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Found 13 results

  1. Wow, with all the hubbub around Pokémon Let's Go it can be easy to forget that the original Pokémon games that started it all released 20 years ago (or 22 years ago in Japan)! The phenomenon of pocket monsters continues to this day and seems to be losing very little steam. It has proven to be one of Nintendo's enduring juggernauts able to spin off into everything from disaster relief games to live-action sleuthing films. This week we invited Kevin Slackie on the show to talk about both the original Game Boy titles and their newest incarnation in Pokémon Let's Go! Also, apparently Jessie and James of Team Rocket fame are canonically 15 years old? There was a lot of weird stuff swirling around OG Pokémon. And now to pose a question to all of you Pokémon Let's Go players out there: If you could only have one and the other was erased from existence, either Pokémon Red & Blue or Pokémon Let's Go, which would you hold onto? You can (and should) follow Kevin Slackie over on Twitter: @KSlackie Each week we will be tackling a video game, old or new, that at least one of us believes deserves to stand as one of the greatest games of all time. We'll dive into its history, development, and gameplay, while trying to argue for or against the game of the week. Sometimes we will be in harmonious agreement, other times we might be fighting a bitter battle to the very end. However each episode shakes out, we hope that everyone who listens will find the show entertaining and informative. Outro music: Pokémon Red 'Moondrops' by Sockpuppet (http://ocremix.org/remix/OCR02514) You can download or listen to the podcast over on Soundcloud, our hosting site, and iTunes. A YouTube version is available, as well! If you want to have your opinion heard on air, share your opinion in the comments, follow the show on Twitter, and participate in the weekly polls: @BestGamesPeriod New episodes of The Best Games Period will be released every Monday Don't forget to sign up for Extra Life to help sick and injured kids in hospitals around the US and Canada by playing games! View full article
  2. Wow, with all the hubbub around Pokémon Let's Go it can be easy to forget that the original Pokémon games that started it all released 20 years ago (or 22 years ago in Japan)! The phenomenon of pocket monsters continues to this day and seems to be losing very little steam. It has proven to be one of Nintendo's enduring juggernauts able to spin off into everything from disaster relief games to live-action sleuthing films. This week we invited Kevin Slackie on the show to talk about both the original Game Boy titles and their newest incarnation in Pokémon Let's Go! Also, apparently Jessie and James of Team Rocket fame are canonically 15 years old? There was a lot of weird stuff swirling around OG Pokémon. And now to pose a question to all of you Pokémon Let's Go players out there: If you could only have one and the other was erased from existence, either Pokémon Red & Blue or Pokémon Let's Go, which would you hold onto? You can (and should) follow Kevin Slackie over on Twitter: @KSlackie Each week we will be tackling a video game, old or new, that at least one of us believes deserves to stand as one of the greatest games of all time. We'll dive into its history, development, and gameplay, while trying to argue for or against the game of the week. Sometimes we will be in harmonious agreement, other times we might be fighting a bitter battle to the very end. However each episode shakes out, we hope that everyone who listens will find the show entertaining and informative. Outro music: Pokémon Red 'Moondrops' by Sockpuppet (http://ocremix.org/remix/OCR02514) You can download or listen to the podcast over on Soundcloud, our hosting site, and iTunes. A YouTube version is available, as well! If you want to have your opinion heard on air, share your opinion in the comments, follow the show on Twitter, and participate in the weekly polls: @BestGamesPeriod New episodes of The Best Games Period will be released every Monday Don't forget to sign up for Extra Life to help sick and injured kids in hospitals around the US and Canada by playing games!
  3. The big things in Pokémon right now are the dual Pokémon titles: Pokémon Let's Go Eevee and Pokémon Let's Go Pikachu. The two games are remakes of the original Red, Blue, and Yellow generation of the Pokémon franchise with modern twists that incorporate streamlined elements from the Pokémon Go mobile game that swept across the globe. Naomi Lugo offers her thoughts on the two new games while also recalling what made the original generation so great and magical for an entire world of kids. With schedules being what they are, sometimes coordinating a full episode of The Best Games Period can be difficult. When we can't have a proper discussion, we will be breaking off to do these shorter mini-casts, Honorable Mentions, to talk about fringe games that we might not otherwise be able to talk about on a full episode. Outro music: Pokémon Red/Blue/Yellow 'The Mighty Mighty Pokémon' by Level 99 (http://missingno.ocremix.org/music.html) You can download or listen to the podcast over on Soundcloud, our hosting site, and iTunes. A YouTube version is available, as well! If you want to have your opinion heard on air, share your opinion in the comments, follow the show on Twitter, and participate in the weekly polls: @BestGamesPeriod New episodes of The Best Games Period will be released every Monday Don't forget to sign up for Extra Life to help sick and injured kids in hospitals around the US and Canada by playing games!
