#two of the games on my wishlist are on sale for over 50% off and i could get them both for like. $60. yeah sounds great actually.

[thatone-churro]

see my dad has always said “if you don’t tell me what you want for your birthday/christmas, you’re just going to get gift cards” but like. as a threat. but as someone who actually does have a handful of video games she wants (but has always felt guilty asking for them), buying them myself with money as the gift instead is actually like the perfect solution and i don’t think he realizes that.

[dlamp-dictator]

Allen Rambles about Cross Tag Battle

So I already did an Under Night In-Birth Rambling a few months, and I don’t feel like retreading that game again for the sake of another half-baked Rambling like the Persona 4 Arena one. No, I’ll talk a bit more about Under Night In-Birth and it’s Light Novel elements another day when I actually have the drive to do so. Instead, I’ll  jump straight into talking about about Blazblue Cross Tag Battle, namely, expanding on my initial thoughts of it. 

I had a chance to play the beta of the game when it was available, had a lot of fun playing it, and left it feeling confident this game could sell well, but a bit uneasy as well. 

But first before I get to explaining that...

The DLC Issue

It wouldn’t be my Rambling unless I got out of the elephants in the room straight away, now would it? 

So... that DLC, huh?

I’m not gonna’ bother defending this, but I’ll say this much in its defense. The season pass and the game is about 70 US dollars all together. That’s 50 bucks for the game 1 dollar for every extra character. That’s not a bad deal on paper. Let’s be real here, Dragon Ball FighterZ has more expensive DLC than this and much more expensive season pass combo pack, Blazblue Central Fiction had more expensive DLC than this, and several other fighting games have done worse practices. Dead of Alive has cosmetics that total up to hundred of dollars. From what I’ve seen and played Street Fighter 5 has a handful of costumes can only be purchased with cash rather than the in game fight money, among a few other practices I’m not cool with. And we can probably go on and on about EA’s DLC practices. Worse has been done, and if an extra 20 buck for 20 more characters on an already decent rooster seems bad to you, then... well I think you haven’t been playing fighting games that long to not see this coming.

However, that’s on paper. In context, this is just flat out shady and I’d even say exploitative.

I’m not going to pretend that what Arc System Works is doing is okay. Let’s be real here, a lot of the assets we’re seeing are being ripped and reused from each character’s respective game save for some new animations, the gameplay itself is very simplified, and the fact that they announced such a large amount of DLC before the game was even released is already shady business. I hate it when companies do that, and Arc System Works shouldn’t get a pass for it either. 

Not to mention the fact that a portion of their EVO line up is DLC characters. That just kills me a little. I’ll admit that I have a negative opinion of the FGC and competitive fighting game community as a whole, and I’ve already talked about my opinion of EVO in the past, but I really don’t think this game deserves to be in the EVO line up when it only has a little over half its full cast in the game for competitive play, with about a fifth of that cast being DLC. That means you need to shell out at least 6 extra dollars just to have an idea of certain match ups and playstyles, or worse, play your main. That’s no where near fair on a competitive level, that’s a scam and I hope someone more familiar with the competitive side of the fighting game community calls Arc System Works out on it. If your main is locked behind a paywall then you have a right to be angry and even go as far as to boycott this game for this kind of practice. 

I’m not happy with the idea of paying to just to play as Orie and Naoto, but as I’ve said, worse has been done in the gaming world. If you aren’t buying this game for the reasons I mentioned, then I respect you’re opinion. However, I’ll also ask you to at least try and get this game on sale otherwise, as there is a good fighting game here, just one that needs to shake off a bad first impression. 

Ah, and speaking of the game...

This Game is Simple

Like I said, I took some time to play the Beta, and I have to say this game is a little too simple for my liking. Not that I’m some genius fighting game player that could tell you all the frame data and hitbox nonsense, but I feel like I’m grasping this game’s controls a little too fast for someone of my skill level. 

Let me explain. 

In the majority of fighting games I play I usually maintain a 10%-20% win rate, so I usually win 1 out of 10 matches. For a casual fighting game player that’s not bad considering I’m usually fighting competitive players, but with Cross Tag Battle I left the beta with a 50% win rate. That’s... quite a jump, but I don’t think that’s due to my skill, but how simple it is for someone that’s familiar with fighting game mechanics to understand the system. Now I’m also keeping in mind that everyone was learning the ins and outs of this game along with me during the beta, but this still.

