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NSFW Best Thread Ever [No SJW-related posts allowed]

pakoito

Arcane
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Joined
Jun 7, 2012
Messages
3,086
Isn't DOTA2 still in beta or something?

At least it was in beta when they started selling various shit in it.
Dota 2 came out if beta 2-3 years ago. Since then they've had a couple of massive client updates, the latest happening last month.
 

Jick Magger

Arcane
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5,667
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New Zealand
PC RPG Website of the Year, 2015 Serpent in the Staglands Shadorwun: Hong Kong Divinity: Original Sin 2 Bubbles In Memoria
I'm guessing there's yet another steam group out there that're trying to get steam keys off of indies so they can make a little dosh off of ad revenue for people going to their website or twitch streams, or something.

At least this one isn't trying to blackmail people with bad publicity, I suppose.
 
Self-Ejected

Excidium II

Self-Ejected
Joined
Jun 21, 2015
Messages
1,866,227
Location
Third World
lmao. Didn't know this shit was going on. They get free keys and force gullible poorfags into watching a billion ads so they can enter the raffle.

It's like when those websites setup CLOSED BETA KEY GIVEAWAY and after you register to their shit it's some "post a cool sentence, the 10 best will be selected" bullshit.
 

LESS T_T

Arcane
Joined
Oct 5, 2012
Messages
13,582
Codex 2014
ilFo5Rh.png


isI3gIX.png


http://store.steampowered.com/app/391150/

Call Cleve.
 
Self-Ejected

Ulminati

Kamelåså!
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Jun 18, 2010
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DiNMRK
I think he just realized League is a shit MOBA and wanted to make a tongue in cheek video.

Blame Morello and his sawyerian obsession with "antifun". All his champion changes boil down to making sure you aren't rewarded too much for playing well. :P
 

Robert Jarzebina

Guest
The screen caps don't quite do it justice. The game trailer really makes it. :D

snip

2807344-1702912728-clap-.gif


I love the way how he shows fuck you to everyone. Someone make a gif of it, please.

Also when he drinks some crap to punish himself :lol:
 
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Infinitron

I post news
Staff Member
Joined
Jan 28, 2011
Messages
97,236
Codex Year of the Donut Serpent in the Staglands Dead State Divinity: Original Sin Project: Eternity Torment: Tides of Numenera Wasteland 2 Shadorwun: Hong Kong Divinity: Original Sin 2 A Beautifully Desolate Campaign Pillars of Eternity 2: Deadfire Pathfinder: Kingmaker Pathfinder: Wrath I'm very into cock and ball torture I helped put crap in Monomyth
Remember Ultima Forever? A year after its cancellation, Kenneth of the Ultima Codex has done a podcast reminiscing about his time as an Ultima Forever advocate and about some of the stuff he saw behind-the-scenes: http://ultimacodex.com/2015/09/spam-spam-spam-humbug-episode-21-ultima-not-so-forever/

It’s difficult to find a way to start talking about Ultima Forever, I find. I was really heavily invested in the game — personally, emotionally — and even now I still feel kind of impacted by the loss of it. Of course, what I’m feeling (and, to be fair, my level of involvement and investment in the game) no doubt pales in comparison to what the Ultima Forever team at Mythic must have felt when the studio was shut down on May 29th, 2014. I don’t want to try and put myself above that, and it has been with considerable relief that I’ve seen various people from Ultima Forever’s development team end up on different game design teams…some within EA, some at other companies.

Still…leaving aside the freemium aspects, Ultima Forever was an excellent game, in spite of being unfinished. I liken it to Galaxy on Fire 2 in some respects; it might be a bit light, content-wise, when compared to the PC games that very obviously inspired it, but within the context of mobile gaming it stands out as a truly excellent example of just what the mobile platform is capable of, and of the excellent gaming experience the platform can deliver when a game really pushes its boundaries.

And in some way, Ultima Forever was something I contributed to. And I stuck my neck out for it, vocally supporting it to the Ultimacommunity. And now, a year (and change) after its closure…let’s talk about that a bit.

Listen to the Episode
 

Siveon

Bot
Joined
Jul 13, 2013
Messages
4,509
Shadorwun: Hong Kong
Was that the same guy who actually liked Ultima 9? If so, I wouldn't exactly be surprised. I mean, just look at this game:



Oh yeah, just screams "excellence". (Galaxy on Fire 2 also sucks)
 

Krraloth

Prophet
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Joined
Nov 20, 2009
Messages
1,220
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Boringland
Wasteland 2
Malaysia is the second most visited country in Asia?

Why?

Most of the people speak English, there's food from Indian, Nyonya and Hokkien (people uausally find something cheap that they can eat), efficent transport system, you can actually read road signs and navigate on your own and when you land there they will give you a 90 days visa no questions asked instead of having to go renew a 30 days like in Cambodia, Vietnam, Thailand and god forbid Indonesia (renewing a visa in Mataram requires a 3 days showing up at their immigration to say hello).
The Malaysian Ringgit ins't that strong, if you need a break from the tropical heat you can go to the Cameron Highlands, there's good seaside towns on the east coast and of course, there's Borneo to visit.
 