  4. The big things in Pokémon right now are the dual Pokémon titles: Pokémon Let's Go Eevee and Pokémon Let's Go Pikachu. The two games are remakes of the original Red, Blue, and Yellow generation of the Pokémon franchise with modern twists that incorporate streamlined elements from the Pokémon Go mobile game that swept across the globe. Naomi Lugo offers her thoughts on the two new games while also recalling what made the original generation so great and magical for an entire world of kids. With schedules being what they are, sometimes coordinating a full episode of The Best Games Period can be difficult. When we can't have a proper discussion, we will be breaking off to do these shorter mini-casts, Honorable Mentions, to talk about fringe games that we might not otherwise be able to talk about on a full episode. Outro music: Pokémon Red/Blue/Yellow 'The Mighty Mighty Pokémon' by Level 99 (http://missingno.ocremix.org/music.html) You can download or listen to the podcast over on Soundcloud, our hosting site, and iTunes. A YouTube version is available, as well! If you want to have your opinion heard on air, share your opinion in the comments, follow the show on Twitter, and participate in the weekly polls: @BestGamesPeriod New episodes of The Best Games Period will be released every Monday Don't forget to sign up for Extra Life to help sick and injured kids in hospitals around the US and Canada by playing games! View full article
  5. Hi my name is Redd and I have started a live stream for Extra Live, https://www.twitch.tv/313redd313 , I have already gained $5.00 from last night. I would love to have some extra support during the streaming. Please follow and watch the stream so we can gain more traffic to gain more donations for Extra Life!!!!
  6. Ciri, a woman burdened under the weight of ancient blood and prophecy, joins Geralt as a playable character in The Witcher 3. CD Projekt RED decided that adding another playable character would provide new narrative opportunities that players would be able to enjoy. Ciri is the last of a lost Elven lineage and wields considerable power, a power which has drawn the wrath of the Wild Hunt and the Kingdom of Nilfgaard. The CD Projekt stresses that her inclusion as a playable character isn't the a shift in focus from Geralt. "[Ciri] is not playable in the same way as Geralt -- the game is still about him, his story," they clarified. The team also has this to say about Ciri: The announcement comes alongside the release of several new screenshots that can be seen here. The Witcher 3: Wild Hunt is currently set for release on May 19. View full article
  7. Ciri, a woman burdened under the weight of ancient blood and prophecy, joins Geralt as a playable character in The Witcher 3. CD Projekt RED decided that adding another playable character would provide new narrative opportunities that players would be able to enjoy. Ciri is the last of a lost Elven lineage and wields considerable power, a power which has drawn the wrath of the Wild Hunt and the Kingdom of Nilfgaard. The CD Projekt stresses that her inclusion as a playable character isn't the a shift in focus from Geralt. "[Ciri] is not playable in the same way as Geralt -- the game is still about him, his story," they clarified. The team also has this to say about Ciri: The announcement comes alongside the release of several new screenshots that can be seen here. The Witcher 3: Wild Hunt is currently set for release on May 19.