This simplicity isn’t a bad thing. It works in the game’s favor and makes it much easier to grasp how all these characters works, which is needed for a tag-team style game, but it is something that makes me wonder how long this game will be popular. This game has two auto combos, for every character, and all the characters that aren’t from RWBY have a diluted moveset of their original game. It feels like you know everything about a character in about an hour of practice.

I had similar feelings about Dragonball FighterZ, all the character felt too similar to each other outside of some special moves. Cross Tag isn’t as simple and not all characters feel the same, but one of the big appeals of a fighting game is being about to learn a character for months and still find new techniques and strategies with them. Cross Tag Battle doesn’t feel like a game I’ll be able to do that in.

 Again, that’s not a bad thing, but it’s just something that has me wondering about the direction fighting games are taking... or maybe this is just a product of team-based fighters. That simplicity might be needed for the sake of everything meshing well. I mean, if Ragna could do all his rushdown stuff and have an assist to reset combos he’d be a nightmare to fight against. And Nu... don’t get me started on Nu.

 But then again, Skullgirls has a good balance of complexity, and the potential for 3-on-3 combat. All their characters feel and play in very unique ways too, so maybe my worries are founded in some ways...

But speaking of...

How Characters Play/Feel

Like I said, this game is very simple. These characters only play slightly like their original games. I've only played with a few people, namely my mains, but Yosuke doesn’t feel like the Yosuke P4A with his 48 mix-up tools, Linne and Hyde feel like themselves, but with less combo options than in their original game. Sadly, none of my Blazblue mains are in the current roster, so I can’t say much about them, but Ragna feels like a watered down version of himself at the very least. I think that goes for most of the cast. They all feel very watered down. This isn’t bad, it’s just different, and I’m not sure how I feel about that yet. 

I’m excited to know I’ll have Orie and eventually Izayoi in the game to play with, but I’ve seen gameplay of Orie, and she doesn’t play the way I play her in UNIEST. I get the feeling a lot of people are going to be playing around with the cast for the wrong reasons.

That said though...

The RWBY Characters

The RWBY characters play the best too me, but that should be obvious. They were made with this game in mind from the ground up. As such their combo animations are smoother than the rest of the cast, their sprites are a little nicer, and I can really see a lot of love went into make them feel and play like how they are in the show. The references and callbacks are great as someone that’s a fan of show, and I honestly think their voice acting improved a little in this game... then again, I’ve been hearing their voices for a few years now so I might just be a bit numb to how they’re directed in their series, but I’m surprised how well they mesh with the overall cast. I can see the shipping possibilities and fanfics already. I’m definitely going to have Blake in one of my presets when the game comes out, probably pair her up with Linne or Hyde.

Speaking of voice acting...

The English Dub

Thank God we have a dub again. It’s great to hear Patrick Seitz as Ragna again, and the rest of the cast as well. The Under Night In-Birh cast sounds great too, my favorites being Linne and Gordeau. Seriously, the UNIEST cast sounds great and their voice actors really capture their character well from what I’ve heard so far. It really makes me wish we got a dub for that game so those overlong light novel portions didn’t feel as long. 

I did little blurbs about voice actors when Elsword and Persona 5 voice actors were announced, and I’ll definitely do the same kind of blurb for Under Night In-Birth once all the voice actors are known. This game gives me hope that the next Guilty Gear will have a dub and then I can finally care about the story again.

But moving on...

The Roster (AKA Allen Gloats About Being Right)

So we know the full rooster of the game thanks to data miners (the buzzkills), and it looks like I can safely, confidently, and haughtily state that I was right with a few of my calls when I made my speculations. For the sake of maximum gloating I’ll give you all the breakdown from my Rambling on the matter.

Charge Characters

Mitsuru 

Kagura

Vatista 

Puppet Characters 

Carl

Relius 

Chaos 

Ken

Required By Popularity

Tsubaki

Adachi

Yuzuriha

Required by Tier List

Izanami

Margret/Elizabeth

Seth/Merkava

ArcSys’s Persona OCs

Labrys

Sho

Looking back, I wish I stated Nine instead of Izanami, but Izanamis were kicking my ass by the time I wrote up my speculation and I was very salty about that. I also wish I added Mika into my curve ball list instead of my wishlist, but... well, I can’t predict everything. Speaking of that wishlist, a few people made it like Izayoi, Hakumen, and Akihiko, but that was my personal wishlist and not a speculation, so I won’t count those.

