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Hell, it has been a busy year for me. Still enjoying playing my Dark Eldar whenever I can, but too busy to attend any events which has been a big bummer for me. Well, where do we begin? Drukhari are still doing good, but dropped off the top tables once people knew how to to deal with them. Should this be a surprise to anyone? Not really. People just need time to adapt and even the Meat Mountain lists have been taking a backseat because Imperial Knights and other shenanigans have been setting the meta. This is what happens with every new book and that's that people will take time to adapt, figure out the counters and then actively employ them in mass depending on what the meta is. Either way, I've been getting in a few casual games with my local playgroup when I can but have been primarily out of the competitive circuit this year because of real life.
Don't worry though, I'm still getting my fill of active competitive Dark Eldar players whispering all the good stuff in my ear. It's one thing to stay active in the meta and the other to keep updated. The only thing that dulls over time is experience, but active play can always pick that back up. If there's one piece of advice I can give you folks is to stay updated, even if you can't play so when you do jump back into the fray, you're not behind and know what to look out for.
With that said, my other minor update is to let you guys know that I'll be playing our faction on Battlefleet Gothic Armada 2 and streaming it! Yes, lol, I also stream. I was a big player back in the original BFGA1 days but balance kind of ruined it for me. Thankfully, balance will be a big focus in the second game (hell it better be, all 12 factions!) and the game looks primed for MP success. Well, success in the sense that it's still a pretty niche market, but it looks to be much more polished overall. I'll be playing all 3 Eldar factions but you guys know which one I'll be flexing first!
Oh yes, and here's my pure Kabal list that's been doing well, even against some of the new Knights. I haven't really played against the new Orks though, and from what I hear, that might be rough.
>>> Firepower Analysis: 15 Dissies at BS3+ 6 Dark Lances at BS3+ 8 Blasters at BS3+ 3 Blasters at BS2+ 3 Razorwing Missiles at BS3+ 48 Splinters at BS3+
I changed the Razorwings to Flayed Skull just to try them and so far they've been pretty decent. They normally fly as Black Heart, but I really like their Strategem and the Ignore Cover is pretty big. With the upcoming changes to Prepared Positions and rumors about more Cover systems, I'm going to be looking at Flayed Skull much more closely.
There's a lot of excellent use of colour in the very first Sonic the Hedgehog game on Sega Mega Drive.
Visual readability has been a personal bugbear throughout my time in video games. There's been some cases where I've been really happy with the choices I've made, and others where I feel I could have done much better. From my point of view, visual design is only partly about making things look pretty. It is primarily about conveying information that the player needs in order to interact.
Where are the key objects in the scene? What do they do? What can I interact with? How can I interact with it? What is my goal? What should I aim to avoid? Once those questions have been answered, then the developer is free to answer the question "how should I feel about this scene?"
The original Sonic the Hedgehog is visually outstanding not just because it presents landscapes that feel rich, vivid and fleshed out, but also because it has a very strong grasp on delivering key information. I've always admired, for example, the fact that Sonic when rolling is the exact same shape as his hit-box
Sonic the Hedgehog conveys its information not just through the shape and form of its visual elements, but also by its use of colour. That's what makes it an exciting example I want to explore in this article.
Conveying Geography
The player needs to be able to pick out which bits of the level Sonic can stand on, which are walls he can push up against, and which are objects that he can smash through. Given that this is a platform-jumping game, conveying to the player what Sonic can stand on is of utmost importance.
A change of hue can be used to pick out the difference between foreground and background. In the screenshot above, taken in Scrap Brain Act 1, there are a lot of blue tones in the foreground and red tones in the background. Similarly we see that ground which Sonic can stand on has drop-shadows. The shading in the background is much more indistinct. The eye reads this foreground instantly as three-dimensional and solid.
By contrast, details in the background are either in low contrast with their surroundings, or have mottled, dotted textures to them. They are readable but they do not jump out to the player as important details or solid objects.
As well as the difference in hue between foreground and background, we also see a separation between light and dark. In this image from Scrap Brain Act 2, the background colours all seem to lie in the 0%-50% band of lightness, while the foreground elements lie in the 70%-100% band. What impresses me about this technique is how the eye does not pick this out as being inconsistent. It does not feel that the background belongs to a separate room. The two layers are consistent with themselves, and that is enough for it not to feel visually messy.
