Editor’s Note: RealGamerNewZ has moved web servers, some older posts can no longer be commented on and have been preserved without their images. Thank you for your understanding in this matter. This article was written by RealGamerNewz on 20150423 and was last modified on 20150423 .
Many articles which have been seen by hundreds of thousands, perhaps millions of viewers have been deleted from the long-standing publication PC Gamer which has come under fire recently as a journalist who wrote about Assassin’s Creed favorably a large number of times has been discovered to be the perpetrator of a severe ethics violation. Despite the fact that the video games industry mainly goes unregulated to this sort of thing, nepotism and favoritism exists in all segments of business – eventually things can go poorly if proper disclosure is not made to immediately address bias.
It has been stated by many critics of PC Gamer’s actions to delete these articles that if connections between authors and their subject matter can be stated up front to the reader there will be no cause for alarm after the fact. Still, the fact that sales have been influenced by this author’s work without any reasonable warning of the bias that inevitably existed, PC Gamer has had their reputation tarnished and will be looked at with a skeptical eye from here on out. This case is the latest in a string of ethics violations that have been revealed after a massive outrage took place due to the poor quality of Ubisoft’s Assassin’s Creed Unity which released for PlayStation 4, Xbox One, and Windows PC on November 11, 2014.
Below, the criticisms of Total Biscuit who was named Trending Gamer at The Video Game Awards in 2014:
which of these do you think is happening? 1) PCGamer stepping up and admitting their fault with an apology 2) Deleting all evidence
— FauxtalBiscuit (@Totalbiscuit) January 15, 2015
Editor’s Note: RealGamerNewz Does Not Condone Harassment of Journalists, Developers, PR, Gamers, or any other People. The names of the individuals involved in this incident will not be released at this website, hate messages can be directed to [email protected]
Editor’s Note: RealGamerNewZ has moved web servers, some older posts can no longer be commented on and have been preserved without their images. Thank you for your understanding in this matter. This article was written by Mitch Walters on 20150118 and was last modified on 20150118 .
It’s a story as old as time, a community-based web platform is created and rules are set for it – but they are not equally enforced and eventually a disparity forms between one side and another. Now, before the pitchforks come up at my neck, I’m not accusing anyone of anything but rather suggesting that an inevitable trait of community-driven sites that rely on the content of other sites to end up with loose sets of rules that are ripe for imbalance.
The imbalance this article aims to point out is not necessarily anyone’s fault, and we condemn any obnoxious negativity attached with the community’s reactions to this report. Let’s try and instead offer suggestions on how to open up the process and system behind Metacritic so that it may reform itself to be more clear and concise for the game industry it serves.
This has been a long time coming Metacritic staff, so don’t expect people to forget the powerful impact your tool has had on the industry (not always for the better) priming gamers to be quite reactive to such news of imbalance in your systems. Hopefully articles like this can provide the feedback needed to repair the somewhat broken scoring system in place at your website.
The Evil Within – 80 Metascore
*Based on 55 professional publications’ reviews.
The Evil Within – 76 Metascore
*Based on 21 professional publications’ reviews.
Problems discovered with this disparity upon first glance: Metacritic lists Game Informer’s The Evil Within Review in the Xbox ONE section even though a PS4 logo is clearly seen at the top of the Review with the bottom displaying “filed under” including “playstation 4” but not Xbox ONE. Sure, the Game Informer staff discloses that the game is also available on Xbox ONE among other platforms – but where exactly between Game Informer posting this Review and Metacritic putting it into their Metascore formula for The Evil Within did it become decided that Game Informer’s score counts for the Xbox ONE version and the PlayStation 4 version equally? This is something that needs to become more transparent and is only one small example. If a website can just upload one review and have their scores applied to platforms they never played it on, just how many reviews exactly and from what type of publications should we expect on each side before we call it fair?
IGN also has a Review that Lucy O’Brien wrote which displays “Reviewed on PlayStation 4 and Xbox One” rather than identifying with one console over the other. IGN’s reviews typically represent all platforms with a single score, unless there is a major issue. Metacritic chose to count this 8.7 as an 87 in the Xbox ONE side of things AND the PS4 side, making the exact formula Metacritic is using a bit unclear.
AusGamers has a 10/10 review which adds a 100 into the Xbox ONE version’s column, a website which reportedly (according to Metacritic) scores 60% higher than the average publication’s review consistently. Let’s not forget that the figurehead of AusGamers is married to EA’s Sydney, Australia PR Coordinator and that this very same website gave Simcity a 9.4/10 among some of the most extreme criticism in gaming history paired with customer service fails which even EA gave in and admitted fault to on numerous occasion. (read on about the AusGamers / EA connection on Reddit here).
It also depends on how many review copies the Publishers give out for each platform, for example the X1 version of Call of Duty: Advanced Warfare has a score of 84 with 33 reviews so far and PS4 version has 83 with 22, so how accurate can Metacritic really be in the grand scheme of things without a more transparent and universal scoring system? Is it because the game is better on the Xbox ONE? We may never know unless Metacritic makes their system more balanced and transparent.
More to come soon on this… until then, feel free to do your own research and continue checking and double-checking big journo corps for corrupt / inaccurate reporting. Real Gamers Get Their News Real, Keep it Real, Keep it Gaming, Peace.
Editor’s Note: RealGamerNewZ has moved web servers, some older posts can no longer be commented on and have been preserved without their images. Thank you for your understanding in this matter. This article was written by Mitch Walters on 20141105 and was last modified on 20141105 .
The team behind recently revealed Hatred video game coming out next year for computer has released a new statement in response to an outburst of press that has come forth (mainly criticizing the game and using it as a talking point in cultural debate against free speech in video games media). In the statement they begin by letting the world know they will not succumb to threats and allegations of those who would have this game wiped from existence. Production will continue. They also thank the haters of Hatred who have made the game a cultural phenomenon, at least for the time being and to the fans who have appeared to experience this game.
Here is their word to the press and gamers:
“Those were a long, long few days since our trailer relase. We feel obligued to write down this post to report how things are going and to set some light on a few things. First of all we have to quote: “well, that escalated quickly!”. We knew that our reveal will cause some shitstorm, but never expected it to be so huge. We wish to thank all of our haters and all upset press for a great marketing campaign they’ve done for us. A week ago, we were a little company from the middle of nowhere, just some guys making some game.
Today everyone heard about “Hatred” and us. All thanks goes to those who were trying to harm us (with no desired effect, what a pity). On the other hand – we didn’t expect that much of support and we weren’t aware of how many people are out there, who think like us and who will entitle themselves as our dedicated fans. We want all of them to know: we won’t stop, we won’t change what this game is going to be and we’ll deliver the b est game we can to all of you!”