  8. I believe that Transistor would classify as one of the few genuine video game tragedies, though such classification could doubtless be debated to death. Transistor is a game of paradoxes and mysteries. It is a tragedy, but it is also a tale of revenge. It focuses on the end of the world and the beginning of a new one. It is about an eloquent singer without a voice. Supergiant Games designed almost everything in Transistor with multiple purposes in mind. While this might seem confusing at first, it is really a dazzling testament to the talent at Supergiant Games. All the individual pieces of Transistor click together to create a cohesive and interesting whole that is shocking, beautiful, and full of silent rage. Inevitably people will compare Transistor with Supergiant Games’ first project, Bastion. On a purely surface level, Transistor shares a similar sense of style and world-building with its predecessor. It is highly stylized, played from an isometric perspective, and there is a constant voice helping to clarify the narrative and objectives. However, in almost every other respect it is an entirely different sort of beast. Nothing in Transistor is straightforward. The story begins with a murder gone wrong and a stolen voice. Red, the protagonist, was a famous and influential singer in the city of Cloudbank, until a group of individuals known as the Camerata attempted to silence her permanently. They only half succeeded. Though they stole her voice and managed to kill the mysterious man who was with her at the time, Red finds herself armed with the assassins’ weapon: the sword-like Transistor. Rather than run and escape Cloudbank, Red decides to take the fight to the Camerata just as a strange mass of creatures known as The Process begin to tear the world apart. Most of the talking done in the game is done by the Transistor itself which has absorbed the soul of the unknown man who was killed instead of Red. Red herself can only communicate back by typing on the various terminals scattered throughout Cloudbank. Because of her lack of voice, Red’s motivations and intentions are left to the player to interpret and aren’t necessarily clear until the final moments of Transistor. The narrative takes some strange turns and brings up a lot of questions that it doesn’t completely answer, at least not after a preliminary playthrough. What starts out seeming like a simple, little story ends up asking huge questions that feel relevant to our rapidly advancing, digital society. After having a few days to mull it over, I think I have a firm grasp on what Transistor was all about, what it meant. I’ve been trying to think of a less pretentious way of saying this, but I haven’t been able to come up with one: Transistor’s narrative doesn’t stoop to accommodate everyone. It requires a bit of effort on the part of the player to understand and piece together what happened over the course of the game. It isn’t a grand mystery, but it is an exercise in interpretation (which I think is bloody fantastic to see in a video game). Many games feel the need to spell themselves out, but Transistor understands that you don’t need to spell everything out and that sometimes conclusions that players reach themselves feel all the more valuable because they had to reach for them alone. There are going to be a fair number of people who won’t feel like delving into the narrative of Transistor and that’s fine. However, those people will be missing out on part of what makes this game truly great. The Transistor can absorb the fragments a person leaves behind after their death and make use of their power in combat. While the gameplay of Transistor initially feels very similar to the action-oriented gameplay of Bastion, a major addition changes everything. The Transistor allows the player to stop time and plan out a certain number of actions, which then unfold within the span of a half-second. This lends the game an almost turn-based feel as the time-stopping mechanic takes several seconds to recharge after being expended, during which the player is left vulnerable and unable to use (most) abilities. There are four ability slots that are open at any given time, each with one open augment slot (which can be upgraded to two augment slots), and later in the game there are unlockable passive skill slots. There are tons of different ability combinations for players to explore and discover what configurations they prefer. However, for those curious about the world and characters of Cloudbank, no combination will be satisfactory for long. Every person that the Transistor absorbs has a story and you unlock different pieces of their story by using their power as a main ability, and augmentation, or as a passive. If you want to discover everything about Transistor, you’ll be constantly forced to incorporate new abilities in different ways and adapt your strategies accordingly. While background information might not be enough of a motivation for some players to experiment with their preferred abilities, I found it to be very effective at getting me out of comfortable ruts with tried and true strategies. Right up until the end of the game I continued to acquire new soul fragments; only reverting to what I found to be my most powerful ability configuration for the final, climactic battle. While I found Transistor to be at a well-balanced difficulty, players looking for more of a challenge will be able to use unlockable limiters to give themselves combat restrictions in order to get more experience points. While the meat of Transistor revolves around its combat, there are many small, caring touches that make the game world feel