Take a look at the button as well. It is light grey on the top, in the centre and on the sides. This may not be realistic - where is that button being lit from? - but it doesn't matter. First and foremost this use of colour conveys that the button can be collided with and is solid.
Again, we see a strong three-dimensional effect applied to the blocks in the foreground. They also have a flat white line on their top edge. It makes it stand out as a key foreground element but also, by being flat, conveys that this is an object which can be stood on.
The green metal reflects a difference between these blocks and the terrain around them - that the blocks move. It reinforces to the player that these platforms obey different rules to the scenery around them. Differences in hue can also be used to convey differences in purpose.
Here's an example of the visual rules being tweaked or broken, and where I feel the game manages to get away with it. There's a light edge on this vertical wall, in a game where light edges on flat surfaces are usually collidable. Fortunately there's plenty of detail reinforcing the idea that this is a background element - the block shadow lying on it sets it into the background, and there's nowhere else in the game where a slope meets a wall like this. I'm not entirely sure what would happen to Sonic's momentum if there was one.
In addition there's no stage hazards on screen at the same time, so it's a safe space to break the rules. The benefit here is that the scene does pop visually as a result of the contrast, and it reflects the metal-clad industrial feel of the area. Perhaps the lesson here is that it's okay to break one's own rules in favour of aesthetic feel when it does not create a danger for the player.
One could make the same point about the previous images. Flashing white lights behind the rings draw a lot of attention, but this doesn't impede the player as the area is not dangerous. It's okay for the visuals to be extravagant.
Again, reflecting on the use of straight edges of light, the pillars here have straight light lines running down them but they're on the inside of the shape so they do not appear solid. What they do however appear as is loud.
They are far brighter and more attention-grabbing than the button on the left-hand side, which is grey, more dim, but is actually interactive. Personally, I don't think this is a good bit of visual design. Better for this to be an individual area than a recurring visual theme.
Indeed, by contrast to these pillars the "Roller" enemy on Sonic's left barely stands out. This is one area where key information is washed out by busy scenery
I also don't like the design of the "Spikes" enemies. Their magenta colour scheme blends them right in with the background. They are one of few enemies in the game that cannot be defeated from any angle, but the spikes growing out of its back aren't large or consistent enough to convey genuine danger.
Moving Underwater
Labyrinth Zone is interesting because it has two colour schemes: one for above the water and one for under it. On the surface there is little difference in hue between foreground and background, but there is a difference in brightness. Notice how the contrast between light and shadow is much more pronounced in the foreground. Details in the background are small, delicate and mottled, while in the foreground details are boldly three-dimensional. There is a clear separation of layers conveying purpose and depth.
All collidable terrain has, just like in Scrap Brain, a one-pixel-thin edge around it, making it easy to pick out exactly where Sonic can and can not go. Vines dropping down from above are not collidable, and this is drawn by having them thin and spindly, drawn mostly in cyan mid-tones. They are not loud.
By comparison, the difference between background and foreground while underwater is much more pronounced. The background uses blue hues while the foreground uses green hues. You'll also notice that the distortion effect is much more pronounced in the background than the foreground, making it feel less solid.
It's really important that the landscape be readable while underwater, while the player's movement is impaired.
But if differentiation between landscape and decoration is always useful, why not have high contrast above the water too? Perhaps there is a limit to how necessary this differentiation is, and in some cases the contrast can be pushed higher but the effect is sufficient. The payoff that Labyrinth Zone affords itself by having weaker contrast above the surface is a sense of tone. The darker backdrop underwater conveys deep dark danger, and the green stone conveys mystery and unease. By contrast, the surface feels warm, well lit and safe.
We can make a direct comparison with the same zone as represented on the Sega Master System.
With the stark contrast between golden stone and a black backdrop the surface feels imposing and treacherous, while underwater feels murky but sedate. Escaping to the surface feels like a return to light but not a return to safety. The visual design runs counter to the feel of the level, where being underwater is dangerous and the player desires to return to the surface.
Using White
There's a wonderful visual trend in Sonic the Hedgehog - that every interactive object has white somewhere in its sprite. By contrast, it is rare that scenery uses the colour white.
Sonic has white in his eyes, or reflecting off him if he is a ball. Collectable rings have white light glinting off them. So do item boxes. Enemy robots do too. It's a very subtle effect, but it helps the eye pick out key bits of scenery at a glance.
