Here is an hour and seven minutes of two guys talking about stuff. You’re welcome.
Hosts: Paul, Shamus. Episode edited by Issac.
Diecast353
Link (YouTube) |
Show notes: Continue reading 〉〉 “Diecast #353: Remembering Blizzard”
Here is an hour and seven minutes of two guys talking about stuff. You’re welcome.
Link (YouTube) |
Show notes: Continue reading 〉〉 “Diecast #353: Remembering Blizzard”
Morgan Yu has a tough job. Her goal is to blow up the Talos-1 space station, and optionally find some way to escape the blast, and even more optionally find some way for everyone else to also escape.
To blow up the station, she needs her arming key. To get her arming key, she needs to reach Deep Storage. To reach Deep Storage, she needs to go on a half dozen detours through the malfunctioning, infested, haunted guts of the station.
While she’s working on that, let’s stop and talk about…

In his book Understanding Comics, Scott McCloud talks about “amplification through simplification”. The idea is that as you simplify a cartoon character down to the essential details, they become more generalized. As their details become so broad that they could represent anyone, they effectively come to represent everyone. When you strip away age, gender, body type, ethnicity, race, and that stupid haircut you really need to change, all we’re left with is the humanity of the character. And wouldn’t you know it, we have that in common! We’re more able to identify with this kind of simple design. We can see ourselves in them. As a face becomes more stylized, it gradually becomes a mask representing either people in general or ourselves in particular.
But the one thing it doesn’t do – indeed, the one thing comics can’t do – is get you to take the final step and put the mask on. At that point the transition is complete. You can no longer see the mask at all. The character becomes you, specifically. Only videogames can do this.
Continue reading 〉〉 “Prey 2017 Part 7: Who Are Yu?”
Heads up: I spend the first 7 minutes of the show talking about weird non-gaming, non-nerd personal stuff for some reason. This segment was originally longer, but I had Issac chop a bit of it out for fear of over-sharing.
Also, I had a funny story I’d intended to share on the show, but forgot to put in the show notes. Look for it at the end of this post. I’m honestly curious if I’m stupid, crazy, or if I was bamboozled.
Link (YouTube) |
Show notes: Continue reading 〉〉 “Diecast #352: Animation and Joint Pain”
So we’re working our way through Psychotronics. This poorly-lit maze is the oldest part of the station, and it’s also where the classified Typhon research takes place. So while we’re here and reading everyone’s mail, let’s take the time to talk about the various monster types we’ve run into so far…
Continue reading 〉〉 “Prey 2017 Part 6: Meet the Monsters”
Hey, remember a couple of years ago when the TV show Rick and Morty was the topic of the day? No? Weird. I remember half the recommendations on YouTube were thinkpieces talking about how the show was pure awfulness / pure brilliance / at peak cultural relevance / a sign of the fall of civilization / a dumb fad / a show for smart people / a show for assholes. Most of it went over my head because I’d never watched the show.
The show is still going, so I’m not sure why it’s getting so little attention now. (Or perhaps, why it got so much 2 years ago.)
Continue reading 〉〉 “Rick and Morty”
After the tutorial, Prey settles into a pattern that’s going to repeat for most of the rest of the game. You need to get thing A, but to obtain that thing you need to go through obstacles B, C, D and E, and each of those obstacles has sub-obstacles and optional branching diversions to explore.
Continue reading 〉〉 “Prey 2017 Part 5: Getting Around the Cosmos”
Link (YouTube) |
People were so worried about the boring gameplay of The Old Republic they overlooked just how boring and amateur the art is.
I'm not surprised a fighting game has an absurd story. I just can't figure out why they bothered with the story at all.
What is this Vulkan stuff? A graphics engine? A game engine? A new flavor of breakfast cereal? And how is it supposed to make PC games better?
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What makes this borderline indie title so much better than the AAA juggernauts that came before?
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This series explores the troubled history of VR and the strange lawsuit between Zenimax publishing and Facebook.