a bit more human. These little things range from a button that allows Red to hold the Transistor tightly and hum along with the background music to a short pizza party sequence that results from interacting with a certain terminal. Those two examples might not seem like much, but they make the characters feel like people rather than pawns. Those slight moments inform and reinforce the rest of the game while simultaneously serving to briefly lighten the mood. Heavy topics arose throughout my time of Transistor and having some breaks, however short they might be, from looming catastrophe was welcome. Transistor’s world is dramatic, bold, and beautiful largely due to the work of art director Jen Zee and composer Darren Korb. Transistor is doubtlessly some of the finest work that either of them have ever done. You could take a screenshot from just about any portion of Transistor, crop out the UI elements, slap a frame on it and it would look right at home in an art exhibit. Seriously, I cannot emphasize how gorgeous I found Transistor. The lovely visuals are likewise complimented by an amazing techno-jazz-electronica-noir soundtrack that seemed to insistently pull me forward, giving me a sense of urgency. The few tracks that make use of Ashley Barrett’s incredible voice serve as a reminder of what Red has lost. For all of the energy present in the Korb’s excellent soundtrack, many of the pieces contain hints of sadness and loss, heralding the direction events are destined to take. (Warning: The Transistor soundtrack contains some light spoilers) Conclusion: Transistor is not a game to play if you are looking to turn your brain off. The combat asks for tactics and the story requires some thought. It isn’t a long game, easily finished in two or three sittings, but it needs a certain level of engagement. It tells a tale of heartbreaking reprisal and presents moral questions to its audience. Some players might be dismayed at the lack of choices and exploration. However, Transistor is largely an on-rails sort of experience; not having a large degree of player choice or exploration aren’t bad things, they are simply different ways to make a game. As a game, Transistor is a deep and thoroughly enjoyable experience. As a narrative, Transistor sits as one of the best video game tragedies of all time. Transistor was reviewed on PC. It is currently also available on PlayStation 4
  9. I believe that Transistor would classify as one of the few genuine video game tragedies, though such classification could doubtless be debated to death. Transistor is a game of paradoxes and mysteries. It is a tragedy, but it is also a tale of revenge. It focuses on the end of the world and the beginning of a new one. It is about an eloquent singer without a voice. Supergiant Games designed almost everything in Transistor with multiple purposes in mind. While this might seem confusing at first, it is really a dazzling testament to the talent at Supergiant Games. All the individual pieces of Transistor click together to create a cohesive and interesting whole that is shocking, beautiful, and full of silent rage. Inevitably people will compare Transistor with Supergiant Games’ first project, Bastion. On a purely surface level, Transistor shares a similar sense of style and world-building with its predecessor. It is highly stylized, played from an isometric perspective, and there is a constant voice helping to clarify the narrative and objectives. However, in almost every other respect it is an entirely different sort of beast. Nothing in Transistor is straightforward. The story begins with a murder gone wrong and a stolen voice. Red, the protagonist, was a famous and influential singer in the city of Cloudbank, until a group of individuals known as the Camerata attempted to silence her permanently. They only half succeeded. Though they stole her voice and managed to kill the mysterious man who was with her at the time, Red finds herself armed with the assassins’ weapon: the sword-like Transistor. Rather than run and escape Cloudbank, Red decides to take the fight to the Camerata just as a strange mass of creatures known as The Process begin to tear the world apart. Most of the talking done in the game is done by the Transistor itself which has absorbed the soul of the unknown man who was killed instead of Red. Red herself can only communicate back by typing on the various terminals scattered throughout Cloudbank. Because of her lack of voice, Red’s motivations and intentions are left to the player to interpret and aren’t necessarily clear until the final moments of Transistor. The narrative takes some strange turns and brings up a lot of questions that it doesn’t completely answer, at least not after a preliminary playthrough. What starts out seeming like a simple, little story ends up asking huge questions that feel relevant to our rapidly advancing, digital society. After having a few days to mull it over, I think I have a firm grasp on what Transistor was all about, what it meant. I’ve been trying to think of a less pretentious way of saying this, but I haven’t been able to come up with one: Transistor’s narrative doesn’t stoop to accommodate everyone. It requires a bit of effort on the part of the player to understand and piece together what happened over the course of the game. It isn’t a grand mystery, but it is an exercise in interpretation (which I think is bloody fantastic to see in a video game). Many games feel the need to spell themselves out, but Transistor understands that you don’t need to spell everything out and that sometimes conclusions that players reach themselves feel all the more valuable