sings, “The Paths, they never end / […] And when we’ve bested your leader, what’s next to expect? / Final stage!” Even this reviewer knows the convention of the Final Boss fight. Some gaming worlds might seem endless, but they’re all code, their appearance of “paths” created by real electronic energies and circuits that exist somewhere, owned and operated by someone. So who’s the boss? Gnax? Phase Out gets more interesting here, a bit less inbent and screenbound. At least a few hits on a google search for the term reveal that GNAX was an acronym used by Global Net Access, a management system for cloud-based computing activity that was in business about a decade ago. The references are old, and some of the reviews of GNAX’s services are negative. The digital world is temporary, bound to material processes in the lifeworld. They die, too. At its best, Phase Out marks a lively point of interface, between real instruments and voices, screams and strums, and their electronic counterparts. And even when the record misfires, you can feel the energy and imagination of Cara Neir, furiously, lividly at work. That stuff is for real.  

Jonathan Shaw

[moviesandmania]

British Horror Collection DVD coming on 19 June via Screenbound Pictures - https://goo.gl/mw17XE

[aaravos-breaks-the-internet]

*snap*

Huh? What is that?...

*A strange new icon has appeared on the screen of Aaravos’ computer. He cannot quite figure out what it depicts but underneath it says “Dell Webcam”. Curious as he is he clicks on it. Suddenly a new window opens and he sees...himself. Astonished he leans closer to the screen and immediately the screenbound Aaravos copies his movement. It’s a reflection! The ominous window appears to be a mirror. He sees a button right at the centre, a weird square with a circle in it and a little bump on top. He clicks on it. Quickly a snap sound follows and for a few seconds the image of the mirror freezes before resuming its normal function.

Confused the elf taps the button again.*

*Snap*

*Snap*

*Snap*

*Why does the image freeze when he clicks on that strange button?*

*Snap*

*He notices a little row of images at the bottom. It includes images of all the previous moments in which the reflection had frozen.

It dawns upon him. This seems to be a spell that freezes time and leaves you with a picture of that moment for eternity. What advanced and wonderful magic! With excitement he leans back and tries position himself favourably.*

*Snap*

Ohh, this one turned out nicely.

*Aaravos stares at the picture for a couple of seconds. A deep feeling, a mixture of sadness and joy, grows in his stomach. Now he can show the humans on the internet what he looks like. He doesn’t need to be just a faceless stranger anymore. He was already granted the fulfilling pleasure of looking into other people’s eyes again, even if it was just on pictures. And now, finally, those people can look back into his. A lump forms in his throat, defying any attempt of being suppressed. Being yet another step closer to other souls, a little piece is breaking off of the loneliness that has cruelly engulfed him for so long.*