Editor’s Note: The Press Release from Destructive Creations continues. At the end of the release there are statements from individual members of the game’s development team responding to allegations that they harbor actual hate for any one particular group of people (in real life). Their responses shed light on the fact that Destructive Creations is a Polish team whose members are families that have lost their loved ones to brutal death camps and genocide. The developers DO NOT support this type of behavior in real life and simply understand that this is a video game in which targets flee and players attempt to clear all targets on the board before the time runs out in the coolest way possible. This game in no way encourages or supports real world violence!
Hatred is just a video game after all.
Editor’s Note: RealGamerNewZ has moved web servers, some older posts can no longer be commented on and have been preserved without their images. Thank you for your understanding in this matter. This article was written by Jon Ireson on 20141021 and was last modified on 20180323 .
This Episode of the iRGN Podcast by RealGamerNewz will feature Barry Collins (the creator of Ashen Rift) as we discuss major issues in the industry such as the brutal job market, the indie development scene, indie devs doing their own PR with sometimes disastrous results, and a lot more heavy industry topics. We will also discuss Ashen Rift with the developer live on the air about this work in progress game.
1. Special Guest: Ashen Rift developer Barry Collins Discusses His Work In Progress Game*
2. Should Indie Devs Avoid Doing Their Own PR?
3. Irrational Games + Santa Monica Studios Latest In Major Industry Layoffs
4. How Should An Indie Game Be Priced?
Alternative: MP3 Version Below:
Editor’s Note: RealGamerNewZ has moved web servers, some older posts can no longer be commented on and have been preserved without their images. Thank you for your understanding in this matter. This article was written by Jon Ireson on 20140228 and was last modified on 20140228 .
In the wake of a new rush towards the video games journalism industry many self-starters, spin-off websites, and indie publications such as our own have came about under their own rules. This flexible gaming press scenario is unlike any ever seen before the massive embrace of online gaming publications after a long era of highly successful print magazines that covered the latest in technology and video games. Fast forward to today, and we find a bubbling industry full of video games websites spinning their own news, opinions, and reviews. Sometimes that same flexibility that gives indie publications the chance to reach their audience becomes a double edged sword and high level editorial staff end up on the receiving end of an internet scandal. I sat down with Daniel Horowitz (Longtime Colleague, Gaming Enthusiast, and Continue Play Contributor *among other things) to discuss this new age of internet journalism and the responsibilities an indie publication should be expected to uphold to their readers and business partners.
Jon: First off, thanks for joining me here Dan and I just wanted to say that it’s been a pleasure working with you over the years across various publications throughout my years covering video games in a press capacity. In regard to the main topic at hand, I want to start out by saying of course nobody is perfect and that this is meant to be a productive and beneficial discussion about real issues that all of us in the industry must contemplate as we move forward. Certain events take place in the public eye of the industry and cause us to re-think how we do things as a team or as individuals in our professional workplace. Like, for example – When does a business relationship end and a personal communication begin? Certainly many readers have other issues on their mind as well, such as whether or not reviews are being “bought out” or otherwise incentivized in any way.
Dan: Absolutely, Jon. The pleasure is all mine. It’s been great working with you and getting to know you as we both have evolved and expanded our roles both in the gaming press and beyond. I definitely feel that it’s a tough question to answer objectively, in some ways self-owning or owning a publication among a small collective as opposed to being owned by a corporation creates a certain sense of ownership over the content on the site, blurring the lines exactly from where, as you say, the business relationship ends and the personal communications begin.
But just like any brand, no matter how corporate or independent, the brand is distinct and needs to stay distinct from the owner. In your case, RealGamerNewz is not solely Jon Ireson and does not only represent your viewpoints, opinions and sensibilities. It’s a brand that not only provides a venue for independent writers and content creators to give their no-holds barred opinions on specific games and the game industry at large, but also has to maintain certain ethical standards, as it’s not beholden to specific advertisers or game publishers for revenue.
However, the flipside I feel is that as soon as you as soon as you devolve into letting the person take over the publication, you’re no longer a brand; you’re a blog.
Jon: That is a very useful way of looking at it Dan. The staff that you allow to express themselves without fear of backlash or censorship will contribute another piece to the puzzle that makes up your brand’s identity. Rather than being controlling towards writers and content creators we have to be willing to go with the flow sometimes and guide the editorial process more gently allowing good ideas to thrive.
Back on to what readers should expect from the publication, I think there’s a certain kind of trust that gets formed while a user interacts with the website. If a review is being read by a visitor who is passing by, they might not notice whether or not you’ve mentioned review copy disclosure such as getting the game for free and/or themed accessory items within a review kit. However, the dedicated fans your brand is gaining notice everything – and telling them what items were received by the publication (if any, since some reviews are self-financed) is a way to earn trust and be transparent with your audience.
Dan: I definitely feel like corruption in reviews is a bit of an overstated problem, particularly when it comes to independent publications. Corporate publications, of course, are somewhat limited in what they can say about specific games that their parent companies are tasked with promoting, although I feel like they have gotten markedly more honest in recent years — at least in comparison to how they used to be.
The age of the DIY Internet culture means that publications are no longer the gatekeepers of content, game publishers and public relations professionals are. They want certain stories to be told about the brands they represent, and that’s fine. In an ideal world, I don’t feel like reviewers would be pressured to review upon a particularly positive bias, and I personally have never experienced it, even with larger companies that would be more prone to act negatively on a negative review score. They may get upset if you call something ‘generic’ or ‘uninspiring,’ but I feel as though if the publication’s vision and editorial voice can sync up with the writer’s feelings on the game, then an articulate negative review can have just as much impact as a positive one.
Jon: You’ve brought up great points about the review system and to a large extent I can agree with what’s been stated about larger companies doing a better job in recent times. Independent companies seem to do alright with this for the most part as well – but readers are sometimes skeptical based on their own bias while reading; which is something publications both large and small deal with. It seems like gamers are backlashing for lots of different reasons, which is a whole discussion in and of itself.
I do still believe that review copy disclosure in addition to things like a review policy are helpful tools in providing feedback to readers who may want reassurance that the publication takes their review ethics seriously. Over time an honest publication will be able to show that whether they received product or not – it didn’t always mean a glowing review.
What do you see as some of the more important and urgent responsibilities facing an indie publication and their interaction with readers (and business partners)?