because they had to reach for them alone. There are going to be a fair number of people who won’t feel like delving into the narrative of Transistor and that’s fine. However, those people will be missing out on part of what makes this game truly great. The Transistor can absorb the fragments a person leaves behind after their death and make use of their power in combat. While the gameplay of Transistor initially feels very similar to the action-oriented gameplay of Bastion, a major addition changes everything. The Transistor allows the player to stop time and plan out a certain number of actions, which then unfold within the span of a half-second. This lends the game an almost turn-based feel as the time-stopping mechanic takes several seconds to recharge after being expended, during which the player is left vulnerable and unable to use (most) abilities. There are four ability slots that are open at any given time, each with one open augment slot (which can be upgraded to two augment slots), and later in the game there are unlockable passive skill slots. There are tons of different ability combinations for players to explore and discover what configurations they prefer. However, for those curious about the world and characters of Cloudbank, no combination will be satisfactory for long. Every person that the Transistor absorbs has a story and you unlock different pieces of their story by using their power as a main ability, and augmentation, or as a passive. If you want to discover everything about Transistor, you’ll be constantly forced to incorporate new abilities in different ways and adapt your strategies accordingly. While background information might not be enough of a motivation for some players to experiment with their preferred abilities, I found it to be very effective at getting me out of comfortable ruts with tried and true strategies. Right up until the end of the game I continued to acquire new soul fragments; only reverting to what I found to be my most powerful ability configuration for the final, climactic battle. While I found Transistor to be at a well-balanced difficulty, players looking for more of a challenge will be able to use unlockable limiters to give themselves combat restrictions in order to get more experience points. While the meat of Transistor revolves around its combat, there are many small, caring touches that make the game world feel a bit more human. These little things range from a button that allows Red to hold the Transistor tightly and hum along with the background music to a short pizza party sequence that results from interacting with a certain terminal. Those two examples might not seem like much, but they make the characters feel like people rather than pawns. Those slight moments inform and reinforce the rest of the game while simultaneously serving to briefly lighten the mood. Heavy topics arose throughout my time of Transistor and having some breaks, however short they might be, from looming catastrophe was welcome. Transistor’s world is dramatic, bold, and beautiful largely due to the work of art director Jen Zee and composer Darren Korb. Transistor is doubtlessly some of the finest work that either of them have ever done. You could take a screenshot from just about any portion of Transistor, crop out the UI elements, slap a frame on it and it would look right at home in an art exhibit. Seriously, I cannot emphasize how gorgeous I found Transistor. The lovely visuals are likewise complimented by an amazing techno-jazz-electronica-noir soundtrack that seemed to insistently pull me forward, giving me a sense of urgency. The few tracks that make use of Ashley Barrett’s incredible voice serve as a reminder of what Red has lost. For all of the energy present in the Korb’s excellent soundtrack, many of the pieces contain hints of sadness and loss, heralding the direction events are destined to take. (Warning: The Transistor soundtrack contains some light spoilers) Conclusion: Transistor is not a game to play if you are looking to turn your brain off. The combat asks for tactics and the story requires some thought. It isn’t a long game, easily finished in two or three sittings, but it needs a certain level of engagement. It tells a tale of heartbreaking reprisal and presents moral questions to its audience. Some players might be dismayed at the lack of choices and exploration. However, Transistor is largely an on-rails sort of experience; not having a large degree of player choice or exploration aren’t bad things, they are simply different ways to make a game. As a game, Transistor is a deep and thoroughly enjoyable experience. As a narrative, Transistor sits as one of the best video game tragedies of all time. Transistor was reviewed on PC. It is currently also available on PlayStation 4 View full article
  10. Yesterday, CD Projekt issued an announcement to its fans and shareholders to explain that The Witcher 3 would be delayed into 2015, missing its expected 2014 release window. After a short preamble detailing their commitment to excellence, the Poland-based developer addresses the delay: We could have released the game towards the end of this year as we had initially planned. Yet we concluded that a few additional months will let us achieve the quality that will satisfy us, the quality gamers expect from us. Consequently, we have set the release of The Witcher 3: Wild Hunt for February 2015. CD Projekt also had this to say to their fans: Dear gamers – we know many of you would have liked to play The Witcher 3 sooner, as soon as possible, even. We’re sorry to make you wait longer than you, or we, initially assumed you would. At the same time, we believe the game will prove to be worth the wait and meet the expectations you have of us. We believe The Witcher 3: Wild Hunt will be an exceptional RPG, one of the best, providing many hours of wonderful entertainment. While this is certainly a disappointment for gamers eager to get their hands on the highly anticipated RPG, it isn't necessarily a bad thing. Often, delays are good for giving developers extra time to polish titles and assure their quality; not every delayed game turns into Duke Nukem Forever. And good on CD Projekt for owning up to the situation and apologizing instead of waiting for gamers to find out themselves, which is never pretty. In the meantime, people will have to make do with Witcher comics and our coverage from E3 2013. View full article