Where it's really noticeable is while underwater. When all the other colours on the screen have turned green and blue, white highlights stay white. It may not be visually realistic, but it conveys super-important information. Sonic runs, jumps and falls at a much slower pace when submerged. The player is likely to be on the back foot, but also needs to be able to plan jumps in advance, anticipating where hazards will be by the time Sonic lands.
If key information is within instant grasp, the player can make these decisions while well informed, rather than feeling caught out.
Sonic gives you the ability to move very fast, but the level design in the first Sonic game is largely not about moving very fast. Sonic often has to stop, think, and time jumps. He also has to react. There are spaces where you can run at full pelt but where you will need to respond quickly, by slowing down or by jumping. Sonic is invincible to most enemies when jumping, so the game is less concerned with your accuracy in disposing of a hazard than the fact that you recognised it and responded.
That's why it's important to see everything at a glance. If you're moving quickly and something interactive pops into your view you need to see it and evaluate your reaction. Jump into it? Jump over it? Stop and wait for it?
That said, the game is not perfect. The fireballs shown above are some of the most annoying hazards in the game. They're small and their colouring isn't bright enough to pick out from the scenery, unless you already know where they are. The power of the use of white is made obvious by its absence.
Colouring Sonic
I often talk about "hot and cold" when considering video game graphics. Saturated colours, bold contrasts and busy textures draw the eye - I refer to this as hot. Grey tones, low contrast and mottled textures recede - I call this cold. It's important that the game draws the eye to the information that is most useful.
I find it interesting that in the very first Sonic game, the main character - Sonic the Hedgehog himself - is not rendered particularly hot. His colour scheme seems to gravitate to blue mid-tones, which are often quieter than the objects in the level around him. Aside from the whites of his eyes, Sonic as a character does not leap off the screen at you. He does not make his location resoundingly obvious.
Sonic is almost always at centre-screen, which means it's far less important to highlight where he is. The player is much better equipped to locate him by where the centre of the screen is. Perhaps having a bright bold object at centre-screen through most of the game would create an unnecessary focal point. If the player knows that Sonic is at centre screen then what they need to know is where the hazards are. That information is both new and pressing.
In boss arenas Sonic can move freely with the camera fixing itself in the centre of the arena. There are fewer visual elements for the player's eye to track here, and new information is not being introduced from off-camera like it would be during the level.
It is perhaps for this reason that the designers of Spring Yard Zone felt confident putting a visually complicated background in the boss arena. The bushes in the background have a loud pattern described with high contrast tones. It's stimulating to look at but visually complicated, drowning out the key information: Sonic, Robotnik, and the crumbling floor beneath them.
To its credit, it is a visual choice that is dramatic at a point in the game which benefits from drama. It may be complicated, but better to have this as distinct moment at the zone's climax, rather than a recurring motif throughout the level.
Evolving Sonic's Colours
I feel the relevance of these ideas is important when looking at the trailers for Sonic Mania: an upcoming Sonic the Hedgehog game created in the style of the classic Mega Drive titles. I'm interested in the game, but in all honesty a little worried at first glance. The game looks far too noisy.
The visual design seems to colour every screen element as hot as possible: the main character, the enemies, the landscape, the background, and even incidental visual details. All the colours are bright and heavily saturated. All the shadows are jet-black. It doesn't help in a game where there is a lot more going on at once than in the more gentle first-paced.
It looks like artwork designed to impress, to pop out of the screen. But is it well-designed for spacial awareness?
I may be wrong on this. I said similar things about trailers for Street Fighter V and felt completely different when I played the game first-hand. Nevertheless, it continues a trend that has already existed in the Sonic series. From Sonic 1, to Sonic 2, to Sonic 3 & Knuckles, the colours in the game have got bolder and more saturated, while the level artwork has got more detailed.
Knuckles Choatix for the Sega 32X
Knuckles Chaotix, released in 1995 for the 32X add-on system, is a successor to these games. That is, it is next in the sequence of 16-bit 2D pixel-art Sonic games. It looks visually messy, and in places is barely navigable. All the colours are bright and loud and level details are fiddly. There is no visual differentiation between key gameplay elements and set dressing. Every single object in the frame is hot.
Knuckles Chaotix is drawn this way because it needed to make Sega's 32X system look more powerful. Bold artwork conveys power.