Dan: What makes indie publications put out some of the more innovative web content today is the freedom from restraints, and from a purely financial standpoint, the lack of significant revenue. If you don’t have to please advertisers and publishers, then why pull your punches? That being said, I think one of the most important ways an indie publication needs to interact with their readers is by putting the content first, and molding their brand around their content, rather than the other way around. A good feature-led publication will always generate discussion and debate, and even if it proves to be controversial, they are still sparking engagement and debate among their readers, which will multiply due to the constant starting of thought-provoking discussion.
On the flipside, an indie publication does have to at least recoup its maintenance and start-up costs in order to be a successful business. That requires a certain amount of discretion, and although they are not beholden to anyone, they do need to foster and maintain relationships with advertisers and content creators to survive. The market is oversaturated as it is, and for every Sony fanboy, you’ll have another Microsoft fanboy swearing their fealty to the opposing corporation. In that sense, a publication that can successfully straddle the line between corporate and indie, by maintaining a consistent and clear vision to their readers, and not get muddled in personal politics or scandal is one that will consistently grow both in quality and quantity of readership.
Jon: Another thought that comes to mind is that although we are just gamers ourselves with a habit of writing and editing thousands of articles, we have an opportunity that many gamers would love to have and do not. Our discussions with industry professionals who make the games / tech / film / music / tv / comics that we review, report on, and often times interview about were once the dreams of every gamer that had already been dismissed as impossible before the door was swung wide open by the epoch of new ease-of-use centric internet tools becoming commonplace.
The evolution of the relationship between the gamer and the game creator has come to a point where there can be instantaneous contact from fans. However, an independent publication has access to an even deeper level of contact that essentially prevents those same entities from really hiding from us. I think part of being responsible is doing your duty to the fans of these creators, artists, programmers, writers, public relations professionals, and industry insiders is to get the information that readers want to read and show these industry professionals the respect that they deserve.
Some of the communications between gaming websites and public relations (or even developers of content for that matter) has made fans of these games stop and ask themselves why they aren’t just running their own communication line to these developers. There’s something to be said about inspiring other readers to quit reading and start writing their own content, talking to developers directly, and apologize on behalf of gamers for what other sites have done with such an incredible opportunity.
Dan: I think a lot of readers would be both delighted and somewhat surprised to know that joining the games industry as a journalist is actually a lot simpler than you would think. All you have to do is buy a few current games, review them to the best of your ability, write a few insightful features, and maybe a current news piece or two, and then contact a newly formed growing publication. There are plenty of places, that, as I like to put it, are the proving grounds of games journalism. But it’s a lot more difficult to actually get paid and recognized for your work at all, and many will toil at these low tier indie publications, churning out news pieces and top ten lists until they burn out and move on with their lives and ambitions.
That’s not to say it has to be or should be that way. Don’t get stuck working under people you don’t agree with or respect, especially in an age where it’s perfectly possible to start your own thing and generate your own revenue. After many mediocre gigs writing first for free, and then after building experience, for the highest bidder, it only dawned on me recently it’s possible to create your own site and craft your own editorial vision, even if it doesn’t align with what others want. After much deliberation and feet-dragging, I was compelled to help found Continue Play [http://continue-play.com/] which in the midst of a huge relaunch and in a very short while has built upon existing contacts spent from years working in the industry as a writer and editor.
I never realized the power of having a strong network until now, and I feel like one aspect that makes an indie publication a front-contender is a strong network. While an indie publication needs to earn the respect and trust of its readers, having a large dedicated team of writers and content creators, of people who are not only excited and passionate about games and others forms of media, but also about writing and creating, is what separates the critics from the ranters, the critiques from the sermons, and the analysis from the dogged fan loyalty.
Jon: One more angle to this entire situation that I’d like to discuss is the separation of brand from individual (as you’ve pointed out above), but in regard to social networks. A social network account for a brand, in my opinion, should not be used as if it were a personal account for an individual. Instead, I believe readers should expect a feed of info about the indie publication that the account represents (for example each time RealGamerNewz has a new article published, we tweet and share it on Facebook), but not lengthy and deeply personal conversations with other social network users. Adversely, social accounts should not just be used to spam links to the world exclusively.
It is my belief that an indie publication such as RealGamerNewz or Continue Play should use their social network presence to engage with their audience and content creators who could potentially contribute a new source of news and interviews for the publication to provide to its readers. The real behind-the-scenes work should stay behind-the-scenes, but the social presence shouldn’t be boring; it should be professional and precise in the wording of statements.
Unfortunately, I wish it ended there. While I am a huge supporter of free speech and personal individuality being important to the human race, I can’t help but feel like any social network account that is known to belong to a member of staff at a publication can sometimes have its statements used against said publication. While certainly we should never try to control our authors, there will be times when the behavior of individuals is reflected upon the brand permanently by the audience of any racy exposé material.
To what responsibility do you believe readers should hold publications in terms of offensive material on social networks, when posted in personal context on an individual’s account? Also, do you think publications use their official accounts for too much personal chatter, and what other thoughts does this bring to mind as an experienced author / editor?
Dan: Well it’s a tough line to walk for sure. Social accounts for brands (particularly Twitter as it involves direct audience interaction) need to be engaging but not too informal. It’s always a great idea to reach out to new followers on your social networking platforms and get them interested in your content. It shows you pay attention, and it shows you care about your readership. That being said, you want to be seductive, but not too alluring. You’re a provider of content for the reader, not their personal friend, and you don’t want it to come off in a way that it seems like you’d be perfectly willing to swap Snapchat info in the back of a pickup truck.
This is where personal accounts and brand accounts differ. Personal accounts are also used for networking, but they also can be more, well, personal. Feel free to tweet or share Facebook statuses that are ridiculous and somewhat off-kilter, as well as personal photos and things about yourself. That is, unless these things tend to be things that the majority of people in your target demographic would find horribly offensive. Don’t use it a platform to make sexist or racist jokes, or anything so out-there that it would legitimately be offensive to people reading your social profiles. Keep it wacky, keep it funny, keep it philosophical if you want to, but don’t keep it offensive.
As a caveat to that, don’t use your social accounts to make the world purview to all of the illegal things you may be doing. If you’re sniffing a hooker’s naked body, it would be a good idea not to post this or about this to any social media accounts. What would you think if one of your favorite athletes or celebrities did the same? You may not be a celebrity, but you need to act with a modicum of discretion. Don’t compromise yourself or your brand with any back-door dealings.
Still, it’s important to maintain the distinction between the company profile and the personal profile, and make sure each are engaging in a way that is appropriate to the particular audience.