  11. Yesterday, CD Projekt issued an announcement to its fans and shareholders to explain that The Witcher 3 would be delayed into 2015, missing its expected 2014 release window. After a short preamble detailing their commitment to excellence, the Poland-based developer addresses the delay: We could have released the game towards the end of this year as we had initially planned. Yet we concluded that a few additional months will let us achieve the quality that will satisfy us, the quality gamers expect from us. Consequently, we have set the release of The Witcher 3: Wild Hunt for February 2015. CD Projekt also had this to say to their fans: Dear gamers – we know many of you would have liked to play The Witcher 3 sooner, as soon as possible, even. We’re sorry to make you wait longer than you, or we, initially assumed you would. At the same time, we believe the game will prove to be worth the wait and meet the expectations you have of us. We believe The Witcher 3: Wild Hunt will be an exceptional RPG, one of the best, providing many hours of wonderful entertainment. While this is certainly a disappointment for gamers eager to get their hands on the highly anticipated RPG, it isn't necessarily a bad thing. Often, delays are good for giving developers extra time to polish titles and assure their quality; not every delayed game turns into Duke Nukem Forever. And good on CD Projekt for owning up to the situation and apologizing instead of waiting for gamers to find out themselves, which is never pretty. In the meantime, people will have to make do with Witcher comics and our coverage from E3 2013.
  12. Unless you have been hiding under a rock for the past couple of weeks, chances are that you have heard someone in the video game community mention Twitch Plays Pokemon. What exactly is this internet phenomenon all about? Twitch Plays Pokemon works by receiving input commands via the Twitch chat system. There are two modes that this input mode can be on at any time: Anarchy and Democracy. When Anarchy is in effect, all chat commands are applied if possible. When Democracy activates the most numerous input command during a 30 second period is the next character action. With this system, it took thousands (at times tens of thousands) of users a little over 16 days to conquer Pokémon Red. During that tie, new memes were generated, artists created their own renderings of in-game events, comic strips came out of the woodwork, and allegiances were formed. Those who favored the Anarchy system turned the Helix fossil into their symbol with mock reverence. The users who were in favor of Democracy united under the Dome fossil and called for order to make more in-game progress. I'm going to be honest, I'm not sure I quite understand the attraction to actually participating in the livestream, but I do find the jokes coming out of it to be pretty entertaining. I expect that this is only the beginning, as Twitch Plays Pokemon has now launched a new game of Pokémon Crystal, the revamped version of Gold and Silver on the Game Boy Color. What are your thoughts on Twitch Plays Pokemon? Have you participated in the chat? Let us know if you are for the Helix or the Dome (or the Old Amber)! View full article
  13. Unless you have been hiding under a rock for the past couple of weeks, chances are that you have heard someone in the video game community mention Twitch Plays Pokemon. What exactly is this internet phenomenon all about? Twitch Plays Pokemon works by receiving input commands via the Twitch chat system. There are two modes that this input mode can be on at any time: Anarchy and Democracy. When Anarchy is in effect, all chat commands are applied if possible. When Democracy activates the most numerous input command during a 30 second period is the next character action. With this system, it took thousands (at times tens of thousands) of users a little over 16 days to conquer Pokémon Red. During that tie, new memes were generated, artists created their own renderings of in-game events, comic strips came out of the woodwork, and allegiances were formed. Those who favored the Anarchy system turned the Helix fossil into their symbol with mock reverence. The users who were in favor of Democracy united under the Dome fossil and called for order to make more in-game progress. I'm going to be honest, I'm not sure I quite understand the attraction to actually participating in the livestream, but I do find the jokes coming out of it to be pretty entertaining. I expect that this is only the beginning, as Twitch Plays Pokemon has now launched a new game of Pokémon Crystal, the revamped version of Gold and Silver on the Game Boy Color. What are your thoughts on Twitch Plays Pokemon? Have you participated in the chat? Let us know if you are for the Helix or the Dome (or the Old Amber)!
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