Anyway, I got 5/14 right. I’d consider that pretty good for pure speculation.

My Hopes

I’m just gonna’ list these down, as now we’re getting into my unorganized thoughts.

A simple, fanservice-y story mode. Like I originally said, this game is Arc System Works fanservice incarnate. Frankly, trying to tell a serious story with all these properties, while possible, will just be a giant mess, especially trying to deal with all the quantum mechanical, timeline jumping, dimension hopping nonsense of Blazblue, so I really hope this story will be more like Super Smash Bros. Brawl’s Subspace Emissary where the story is simple and more fanservice for fans of all these series and just see everyone interacting with some fights in between. From what we’ve seen of certain cutscenes CGs being released this just might be the case.

Free DLC. I already bought the Season Pass because I’m a degenerate, but I really hope this game does what Skullgirls did and have all their character packs free on at least the first day of their releases. I have major issues with this kind of business practice and completely understand if you guys don’t buy this game because of it. I’m hoping Arc System Works will realize this and make all the packs be free for at least their day-one release to try and dowse the flames a little. And hey, the first pack and the rest of the RWBY team is free for the first while, so I think that’s exactly what their doing.

...

...

... 

I’m gonna’ feel like a chump for waste twenty buck if that’s the case, but hey, I do like the series.

A Good Single Player Experience. I know it’s a fighting game and all, but I hope it’ll have something that’ll make this game fun three years from now when the online community is dead. Something BBCP’s Abyss Mode (because CF’s is garbage) or Persona 4 Arena Ultimax’s Golden Arena Mode. Something like that. I doubt that’ll happen, but it’s a hope for a reason.

Overall, despite my mixed feelings, I hope the best for this game. And as we count down to the final days before release, I hope you all enjoy this game as much as I will.

Unless you roll out with Team UNGA. If you do, then fuck you, fuck your family, fuck your house cat, and everything you stand for.

[playfulcorp]

Creativerse Turns 3!

Hello Creatifriends!

Today marks the third anniversary of Creativerse’s original debut on Early Access.

When we first embarked on this journey, we had big dreams of making the ultimate sandbox adventure — something that took what the genre currently had to offer and pushed it even further. In a sense, we were making the game that WE wanted to play, hoping others would share in our enthusiasm. We we finally launched Creativerse three years ago, we were thrilled to see how many people did just that. What we didn’t anticipate was how much our players would push our own vision for the game further, helping us see an even grander path for what the game could become.

We wish we could tell you how many times we all gathered around a monitor to marvel at a player’s amazing build, or share all the moments where someone said “quick, everyone hop on this world” and we’d see our game being used in ways we never would have imagined. We wish we could point to all the times we would send around one of your forum comments or tweets that would spark conversations that became plans and eventually part of our roadmap. If we had a montage capturing all those moments you’d need a lifetime to watch it (not to mention the millions of dollars in royalty fees we’d need for epic 80s music).

Instead, hum the music of your choice while we point out just a few of our favorite moments over the last three years...

"There are so many...but player-made blueprints has to be number one! In a single day the community created 50 times more blueprints than we had been able to release in two years. Amazing!" —Stephen Hurd, Community Manager

"The community once built a Christmas map for us and invited us in to play. It was amazing! There were presents for each developer under the tree. They even had treats delivered to our studio! The thoughtfulness and dedication of that group still sticks in my mind to this day." —Dan Hurd, Director, Super Lucky's Tale (and, in a distant past, Director of Creativerse)

"I remember when Spectre, a terrifying mob who would blow up player creations, was removed from the game due to player feedback. That was the moment I truly realized Creativerse was a collaborative effort that belonged as much to the players as it did the development team." —Winter Mullenix, Community Specialist

"I still can't believe the things people built with our machine system: binary calculators, giant rubiks cubes, animated ascci NPC sequences and more. The amount of creativity was astounding!" —Daniel Havens (AKA Thor), Director, Creativerse