Anyway, I think that about covers the ethical responsibilities of an indie publication in this day and age: stay honest, create compelling content, surround yourself with a team of hard-working individuals who put analysis before dogma, and actively maintain your brand image, both with your company and personal social accounts.
Hope that was helpful to those of you who read, and I look forward to many more discussions with you, Jon. Feel free to weigh in the comments section below.
Editor’s Note: RealGamerNewZ has moved web servers, some older posts can no longer be commented on and have been preserved without their images. Thank you for your understanding in this matter. This article was written by Jon Ireson on 20140228 and was last modified on 20171229 .
Doki Doki Universe starts off by introducing the main character, a robot who has been abandoned by his family for being outdated. The overall task which players will spend the rest of the game working towards is then presented, this robot must get Humanity training and pass Alien Jeff’s reports or be sentenced to de-construction (along with all other robots that share the same model number as it). “Humanity is about understanding others” is the advice players are greeted with.
Throughout the title they must be evaluated and on the way they learn about humans and this machine can manage to become more human itself. Attributes are assigned to describe the player’s play-style and actually reflect how you as a player respond and react to the game, judging your personality and other things about you in an interesting and realistic way.
At the same time players also learn about the characters they interact with, such as their favorite greeting and what “summonables” (think of this as gifts and/or gestures) they like. “Summonables” are ways to express yourself or give a helping hand to others. For example, you might give a heart to one that you share love for or you might give a plate of spaghetti to some one who is hungry. Characters will react in many different ways to what you give them, how you greet them, and many times tell you all about themselves in order for you to better learn how to interact with the place you have landed at any particular time.
Human Nature Studios lives up to their name with Doki Doki Universe which displays a wide variety of unique and deeply defined characters encountered across various planets by the main character which is named QT37765 (or QT3 for short). As players progress through the game, like I’ve mentioned above, the main character QT3 is learning what makes humanity tick and how it is and can be more human than originally expected. However, players are also able to learn more about themselves – perhaps affirming or denying beliefs they may have had about themselves before playing Doki Doki Universe.
There are quiz sections in the game that will test the player and these do a shockingly good job of telling players about themselves. I was found to be a responsible, always working person who has a need for excitement and fresh experiences and a quirky sense of humor. The fact that I spend most of my time updating RealGamerNewz with articles, working behind the scenes on our relationships with developers, and crave originality from indie and AAA games makes me sympathize with this finding. And come on, those who know me personally can’t deny I have a strange sense of humor alright! If players answer honestly to the quizzes presented they might just get accurate findings as well. In this sense, the experience is very different for each person. There’s also a psychiatrist-style character named Dr. Therapist who will give you overall evaluations once you’ve taken some of these quizzes.
Here’s an example below:
There’s also different planets you go to which is actually the bulk of the gameplay and consists mainly of meeting people and other beings and assisting them in achieving happiness (or sometimes angering them until they help you on your particular quest of attaining humanity to prevent becoming obsolete).
Here’s an example of that as well:
Beyond this, the game features a very extensive messaging system which allows you to send and receive communications with Facebook friends who play Doki Doki Universe and include animations within the text so that they read more like an emotional e-letter than a simple text. Characters from within the game also send you communications this way so you can keep in touch with them and be reminded of who is who on each planet (and particularly who misses you or wants you to pay another visit).
With all of the positive things I have to say about Doki Doki Universe, there are some negatives as well. Overall, I feel like the game did accomplish its goal and is an incredibly unique experience that should be given a chance – not just by family gamers or children but by all types. The quizzes are great, but sometimes the analysis on the player’s personality can get repetitive. Players must read the explanation for the results in order to get a unique response more often, which is cool but the repetition of personality descriptions shouldn’t be there in the first place. The decorations given as rewards for taking these quizzes are sometimes repeated as well. Having the Limited Edition does increase the variety in what you’ll experience in terms of gameplay and quizzes however.
Players must travel all over the various planets multiple times in order to find the piece that solves each solution to the problems their newly met friends face. On the one hand it encourages exploration to have this happen, but on the other it does present a feeling of never being completely done and causes the more seasoned gamer’s OCD to itch. Characters are so bountiful and varied that it may be hard to remember them all when coming back to the game and with so many objectives spread out this could drastically increase the longevity of the game. This is less of a complaint and more of an observation though. It’s not necessarily a bad thing, and sometimes the characters players meet will leave a lasting impression and be remembered on other planets. For example hitting a beach planet after someone asked you for something that reminds them of the ocean makes intuitive and emergent gameplay which justifies this construct.
One more thing which is less dramatic but load times between menus can sometimes be a bit of a chore even on next-gen. If this is a game you’ve been wanting to try, these issues shouldn’t stop you from playing. They are not so much detriments to the vision which has been fulfilled here in an interesting way as they are ideas for improving the package in general.
Controls in the game are typically exactly what players expect them to be. The user interface does a great job of showing what must be done at all times and how to do it. Unfortunately, the one thing that seems to have issues at times is using the right analog stick for things like blowing kisses, waving, or bowing. This is somewhat important to gameplay because different characters prefer different greetings, and with it being hard to control which your main character QT3 is actually going to produce the results to greeting someone can be unpredictable. Similarly, some characters like getting picked up but must be placed back on the ground very carefully and this seems to also go outside of the player’s control at times.
Graphically Doki Doki Universe takes the art direction of purely hand drawn visuals with light-hearted animations and a beautiful selection of color palette. The soundtrack is very well fitting to the moment with mainly upbeat tunes that keep things feeling gentle for the player. The result is this game feels like a haven from the dark and negative themes found in most games these days, a sweet escape when players are not up for grinding their gears and instead want to have a refreshing and colorful experience that is other-worldly.
The title’s sound effects are sometimes indicative of humor and do a good job of fitting their role each time they are summoned. Voice acting in the game is basic but fits the part. Perhaps if the entire game was voice acted it might allow for even younger audiences to play, however this also encourages reading and parental involvement which is great for such an emotional foundation builder as Doki Doki Universe turns out to be.
Characters are unique and each have their own personality which must be understood in order to progress through the game. At times this can feel overwhelming, and the game is therefore best played in small bits as the development team mentioned in our exclusive interview with them. In the long run though, this is a really great thing and provides a living, breathing world players will want to go back to and feel a part of. There are online functions such as messaging with friends as mentioned earlier but also visiting the home-worlds of others to see how they decorated it.
Engine Performance: Very Good – No glitches were experienced during our play-through but load times could be slightly improved. Overall there’s not much to complain about when playing the title on the next-gen console.