Each successive Sonic game has been driven to look more powerful than the one that came before it - even if the technology driving the sprite-based artwork was barely changing. In a time before polygon counts created a metric for visual quality that could always be increased, the developers were limited in how to convey that this game's graphics were "better" at a glance.
The developers' only tool to convey "better" at a glance was bolder sprite work: more saturation, more detail, darker shadows.
Today's developers of Sonic Mania are faced with the same problem - they must justify using the present day's more powerful consoles for a pixel-based game. The graphics must impress, but they must also adhere to the house style of the early 1990s - it's the game's USP.
Sonic Advance on Game Boy Advance
For comparison, the Sonic Advance games, did not need to demonstrate technological advancement, as they were converting the still-current franchise for a handheld. The developers were free to rewrite the house style, conveying newness and fitting the needs of the Game Boy Advance's weak display. The device sported a fairly lacklustre unlit screen, so bold contrast between player and scenery were essential style choices.
What Graphics Are For
I personally feel that the first purpose of graphics is to convey information, and the second is to convey tone and personality. Looking impressive is of limited benefit to the moment-to-moment experience. Only by conveying information well can the the player experience the game seamlessly and appreciate its tone. Additionally, tone and personality will stick with a player far longer than initial "wow" factor.
However, making a strong pitch to customers is a business reality, so to impress is a necessity. Any creative team who manages to capture all of the above is performing outstanding work.
Nevertheless if there's anything I want to convey in this article it's the following: always know what your players see, and what they need to see. Be clear with yourself about what's essential information, and how the pace of your game affects what needs to be clearest. Colour is rich and powerful tool for this very purpose.
Muy buenas queridos lectores, como bien habéis leído en el título hoy hablaré del videojuego The Walking Dead, creado por el estudio Telltale Games y lanzado a lo largo del 2012. Este juego está basado en los cómics originales de Robert Kirkman por lo que no guarda relación con la serie de televisión que tiene el mismo nombre, a pesar de estar situados en el mismo universo... El título tuvo un lanzamiento muy modesto, pero con el paso del tiempo fue ganando mucha fama y ha creado una comunidad bastante grande que valoró el juego de obra maestra incluso... En medio de una generación conquistada por FPS genéricos y FIFAS, aparece un título que recuerda aquellas aventuras gráficas de los 90, que logra triunfar a pesar de eso y que el estudio gane una fama inmensa gracias a este juego, ganando más de 80 premios a juego de año y logrando una crítica espléndida, siendo casi el resurgir de su género ya que el estudio creó una trilogía a partir de este título. A continuación vamos a hablar de todo lo que nos ofrece la primera entrega de la misma, evitando hacer spoilers pero dejando bien claro que nos encontraremos al disfrutar del título. Este salió en absolutamente todas las plataformas quitando nuevamente a Nintendo, Xbox 360, Xbox One, Play Station 3, Play Station 4 y PC pueden disfrutarlo sin problemas.
ARGUMENTO
El juego nos pone en la piel de Lee Everett, un profesor de Atlanta que ha sido detenido por un asesinato. Empezamos ya en el coche patrulla que nos transporta a la prisión, por lo que no sabemos que fue lo que sucedió ni tampoco nada del pasado de nuestro protagonista pero durante ese trayecto sufren un accidente de tráfico y Lee se encuentra herido en medio de un apocalipsis zombie. Mientras nuestro fugitivo busca auxilio en las casas cercanas se encontrará con la joven Clementine, una niña de 8 años que nos acompañará a lo largo del juego. Con esta simple premisa el juego nos ofrece una historia sobresaliente, donde nosotros podremos los rieles gracias a TODAS las decisiones que tomemos a lo largo de ella, cambiando el transcurso de la misma, nuestra relación con el resto de personajes y demás.
APARTADO VISUAL
Este título se centra casi en exclusiva en contarnos la historia que lo rodea y se nota especialmente por la poca potencia gráfica que tiene el juego. Los gráficos de cómic quedan realmente bien, dándole todavía más identidad a este juego, pero se nota que la resolución, las texturas, los escenarios y todo lo que tenga ver con el apartado técnico está realmente desfasado, ya que como dije antes este título JAMÁS intentó sorprender a nadie en este aspecto teniendo incluso errores bastante claros, como expresiones faciales que no corresponden con lo que escuchamos, aunque para nada entorpece la experiencia del título. A pesar de todo eso se agradece que a estas alturas haya juegos que no intenten vender sólo gráficos, que busquen arriesgar con este tipo de cosas y se diferencien de lo que nos ofrece el resto.