"I spearheaded the design of the Colossal Castle and Robo-Retreat Playful Blueprints. On release day, it was such an impressive, satisfying treat to watch as 20 of our sneak preview players built both of them in under an hour on the livestreams." —Nick Pappas, 3d Artist

"Every time we release something new: adventures, player-made blueprints, even the placemat…no matter how big or small, our players give us these mind-bottling creations we never could have expected. I remember during our recent sand castle contest, among all the amazing castles our players built, the one that had me dumbfounded was the tiniest castle ever made by player Jiffy using the placemat. Pure genius." —Chase Wade, Technical Designer

"There are so many amazing ideas on the wishlist from our community that I’ve had the pleasure of adding to the game. I look forward to keeping that tradition going and adding fun new features that will keep the game fresh for our players." —Jeremy Swigart, Bad M'er F'er (AKA Engineer)

"I remember when we were first developing the claims feature, which also came with a world map. We had a bunch of sneak preview players in the world playing with us and, after just a few days, the builds they created sprawled across the map. It reminded me of those satellite pictures you see of major cities at night. It was incredible!” —Jon Clark, Associate Producer

"When we started testing the adventures feature, one of our sneak preview players, Supadave, created a kind of Robinson Crusoe-style adventure where you found yourself stranded on a strange island trying to uncover why you were there and how you could escape. At this point I'd probably played 1000 hours of Creatieverse and yet, playing this adventure blew my mind, having totally transformed the the game I knew on its head with this player's story-driven experience. Thanks Supadave!" —David Chow, Composer and Sound Designer

"My favorite moment was back in 2015 when we launched the World v2 update and exploration got a lot more interesting. It was great to read the reactions in the forums and watch as players stumbled upon all the new biomes and explored the world's corners." —Dave Leary, Producer

"There are so many amazing moments — it’s hard to pick one. My favorite world is probably German Knights, followed closely by Happytown 3.0. And I love watching all the great videos of the game on YouTube. I’ll never forget the jaw-dropping moment when folks like Sl1pg8r and BdoubleO100 suddenly started doing videos. Also, I'm still trying to emotionally recover from the breathtaking revelation of Deadwo0d's pixel art rollercoaster." —David Calkins, Head of Marketing and Communications, PlayfulDavid In Chief

We have so much more in store for the game’s future. And, if you’re willing to share it, so many more chances to let your feedback influence Creativerse's answer to the question "Where do you see yourself in 5 years?"

Our priorities include:

Making the building experience as fluid and enjoyable as humanly possible

Creating new ways to experience the game and its world

Adding a slew of new creation tools, themes and customization options

Making all of you happy and inspiring you to keep inspiring us

Thank you for your continued support. We genuinely appreciate it. As a small token of our appreciation, we have a gift for all of you to celebrate our 3rd anniversary in style -- just enter CELEBRATE in the Creativerse store to claim it. We’re also running a 10% off sale on every coin bundle in our store for the next week.

<3 The Creativerse Team

P.S. we also did a livestream today celebrating the anniversary, including an interview with the game's main designer. You can watch that here.

[its-lifestyle]

In the centre of the big hall, the monkeys congregate. They circle their latest victim – a boy – and lure him in with promises of acceptance and fun. At the front of the room, a different scene unfolds. Young elephants stand in a line, reluctantly listening to yet another lengthy recollection by one of their elders.

In a corner of the same hall, three young boys in matching green school T-shirts and black tracksuits sit in a small circle, engaged in conversation with a young university student. Here, it’s just another night of rehearsals at the School of The Arts in Universiti Sains Malaysia (USM), Penang.

From something that started out as a short-term grant by USM to introduce arts and culture to refugee children, a huge, full-scale musical production of Rudyard Kipling’s beloved classic The Jungle Book has taken shape.

Project director Dr Pravina Manoharan herself is amazed at how big the Jungle Book, The Musical project has grown.

“In July 2017, I received a grant from the university to introduce music, arts and drama to Rohingya refugee children – to give them a platform to express themselves and find their voice,” says Pravina, who is also the Music Department head of the School of Arts.

“The outcome was always aimed at being one production and we initially planned for it to be a Rohingya-based work that told their story. That idea has morphed into a grand musical with 12 original songs, celebrities attending and 34 people on stage!”

After months of research, Pravina and two colleagues began weekly and bi-weekly visits to Penang Peace Learning Centre (PPLC) in Minden Heights – a school for Rohingya children who are all unable to enrol in mainstream schools due to their refugee status.