Crooked Bee

(no longer) a wide-wandering bee
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In quarantine
Codex 2013 Codex 2014 PC RPG Website of the Year, 2015 Codex 2016 - The Age of Grimoire MCA Serpent in the Staglands Dead State Divinity: Original Sin Project: Eternity Torment: Tides of Numenera Wasteland 2 Shadorwun: Hong Kong Divinity: Original Sin 2 BattleTech Pillars of Eternity 2: Deadfire
Stuff about why "the map-based computer role-playing game is a spiritual device for separating action from ego," plus some other video games feelz and musings from a review in New York Review of Books: http://www.nybooks.com/articles/archives/2015/oct/08/video-games-secret-life/

The slightly ungainly title of Michael Clune’s new book, Gamelife, gives an indication of what an unusual cross-breed it is: at once an affecting memoir of a lonely midwestern childhood in the 1980s and an argumentative essay on how video games work and what they can mean. It is brief and passionate, driven by the conviction that its subject matter is both essential and too often overlooked. “When it comes to probing questions about their intimate life as computer-game players,” he writes near the end, in what amounts to a kind of backdoor manifesto, “most people don’t have much to say…. Society has convinced them that computer games are a trivial pastime and there’s no reason to think about them.”

[...] Clune’s book shows just how intense and intimate an engagement with video games can be. The book’s structure equates the passage of time with the passage from game to game—seven chapters cover both seven games and seven years of his life, fromSuspended (1983), a text-only adventure Clune plays as a seven-year-old, to Might and Magic II (1988), a fantasy role-playing game with 3-D graphics in which he takes refuge at thirteen, during the final months of middle school. [...]
Much of the book moves in counterpoint, alternating in short subchapters between exterior and interior, life and game, letting the two halves of Clune’s experience jostle against each other in unexpected ways. He writes of his first encounter with the 1983 game Ultima III: Exodus, a fantasy role-playing game in which the player controls several characters through an elaborate, complexly simulated fictional world (such games, descended from Dungeons and Dragons, tend to feature a lot of conversations, and a lot of numbers).

In Ultima III, the player’s “character was represented by a small blinking humanoid figure at the center” of “a flat map…a thing of unthinkable complexity…swiss-cheesed with dungeons and castles and cities.” The game leads eleven-year-old Clune to a kind of pixelated Zen state. “The map-based computer role-playing game is a spiritual device for separating action from ego,” Clune explains. “Freeing movement from the narrow prison of character.” He wanders his neighborhood for hours as darkness falls, lost in a reverie of the whole world as an immense, fantastical “map scroll[ing] beneath” his feet, terribly late for dinner, before getting picked up by the cops and brought back to his irate mother.

[...] It is 1989, and Clune is a few weeks from graduating from middle school. He has been suddenly and mysteriously ostracized by all his friends and classmates, has become almost literally “invisible,” someone “the others won’t look at.” He spends his free time pondering his isolation and playing Might and Magic II, a game of exploration, puzzle-solving, and combat set in a fantasy world. It is “full of the usual unicorns, goblins, and demons”—typical in fantasy games—but there is one aspect of it that is “genuinely new. It showed a 3-D view of the world.” Though other games “had attempted something similar,” only “Might and Magic II, with its sophisticated modeling of perspective and shading effects…incorporated an element of reality.”

Thirteen-year-old Clune is entranced, and disconcerted. “This 3-D,” he thinks, “it has something, something…effervescent.” (“I’d heard the word on a commercial for a new soda,” he interjects as an adult.) And then he realizes what it is: “Anywhere you went…you could always see the sky.” The sky in Might and Magic II is bright blue, with just the right scattering of puffy white clouds, and the game’s “weirdly low walls” meant that the sky is never blocked from view. As Clune observes, such a clean, lulling sky was “easy for even the relatively primitive graphics of late-eighties computer games to represent” because “the sky, as everyone knows, is the least realistic element of the real world.” From the Vikings, who “believed it to be the blue skull of a giant,” to medieval Christians, who “saw it as the veil of heaven,” to a miserable teenager spending his days alone, “it has always been easy for humans to believe the most fantastical things about the sky. To look up at the sky in the middle of a busy street is to be somewhere else.”
 

felipepepe

Codex's Heretic
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Joined
Feb 2, 2007
Messages
17,274
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Terra da Garoa
The slightly ungainly title of Michael Clune’s new book, Gamelife, gives an indication of what an unusual cross-breed it is: at once an affecting memoir of a lonely midwestern childhood in the 1980s and an argumentative essay on how video games work and what they can mean.
I hate these, no idea why some people - this extremely prolix reviewer included - enjoy it so much. In fact, this isn't a review. It reads like an extremely long intro to the book, complete with the author's own blend of "muh games + muh life" thrown in, as if he wanted to write a book like that himself.

Seriously, it all sounds as alienated and deranged as Movie Bob's book on how Mario changed his life...
 

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