Replay Ability: Good – Between all of the objectives that come up in the game and the trophy set, there’s a lot to do in Doki Doki Universe and players will be able to spend a lot of time if they want to without too much gameplay fatigue.
We applaud Doki Doki Universe for trying something very different than what the game industry has seen in the past decade and those behind the title for bringing it to the mainstream market where it can be enjoyed by many families and contemporary gamers alike. Exploring and being social, meeting various interesting and detailed characters (each with their own likes and dislikes), visiting unique and charming planets, and helping find solutions to many different situations that are encountered is a fun and easy going way to pass the time. This is a game that can serve as a great family title or something relaxing to play in between rounds in other more intense titles. There’s not much that really needed fixing here, but a few things noted in the review that could have made for a more pleasant experience include more variety in personality analysis of the player as well as certain controls being addressed more fluidly. Overall Doki Doki Universe on PlayStation 4 gets a 7.8 out of 10 (RGN Bronze Game Rating) from RealGamerNewz and is highly recommended for gamers looking for a very unique and enjoyable experience.
Overall Score: 7.8/10
RGN Rating: Bronze Game
Developer: Human Nature Studios / Sony Studio Foster City
Publisher: Sony Computer Entertainment
Available On: PS3 | Vita | PS4
Played On: Sony PlayStation 4
Review Copy Info: A digital copy of the limited edition of this game was provided to RealGamerNewz by the publisher for the purpose of this Review.
Editor’s Note: RealGamerNewZ has moved web servers, some older posts can no longer be commented on and have been preserved without their images. Thank you for your understanding in this matter. This article was written by Jon Ireson on 20131221 and was last modified on 20131221 .
Microsoft has announced that their originally heavily rumored, hard to nail down television offerings will begin to heat up in the first and second quarters of next year. We reached out to Microsoft’s head PR department for comment on exactly what shows viewers can expect a while back but for now it seems they don’t want to spoil the surprise. 😉 What MS has done now is added to the expectation today is that in addition to content like the Halo TV Series they officially announced back in May.
Nancy Tellem of Microsoft announced today there will be “exclusives, exclusive first windows,” and “exclusive second windows” being offered to Xbox Live members in regards to film and television offerings going on to state that “Depending on the piece of content, the deals change.” so we’re going to have to wait it out and find out exactly what this materializes into.
In addition to this we’ve heard a lot of rumors for other content such as the revival of cult classic series Heroes (in the form of a Heroes 2) as well as something exclusive with HBO. Could this be still in the making? Only time will tell!
Editor’s Note: RealGamerNewZ has moved web servers, some older posts can no longer be commented on and have been preserved without their images. Thank you for your understanding in this matter. This article was written by Jon Ireson on 20131216 and was last modified on 20131216 .
Gabby Taylor is the creator and lead design for budding indie studio GreyBox. She’s long had an interest in what makes people tick, primarily brought on by her life-long experience with the darker side of humanity. Neither pessimist nor optimist, Gabby tends to believe the human mind is both the key to and cause of most all of mankind’s issues, best explored through video games and writing.
From Randy Pitchford’s comparison of criticism from a devout fan to domestic abuse [See Reference 1] to wide-spread gamer’s verbal abuse of game developers [See Reference 2], to the even wider spread gamers’ verbal abuse of each other [See Reference 3], many questions crop up. There’s the usual “cyber bullying” questions, and of course the ever-famous “who do we blame, since everyone seems to be at fault here?”, but here we will cover a slightly more important question: Why is this happening?
Any student of human nature will tell you no one acts without reason, however illogical; even madness of all sorts has some sort of neurological trigger, whether developed over time or there from birth. Let’s first define verbal abuse, as placing it in the same category as madness is quite wrong.
Verbal abuse, otherwise known as reviling, is commonly defined as “a negative defining statement told to the victim or about the victim, or by withholding any response, thereby defining the target as non-existent” [See Reference 4]. Common examples in online games are calling a poor performer “homo” or other derogatory terms, description of sexual acts (“I’m gonna rape you” or “I f#&%d your [insert family member here]”), and just general insults with no follow-up apology. Typical causes are a need for control over the person or situation, outright anger issues, or low self-esteem. Starting to sound a little familiar? No? Maybe it does seem a little extreme to be saying verbal abuse is so wide spread? You’re right, with just this, it is. We are, however, missing pieces of the puzzle.
When one person sees someone not performing with absolute precision, their first move isn’t going to be to start hurling insults at them as if it were a grand time, yet this is exactly what happens between players in online matches. Why? Anonymity is key here. Walking up to someone in person, they see your face, how you dress, can assume you live nearby– nearly everything about you.
Online, however, you have only your screen name, what you use as your (usually modulated) voice, and your performance in that particular game. If one wanted, they could go back and look up how often you earn trophies or achievements in various games, but very little else. As in, nothing they could use to get back at you once you start hurling insults. They’ve no choice but to sit there and take it, thus giving the control you sought and encouraging this behavior further.
Once you shed your identity and enter a lobby or forums, that place essentially becomes a BDSM dungeon, where there is no safety except to leave. Interesting fact: most players tend to learn and refine their social skills in this sort of environment [See Reference 5].
So now we’ve covered why players are cruel to each other (essentially big, digital dominance fights that most are happy to sweep under the rug), let’s touch on why they can be mean to the developers behind their favorite games (and why developers return the favor). It’s in the same vein as player-to-player verbal abuse, really: control is key here. Maybe the developers made a change to a game that doesn’t sit well with players. Player response is to attempt to intimidate or otherwise manipulate the developers into changing it back to the more favored version. Or the flip side: player offers constructive criticism for developers, and developers seek to control the situation by manipulating players into not offering up said criticism in the future. In essence, at the heart of all this abuse we fling at each other without question is the desire for domination over others.
Control over others has long been a theme the human race has struggled with, both in real life and in fantasy. From Hitler to William the Conqueror, and Sauron to Saruman, men and tales alike have sought domination of the known world and the subjugation of all in it. Even in religion, humans have dominion over animals, men control women, and all the world must submit to various deities. But what makes us so fascinated with control that we’d seek it since in the inception of mankind’s existence? According to Bob Hughes, control over others gives us the life we want– or so we think [See Reference 6]. On the surface, this seems reasonable. Of course we want our lives to be happy and our endeavors to go well, and if we let go, all sorts of scary unknowns enter the equation. But, there is a downside; the more we control, the more we desire to control. It’s sort of a “give a mouse a cookie” sediment.