A few short months later, the team began bringing the students over to USM for their scheduled meet-ups, as both space and facilities in PPLC are severely limited. Sessions started with the very basics of music and the arts as the children and researchers got to know one another.

“We started with movement and rhythm and moved on to language with rhythm, and then, eventually, dance,” says Pravina.

Project director Dr Pravina Manoharan with the musical’s young cast during a rehearsal session. Photo: School of The Arts, USM

This progression may sound logical and simple, but working with the children revealed unique challenges. Their ethnic music, culture and even native language have long been suppressed by the Myanmar government so dancing was quite foreign to many of them.

“Generally, they have very little exposure to the arts. Although they do have songs and music in their homes, it’s not something that they are actively involved in. So their bodies are not conditioned to remember the moves. Compared with Malaysian children, it takes them a bit longer to remember routines,” she says.

Every step in the dance sequences had to be broken down to their most basic level.

Language and insecurities

Teachers at PPLC agreed to the project on one main condition – that English be given a priority in the collaboration to raise the children’s proficiency in the language. Most Rohingya children here speak their native Arakan language at home but are taught Bahasa Malaysia in school and speak it with their friends.

“Some of the kids, especially the younger ones, can’t read yet. So when it came to the script, it was done by rote – imitating how my mouth is shaped and where the tongue is positioned to say the words,” says Pravina.

The painstaking process has paid off, however, to the delight of Pravina and project artistic director Dr Mumtaz Begum Aboo Backer.

“Some of the Rohingya kids pronounce English words better than our USM students!” says Mumtaz, adding that they sometimes had to instruct the older kids to imitate the pronunciation and diction of the younger ones.

Young girls from the Penang Peace Learning Centre having fun during a photoshoot for the Jungle Book, The Musical. Photo: School of The Arts, USM

The steady exposure to English has also given an amazing boost to the children’s confidence in speaking the language. Many can now understand and answer simple questions in English, as well as the instructions called out by stage hands, makeup artists and other members of the crew, and the cast.

Putting the musical together

Unlike many school projects where parents diligently send their children for rehearsals (and sometimes, wait outside), transport is fully borne by Pravina and grant research assistant Melissa Gomez, who take turns fetching the Rohingya children from their homes for practice three times a week.

“Our wonderful media team from Alpha Seed, who have volunteered their services to this project pro bono, arranged for a van for us to pick up the children,” says Pravina.

“We still have to be extra careful security-wise, because God forbid if something happens or we are stopped, we have to be able to explain why we have a van full of refugee children.”

PPLC staff also played a crucial role by – at the request of the parents – sending a teacher to supervise every rehearsal. On top of all these extraordinary challenges in producing a stage production, the issue of overcoming the children’s inherent cautious streak needed to be factored in.

“They are very introverted and acceptance is a big issue. Even when these children go to the local playground, they are not accepted and have been asked to leave. Malaysian kids actually tell them: This is not your playground,” says Mumtaz.

Two young children chatting on the stairs of PPLC. Photo: Andrea Filmer

The idea that they don’t belong follows the children constantly. “When they first came to USM, they were very, very cautious about whether they would be asked to leave. They constantly wondered why they were being accepted here,” she adds. Over time, those feelings have diminished.

Penang Peace Learning Centre

In many ways, it’s hard for these kids to not feel different. Their school – an old double-storey house in Minden Heights that is in dire need of repairs – is located directly opposite a towering public school.

Sights and sounds from children running around the vast field across the street cannot be missed by kids at PPLC who play in a small compound, which has just two old footballs.

Muhd Zulfadhly Zainal, one of two full-time teachers at the centre, says the school was first established in 2013 by Prof Dr Kamarulzaman Askandar and a team of students as a project under a course offered by the School of Social Sciences in USM.

From a weekend school, classes opened full time on weekdays in just under a year later and is registered under the United Nations High Commissioner for Refugees (UNHCR) in Kuala Lumpur.

An older child leading a game of dodge ball in PPLC’s small compound. Photo: Andrea Filmer

It is one of about only eight schools in the state to be formally certified, though about 50-odd learning centres for Rohingya children are believed to be operating in Penang – many as tahfiz or religious schools.

