May 29, 2014

jeanox:

Players will control young female protagonist Nuna and her arctic fox as they try to rescue her homeland from an endless blizzard. Upper One calls itself the first indigenous-owned video game developer and publisher in the U.S. and Never Alone's inspiration comes from the centuries-old stories and folklore of the Iñupiat people native to the region. Priced at $15, it comes out this fall for PC, PS4 and Xbox One.

This game makes me so happy. This is what indie developers have an opportunity to create and what, in all likelihood, AAA companies will be forever blind to. Keep an eye on this one, guys it looks brilliant

(via deepchrome)

August 18, 2013

sprech4:

Concept art for Sound of Silence, a psychological horror game based on the idea of manipulating the game itself to prey on the player’s fears. You can watch the original concept video HERE.

This is a game I’ve been really hype about for the past year! I’m happy to see it finally go into production, because I think it has a lot of potential to revolutionize gameplay and programming mechanics horror games.

(Source: facebook.com, via chantillyxlacey)

August 12, 2013
commanderbyproxy:

fuchsiamae:

didyouknowgaming:

Gamers.
http://www.theesa.com/facts/pdfs/ESA_EF_2013.pdf

#loudly yells ‘THE STEREOTYPE ABOUT TEENAGE BOYS BEING THE REAL/ONLY GAMERS IS INCREASINGLY BECOMING OBSOLETE’ #’PLEASE STOP ACTING LIKE YOUR MARKET IS 100% STRAIGHT WHITE MEN WITH NO RESPECT FOR WOMEN OR FEMALE CHARACTERS’ #places megaphone on the ground and walks away

I will always and forever stand by those tags because it’s fucking bullshit that people try to use “their market” as an excuse for not having diversity in their games/media. I am tired of bullshit excuses about why everyone except young white straight men get treated like crap and ignored in the game industry and in games. I am tired of settling for “well, they do better with female/characters of color/queer characters than most other people, why can’t you be happy about that?”
This post and those statistics finally shoot down the “but we have to cater to these people, they’re the ones that buy the majority of our product!” excuse. Because it is not who buys your product. It is people who have managed to make their way into positions of power and don’t particularly want to change or challenge that. It is people who are perfectly happy living in their narrow worldview because it’s fine for them—because they can turn on the TV or pop in a game and 99.99% of the time they’ll see themselves, because they exist everywhere so why would they care if other people do, too? And then they’ll stand there and screech about how they can’t put those characters or that storyline in, it’ll alienate their market, when they’re pointedly not paying attention to who their market actually is. You don’t get to hide behind capitalism when you’re reading the damn figures wrong.
I will be happy when the media I consume accurately and fairly represents the people that actually exist in the world instead of a very narrow portion of it. I will be happy when people stop making excuses for why this is not the case and start actually doing something to fix it. Not before.

commanderbyproxy:

fuchsiamae:

didyouknowgaming:

Gamers.

http://www.theesa.com/facts/pdfs/ESA_EF_2013.pdf

  

I will always and forever stand by those tags because it’s fucking bullshit that people try to use “their market” as an excuse for not having diversity in their games/media. I am tired of bullshit excuses about why everyone except young white straight men get treated like crap and ignored in the game industry and in games. I am tired of settling for “well, they do better with female/characters of color/queer characters than most other people, why can’t you be happy about that?”

This post and those statistics finally shoot down the “but we have to cater to these people, they’re the ones that buy the majority of our product!” excuse. Because it is not who buys your product. It is people who have managed to make their way into positions of power and don’t particularly want to change or challenge that. It is people who are perfectly happy living in their narrow worldview because it’s fine for them—because they can turn on the TV or pop in a game and 99.99% of the time they’ll see themselves, because they exist everywhere so why would they care if other people do, too? And then they’ll stand there and screech about how they can’t put those characters or that storyline in, it’ll alienate their market, when they’re pointedly not paying attention to who their market actually is. You don’t get to hide behind capitalism when you’re reading the damn figures wrong.

I will be happy when the media I consume accurately and fairly represents the people that actually exist in the world instead of a very narrow portion of it. I will be happy when people stop making excuses for why this is not the case and start actually doing something to fix it. Not before.

(via sadretro)

August 4, 2013
didyouknowgaming:

Gamers.

http://www.theesa.com/facts/pdfs/ESA_EF_2013.pdf

didyouknowgaming:

Gamers.

http://www.theesa.com/facts/pdfs/ESA_EF_2013.pdf

July 10, 2013
theatlantic:

Desert Bus: The Worst Video Game Ever Created

The drive from Tucson, Arizona, to Las Vegas, Nevada, takes approximately eight hours when travelling in a vehicle whose top speed is forty-five miles per hour. In Desert Bus, an unreleased video game from 1995 conceived by the American illusionists and entertainers Penn Jillette and Teller, players must complete that journey in real time. Finishing a single leg of the trip requires considerable stamina and concentration in the face of arch boredom: the vehicle constantly lists to the right, so players cannot take their hands off the virtual wheel; swerving from the road will cause the bus’s engine to stall, forcing the player to be towed back to the beginning. The game cannot be paused. The bus carries no virtual passengers to add human interest, and there is no traffic to negotiate. The only scenery is the odd sand-pocked rock or road sign. Players earn a single point for each eight-hour trip completed between the two cities, making a Desert Bus high score perhaps the most costly in gaming.
Read more.

theatlantic:

Desert Bus: The Worst Video Game Ever Created

The drive from Tucson, Arizona, to Las Vegas, Nevada, takes approximately eight hours when travelling in a vehicle whose top speed is forty-five miles per hour. In Desert Bus, an unreleased video game from 1995 conceived by the American illusionists and entertainers Penn Jillette and Teller, players must complete that journey in real time. Finishing a single leg of the trip requires considerable stamina and concentration in the face of arch boredom: the vehicle constantly lists to the right, so players cannot take their hands off the virtual wheel; swerving from the road will cause the bus’s engine to stall, forcing the player to be towed back to the beginning. The game cannot be paused. The bus carries no virtual passengers to add human interest, and there is no traffic to negotiate. The only scenery is the odd sand-pocked rock or road sign. Players earn a single point for each eight-hour trip completed between the two cities, making a Desert Bus high score perhaps the most costly in gaming.

Read more.

(via slaughterhousefive)