Look at a classic example: Adolf Hitler. He ruled Germany, an entire country. Then he insisted on terminating people with certain characteristics, essentially controlling the genes of his subjects. He also sought to control the lands and people of other countries, and continuing like this until either he controlled everything on the planet, or was stopped. Most people would say that he was a special case, and that not everyone would make this mistake, but this is very far from true. Nearly every time one player insults another, or developer insulting a fan, or fan insulting player– every time one abuses another in any way, they seek to subjugate them. An example of this in a game (and slightly closer to our time) is Stronghold Kingdoms.
Stronghold Kingdoms is an MMO by Firefly Studios in which players group themselves into Houses and fight for world domination. The studio themselves takes a laissez-faire approach; only interfering when a round of gameplay ends and its time to eliminate a House from the running. Otherwise, its just the players and the freedom to do and say whatever they feel is in the best interests of themselves and their Houses. As you can well imagine, the higher up on the totem pole a player gets, the more authority and control they acquire.
This has led to several disasters, especially towards the end of an era (when one House finally topples their sole remaining rival). House leaders, or Marshalls, have frequently gone rogue if they felt they could gain control another way than they were previously going, and control over the map and people was the only way by which one’s success was measured. It was in this game that every player’s true nature came into the open (much the same as an unbridled developer on social media).
Now, it very nearly sounds like this behavior is excusable on the basis of understandable fear, so allow it to be said; it is not. Verbal abuse, as with any other sort of giving in to fear, is a coward’s tool, and should not be condoned under any circumstances, no matter who it’s from, or who it’s directed at. What ought to be happening is people accepting the unknowns as they come, especially when it comes to video games, and just “roll with the punches”. Who knows what could be accomplished in a world where developers can create without the need to appease vast groups of people, where people’s esteems aren’t attacked solely because they’re new to a game, and everyone is mentally and emotionally nimble enough to take life as it happens?
Interview w/ RGN Editor-In-Chief Jon Ireson:
Jon: First off I just want to say thank you for revealing to us the answer to the question of “Why does this happen?” in regards to the communicative disorder seen across both online multiplayer gaming and developer to consumer feedback channels including social networks like Twitter. Unfortunately, there’s also a darker side to that communication stream which never sees the light of day and that is pertaining to mainly email communications which often include anonymous death threats. I’d like to first speak about this issue and then address the widespread developer outcry that has been bubbling to the surface and growing immensely in the past seven years especially.
From the writer of Dragon Age II to the guy in charge of telling gamers “COD balance patches are incoming” and beyond, developers are trying to tell us a story. The story of receiving death threats for changes in the games they are working on, not only to themselves but even their own family members. Immediately off the bat we see a serious breach of the law and basic human respect which in my opinion is not being handled correctly by the large gaming companies involved with these cases.
While it seems little to no action has been taken to identify and apprehend the individuals responsible for these threats (many of which may bear no merit, but that is completely irrelevant as all threats to prominent individuals at risk should be met with consequences) instead we are seeing game companies and the gaming public put the blame and burden of security largely on the developer who suffered the threat. A few people walk you to your car at night and then “Large Publisher A” is satisfied that they’ve done their duty. This is deplorable and I expect a lot more out of the industry which has endless amounts of capital and electronic expertise at their disposal meaning they could easily prosecute many of these threats and make an example of the perpetrator therefore reducing the likelihood of this occurring as often.
Moving on from that, the need felt by developers to address things like political belief, religious opinion, social and philosophical bias, and even brand preferences across the public spectrum seems to have skyrocketed with the advent of social media. I love my free speech, believe strongly in it, and wouldn’t dream of taking it away from someone. However, I think what many of these developers are quick to reject is the responsibility that is inherently placed upon them to represent their company, their publishing authority, and their games.
I believe developers have crossed the line in preaching about how they feel on sensitive issues and expecting their vastly varying demographic of fans to embrace these beliefs or not feel compelled to reply when they disagree. Using their prominence as game developers to promote their psychological belief system to potentially millions of people just seems irresponsible and beyond the scope of their intended influence. If they want to tell the world what to believe or what they think about life, why not do it through their art (games) in the way that they do best rather than string together repulsive sentences that the world is only going to skew and take out of context?
And finally, in regard to how developers deal with criticism in the public spectrum, this is a mixed bag for me. On the one hand, I firmly believe the disrespect many developers are handing down to the gaming public in response to some of these criticisms is inappropriate and should be filtered through a Public Relations voice either literally via vetted staffers running Twitter pages rather than the individual, or at the least figuratively through a more considerate thought process.
We all have our bad days but that doesn’t make it okay for massively well known developers to come out name-calling to their own fan-base with often explicit and hurtful lines of communication. Two wrongs don’t make a right, and the one on the receiving end of billions of dollars are the party I believe has the largest responsibility to present a respectable face by putting their best foot forward at all times. That being said, I once again refer to my earlier statements that all threats of violence should be followed up on and prosecuted as to make an example of those who go too far with their statements to developers.
At this time I’d like to welcome back the author of this article to respond to some of the connections I’ve made between her research and the issues they stir up.
Gabby: Thanks for having me; this was quite fun to write. You do bring up a ton of heavy concerns, and I’ll do my best to answer them from the developer side. First off, death threats via email are a huge and prevalent issue (as you mentioned). This is mostly due to company policy (be it studio level or publisher level) typically demands a developer’s email to follow the same simple format, thus making it purposefully easy to find. In fact, when looking for a development job, we’re typically instructed to email potential bosses out of the blue like this. This, as mentioned, does not always have such benign consequences, and there is little developers can do about them.
You mentioned publishers having such electronic expertise as to easily be able to hunt down perpetrators, but this is simply not true for most studios/publishers. They’re not quite the NSA *laughs*. Most of their network security only protects the data, not the people. You also bring up the few measly steps taken by studios to protect their employees, and I agree– it’s not a whole lot. Something to bear in mind, though, is most will not act on this. As much as people might push for control, most will not do much beyond hide behind their anonymity and send out messages, and as such, there is no real reason for fear. Granted, after working for 72 hours straight on a crunch, it might seem a little real, but most things tend to get mildly surreal then anyway.
As a developer who regularly receives threats of death among other things, I know that it can really get to you. Most developers come from fairly okay walks of life, as far as American standards go, just like their audiences, so repeated threats can really wear you down. Most people, be they players or developers, don’t know the difference between real, life-threatening circumstances and just trolling, so they have the same response to both. As such, I believe it’s only right for publishers to dedicate some of their vast resources to aid in keeping the psyche of their developers intact, however possible.