Only one refugee school in Penang offers a secondary school syllabus (Rohingya Education Centre, or REC, in Permatang Pauh), so older students tend to abandon schooling early.

The PPLC currently has children aged between five and 14, with the majority of students in the eight to 12 range; all were born on Malaysian soil.

Muhd Zulfadhly, who came to work at PPLC after doing his university internship at the school, has been here three years. Pursuing a masters degree in USM under Kamarulzaman’s supervision, Muhd Zulfadhly admits that times are tough for PPLC.

With four classes and only two full-time teachers, the centre is grateful for the help of five volunteers who teach the children English. More part-time teachers are at the top of the school’s wishlist, second only to aspirations of a more stable financial situation.

With the centre running solely on donations, its accounts are often in the red as it struggles to come up with the monthly RM5,000 needed to pay for rent, utilities and school supplies.

“Rent eats up the most of our expenses. The greatest gift would be to get a permanent place for the kids,” says Muhd Zulfadhly.

‘Some of the Rohingya kids pronounce English words better than our USM students!’ says Mumtaz, adding that they sometimes had to instruct the older kids to imitate the pronunciation and diction of the younger ones. Photo: School of The Arts, USM

The house they currently operate in contains four rooms upstairs – one store room, a small library and two classrooms. Downstairs, aside from the living room which has been repurposed for learning, there is also a kitchen with cupboards and bare shelves.

Food is not provided for the kids here as there is just no money for it, and lunch – either at home or in the case of a sweet 13-year-old girl seen at the centre cooking one precious packet of instant noodles in an old ice cream container – is prevalently the first meal of the day for the children.

“When they’re able to pick up the studies, I’m happy. A lot of the kids here want to learn, they’re just not always given the opportunity,” says Muhd Zulfadhly.

As refugee children are not permitted to enrol in public schools, a path towards better employment and adequate living conditions is hard but not impossible, he expounds.

The bare necessities

Jungle Book, The Musical by USM, the final product of a two-year grant by the university, could not have come at a better time for PPLC. Faced with severe financial constraints, the centre was holding on until the end of the year to see if it could continue to operate.

Muhd Zulfadhly says aside from the proceeds of ticket sales that will be channeled to the school, the centre hopes to use the musical as a platform to create awareness on PPLC’s existence and hopefully, set the ball rolling for other fundraising endeavours.

“When the children get to go out and learn and experience new things, you see a personality change in them. They’re proud to be able to do things that they previously thought they couldn’t do,” he says.

In terms of Jungle Book, The Musical, those things include dancing, singing, acting and even rapping – a newfound talent that caught the attention of USM researchers.

Young actors playing the Mowgli and Shere Khan roles during a rehearsal for Jungle Book, The Musical. Photo: School of The Arts, USM

A total of 12 PPLC children will perform in Jungle Book, The Musical, alongside USM staff and students and a number of outside actors.

Two Rohingya boys – Muhammad Ramadan Hashim and Ahmad Ali Hassan – will play the principal role of the man-cub Mowgli on the first two days while a young Malaysian girl, Angelina Deborah Koh Ze Tyng, will fill the role on the final performance day.

“Gender equality! When we were casting Mowgli, we felt that the Rohingya actor playing the part would need to work with someone his or her own age to interact with, understand the role and learn from.

“Many of the other Rohingya children also have speaking roles and each is accompanied by an older actor who trains them and will be nearby on stage for support,” says Pravina.

Surprise support from outside is also flowing in, with actor and TV host Elaine Daly and former beauty queen and activist Deborah Henry set to attend the Sept 6 show, while legendary singer-composer Datuk Zainal Abidin is also voicing his support for the project.

Jungle Book, The Musical will be staged in Dewan Budaya, USM in Penang from Sept 5-7. Call Melissa Gomez (017-447 5003) or Andy Siti (012-682 4449) for tickets or email andysiti@usm.my. Tickets are priced at RM10 for the Sept 5 matinee at 11am and RM10 for students/ children and RM25 for adults for the 8.30pm performances on Sept 6 and 7.

from Family – Star2.com https://ift.tt/2Lj8CR2

[sissy-doll-nickyy-blog]

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NEW AMAZON GIFT CARD CODES GENERATOR - HOW TO GET FREE AMAZON GIFT CARD - AMAZON GIFT CODES GIVEAWAY

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