I did have to laugh a little at the concern of developers expressing psychological beliefs to fans, having written this article and also being a developer, but I definitely see what you’re saying. With video games being such a popular medium, successful developers are becoming super stars and celebrities in their own right, and there are some that maybe take this a bit far. However, I don’t see this as much of an issue. I already hear it, “Well, you’re a developer, of course you don’t have an issue with it!” Well, yeah, but I wasn’t quite talking from a developer standpoint, but rather the players.
For instance, I am a huge fan of the Metal Gear Solid series, and thus used to think of Hideo Kojima as some sort of god among men (I know this is rather common to feel between players and the developers behind their favorites). Once I saw his Twitter, though, he became merely a talented family man who loves movies. It’s this point of view from which I say developers ought to be able to post how they please, where they please. Yes, the system is abused, but this gives players an insight into their favorite games.
Developers always pour a little of themselves into what shows up on a gamer’s screen, and seeing a face put to that, seeing where this or that particular mechanic or monster came from, is absolutely priceless. Should it be censored through various PR reps or interns running their accounts? No, not at all. That would only sully the experience. If the developer proves to be worthy of Xbox 360 lobby-dom, so be it. Don’t buy their games. Speak with your wallet, not so much your screen name. Money is what will make a difference to the publishers in charge of whether they have a job.
I agree that developers’ ability (or lack of) to take criticism from fans presents an interesting problem. As developers of such a public medium, I believe they– we– ought to be able to take criticism, however there’s a difference between taking complaints from thousands of fans, and getting a sort of “complaint data sheet” to work from. Again, there are some who will insist on tanking it, and they will snap and make horrible remarks most of the time. This is just another insight to who they are. It’s like how it was explained to me when I was first getting into developing: Starting from the time you say to yourself you want this career, you have a public record where *everything* you do is open for analysis by thousands of people.
Listening to criticism, accepting it graciously, snapping and insulting, or passively ignoring it; these all go into this growing “file” of yours, and you must live with it. We have to be our own PR. Now, I know that sounds callous, and I didn’t mention anyone who is possibly hurt in this exchange. They, I believe, have an equal share of responsibility: if you’re going to offer criticism, no matter how polite and helpful, always prepare for the worst response possible. As you said, Jon, everyone has bad days. The more players expect and prepare for a bad day, and the more developers take more responsibility for their own public image, the happier we’ll all get along.
- Randy Pitchford Compares Bad Review To Domestic Abuse
- Plague of Game Dev Harassment Erodes Industry, Spurs Support Groups
- Xbox Live And Verbal Abuse
- Wikipedia Entry For Verbal Abuse
- More Than Just XP; Learning Social Skills In Massively Multiplayer Online Games
- Why Do We Try To Control
Editor’s Note: RealGamerNewZ has moved web servers, some older posts can no longer be commented on and have been preserved without their images. Thank you for your understanding in this matter. This article was written by Gabby Taylor on 20131207 and was last modified on 20131207 .
In this RealGamerNewz Call of Duty: Ghosts Video Podcast Jon Ireson (Editor-In-Chief at RealGamerNewz.com) and Tristan Werbe (Deputy Editor at RealGamerNewz.com and Creator of Tristan’s Twisted World) talk about the
– Complete Feature Rundown
– Our Reactions to Changes
– New Game Modes
– Female Soldiers Being Added
– Clan Support Above and Beyond Other Games
– Mobile MIni Game Tied Into Multiplayer Matches
– Destructible Maps Actually Change the Map
– And More… Check out the Full Livestream Replay from Activision exclusively available on RealGamerNewz.com as well as today’s Multiplayer Gameplay Footage and Info Reveal as well if you missed either of them.
Editor’s Note: RealGamerNewZ has moved web servers, some older posts can no longer be commented on and have been preserved without their images. Thank you for your understanding in this matter. This article was written by Jon Ireson on 20130815 and was last modified on 20130815 .
ibb & obb is an incredible experience in two player, co-operative platforming / puzzle adventuring which will have you laughing at times, doesn’t require a mic to be enjoyed online, and has an equally fascinating (though slightly less playable) single player game mode. Controlling either ibb or obb, you’ll run into platforming puzzles that will at first have you stumped. Quickly through either trial and error or logical rationalizing, you and your partner will find your way through each level and grow to appreciate the simplicity of ibb & obb’s gameplay design. Figuring out how to use each element of gameplay, which is introduced one at a time, is definitely part of the fun. From jump-pads to character-specific portals you’ll have to master all of these in-game mechanics in order to advance.
The basic concept of ibb & obb is simple. You play in a 2D world and any time each of the characters hits a portal the gravity reverses. This means that what is the floor for you, is the floor for me, but we’re on opposite sides of it. There will be times one character must stand on the other and leap off at the highest point of their jump in order to get what is essentially a double-jump accomplished. Obstacles are deadly on one side of the level, but vanquishable from the other. This leaves one character eliminating enemies and the other collecting the reward (points that they spill out in the form of quickly vanishing white blocks). This is just the beginning of the madness as subtle changes in the level design add to the complexity of what is required to pass.
Without spoiling every part of the design which you’ll come across, I will name a few of the more interesting ones. Players find themselves climbing over objects, running under deadly automated enemy clusters, and making gigantic leaps of faith in order to land with as much force as possible on the bounce pads which give a player waiting patiently on the other side the kinetic energy needed to propel to an otherwise inaccessible area of the stage. If you don’t have a mic plugged in you can simple use the right analog stick to draw on the screen what you want the other player to do. This comes in handy big time in the online mode, though the game is likely best suited for local co-op multiplayer sessions.
If you dare to boot up the single player, you’ll find that you control both characters yourself at the same time with one character’s actions assigned to each analog stick and jumping becomes up and down on the corresponding analog stick rather than the action button on your controller’s face buttons which for PlayStation 3 was of course the X button. This can be extremely confusing and is only recommended for advanced players or people who just really want to try out the game but don’t have a friend and/or internet connection at the moment. Although difficult to play this way, it’s pretty great that the developers provided this mode just for those offline moments when you find yourself desiring an abnormally challenging run through of ibb & obb’s unique puzzles and gameplay.
Visual Art Direction and Graphics in this game are simple but beautiful. You will instantly be drawn to the game and want to play it. Everyone who watched me play for the first time while performing a livestream was immediately asking “What game is this?” and fascinated by the perfectly matched graphics and gameplay ibb & obb offers. This is definitely a game that life long gamers will appreciate and the graphics do a good job of making it feel unique and stand out from other games.
The soundtrack of the game will often remind you of older titles such as Super Mario Bros. but never crosses the line on copying such games. The soft and melodic tunes set the mood perfectly and help to keep you calm. Even when the game’s puzzles sometimes frustrate you, the music will gently guide your sensibilities into more positive thinking. You’ll find yourself trying to spell out “LOL” with the right analog stick when you’re doing good and creating “?” (question marks) when you don’t understand the other player’s intentions. This peaceful and collaborative atmosphere is made possible entirely by the music and soft sound effects in the game.
Replay Value: High – Endless times this game can be experienced with new friends who haven’t tried it yet as well as the promise of attempting single player mastery using dual character control on both analog sticks. Is it even possible? There’s only one way to find out.
Engine Performance: Flawless – Absolutely no glitches were encountered during our play-through of ibb & obb on the PS3.
Final Verdict: ibb & obb is probably one of the most original games I’ve played on PlayStation 3 in a very long time. Managing to become a puzzle-based, co-operative centered experience but feeling like something completely brand new, ibb & obb is highly recommended by the RealGamerNewz crew. This game earns itself a 9 out of 10 and becomes a Gold Game on the RGN Rating system citing the only issue with it is that although its simplicity is admirable there could have been slightly more things to do and more enemies / obstacles to face. We look forward to the next project from the creators of ibb & obb and will keep our eyes peeled for it. Definitely look into this if you’re looking for something fresh and bored of your current game library.
Overall Score: 9/10
RGN Rating: Gold Game
Developers / Publisher: Sparpweed / Codeglue
Available On: PlayStation 3
Review Copy Info- A digital copy of the game was provided to RealGamerNewz by the publisher for the purpose of this review.
Editor’s Note: RealGamerNewZ has moved web servers, some older posts can no longer be commented on and have been preserved without their images. Thank you for your understanding in this matter. This article was written by Jon Ireson on 20130814 and was last modified on 20130814 .
As many gamers in the world are aware, video games are not the only application for such high-end 3D environment engines as the Unreal Engine. The Simulation industry is a booming one and includes some of the worlds’ largest customers including defense contractors and government agencies throughout the country. Video Games may be the front-end of this biz, but believe that these virtual worlds aren’t only being created for your enjoyment.
The fact is that the military also uses them in virtual reality simulations purposed for various training exercises including many specialized mission ‘rehearsals’ and more. The latest announcement from Epic Games today details the newest of those simulations which involves virtual reality gear as well as the use of the Unreal Engine as a company called Intelligent Decisions has joined the ongoing Unreal Government Network project. You can find more information about the Unreal Government Network (or UGN for short) at the following website: http://virtualheroes.com/products/unreal-government-network-ugn. Here’s what Jerry Heneghan, Licensing Manager for the UGN had to say about today’s announcement:
“ID consistently leads the simulation industry with its end-to-end customized virtual training programs and the adaptation of wearable device integration for training and mission rehearsal.”
Editor’s Note: RealGamerNewZ has moved web servers, some older posts can no longer be commented on and have been preserved without their images. Thank you for your understanding in this matter. This article was written by Jon Ireson on 20130729 and was last modified on 20130729 .
Usually controversial and always love-able Aubrey Norris (Director of Marketing & PR over at Deep Silver) has dropped a bomb on us today with the entire cast being revealed for Saints Row IV. We are more than sure that the audience behind the gore responsible for bringing you more over-the-top action than you’ve ever seen before in open-world galore, has even more in store. But for now you’ll have to make due with this piece of new info.
There’s one other thing, if you happen to be around the San Diego Comic Con you’ll want to definitely check out the panel aforementioned PR & Marketing guru A. Norris will be hosting at room 7AB on Saturday, July 20, 2013 starting at 6:30pm (obviously in SDCC’s time zone for those that are really in need of a global clock). Without further delay, we present to you the Saints Row IV Cast of Characters and Actors/Actresses who will bring them to life in one of the most highly anticipated open-world video games of all time releasing this August 20, 2013 in the United States (and August 23, 2013 for Europe) on Windows PC, PlayStation 3, and Xbox 360. Stay Tuned for more Saints Row IV news as we approach the release date, we have a lot in store for you all.
- Keith David As himself
- Danielle Nicolet As Shaundi
- Jennifer Jules Hart As Shaundi #2
- Natalie Lander As Kinzie Kensington
- Terry Crews As Benjamin King
- JB Blanc As Zinyak/Phillipe Loren
- Michael Dorn As Maero
- Neil Patrick Harris As DJ Veteran Child
- Yuri Lowenthal As Matt Miller
- Arif Kinchen As Pierce Washington
- Tim Thomerson As Cyrus Temple
- Mike Carlucci As Zach
- Rob Van Dam As Bobby
- Rebecca Riedy As Asha Odekar
- Andrew Bowen As Josh Birk/NyteBlayde
- Michael Yurchak As CID
- TC Carson As Big Tony
- Ursula Taherian As Tanya
- Ogie Banks As Warren Williams
- Nolan North As The Player
- Troy Baker As The Player
- Laura Bailey As The Player
- Robin Atkin Downes As The Player
- Diane Michelle As The Player
- Kenn Michael As The Player
- Sumalee Montano As The Player
Editor’s Note: RealGamerNewZ has moved web servers, some older posts can no longer be commented on and have been preserved without their images. Thank you for your understanding in this matter. This article was written by Jon Ireson on 20130715 and was last modified on 20130715 .
Publisher Focus Home Interactive has revealed their 2.5D side-scrolling title developed by Mighty Rocket Studio will release on Xbox Live Arcade, PlayStation Network, and Windows PC during the month of September 2013. Beat em up action comes to you the way it used to back in the days, with fun at the forefront. Final Exam is bringing 4 player co-operative back as well. You can check out the freshly launched Official Website for Final Exam HERE.
Explaining the renaming of this title which was originally debuted as ‘Obscure’ (the same title as Mighty Rocket Studio’s classic titles) the director of Final Exam François Potentier had the following to say:
“We understand fans all the better because we are first and foremost passionate gamers! Thus, even if the game makes a great number of references to Obscure and Obscure 2, we thought it important to rename it. At the end of the day, it’s a question of honesty and respect to the gamers. ‘Final Exam’ does befit the game accurately. Final Exam is the first corner stone of our new studio, and we hope this title will enable us to grow, as we have not given up on the idea of developing a real sequel to Obscure.”
The following screenshots have been released today as well:
Editor’s Note: RealGamerNewZ has moved web servers, some older posts can no longer be commented on and have been preserved without their images. Thank you for your understanding in this matter. This article was written by Jon Ireson on 20130710 and was last modified on 20130710 .