SONIDO
El juego prácticamente carece de banda sonora, busca una inmersión del jugador de forma clara, que escuche con atención todo lo que hay en el escenario y que no haya distracciones de ningún tipo, cosa que le va realmente bien a este título, poniendo una banda sonora de fondo sólo en momentos concretos aumentando considerablemente nuestra carga sentimental, ya que el juego no es rápido ni mucho menos y varias escenas las haremos de forma lenta mientras una música triste suena por detrás, aportando un dramatismo extra de forma sobresaliente, cumpliendo de forma notable el propósito de la misma. El juego no cuenta con una banda sonora muy amplia ni variada, pero sigue dejando OST como este, que pegan a la perfección con el título.
JUGABILIDAD
El juego nos presenta una forma de jugar muy simple, ya que son escenarios fijos donde tendremos que realizar acciones determinadas para poder avanzar. Nuestro protagonista se moverá por el escenario y tendremos que interactuar con los diversos objetos, carteles, personajes para resolver los "puzzles" presentes en cada uno de ellos, siendo un juego especialmente lento en este apartado, como ya dije es una aventura gráfica por lo que carece casi totalmente de acción, cuyas escenas se resolverán mediante time quick events siempre. Pero a pesar de eso nos presenta una idea realmente impresionante, que es la de cambiar el rumbo de la historia mediante nuestras acciones, tanto en elecciones clave durante la aventura, como en las conversaciones que tengamos con el resto de personajes, logrando el aprecio de unos y el desprecio de otros, cosa que influye directamente en la historia... A continuación os dejaré un gameplay del comienzo del juego donde podréis ver TODO lo que te ofrece, ya que es un juegomuy realista donde no podremos realizar saltos de 500 metros ni matar a todos los zombies que veamos como si fuera un Dead Rising.
OPINIÓN PERSONAL
Como siempre, me gusta decir lo que pienso del juego del que hablo, por lo que sin entretenerme mucho diré que el juego me ha enamorado de principio a fin, en primer lugar por aportar algo nuevo y diferente a la industria de los videojuegos, optando por una aventura gráfica en una época donde ese tipo de juegos casi se ha extinguido, por no intentar presentar un juego con un apartado visual ostentoso y presentar un juego estilo cómic que respeta totalmente la esencia de la obra creada por Robert Kirkman y por último por haber creado un argumento realmente realista y adulto, dejando nuestros sentimientos a flor de piel debido a nuestras decisiones, teniendo un tiempo muy reducido a la hora de elegir, con unos personajes con una personalidad realmente humana, cada uno con su forma de ser, de actuar... Como dije varias veces a lo largo del blog, el juego carece de acción, es lento y se diferencia a todo lo que estamos acostumbrados a jugar por lo que si buscas un título de matar zombies te estás equivocando de juego, pero si en cambio eres alguien que quiere disfrutar de una historia sobresaliente, que te meta dentro, al pie del cañón, logrando que te emociones, llores, te de rabia, que te permita empatizar totalmente con sus personajes, un título diferente en el apartado visual y jugable te lo aconsejo encarecidamente ya que en PC lo encontrarás por 23€ en Steam, pero si vas a páginas de keys como Instant Gaming, G2A y similares lo podrás conseguir por poco más de 5€, un precio para nada abusivo.. Pero antes de terminar, aconsejo a todo el mundo probarlo aunque sea, porque como dije presenta algo totalmente diferente, por lo que aunque a priori pueda no interesarte igual la historia te logra atrapar y no soltarte hasta que te termines el juego.
Buenas tardes queridos lectores, como bien habéis leído en el título hoy hablaré del videojuego The Walking Dead, creado por el estudio Telltale Games y lanzado a lo largo del 2012. Este juego está basado en los cómics originales de Robert Kirkman por lo que no guarda relación con la serie de televisión que tiene el mismo nombre, a pesar de estar situados en el mismo universo... El título tuvo un lanzamiento muy modesto, pero con el paso del tiempo fue ganando mucha fama y ha creado una comunidad bastante grande que valoró el juego de obra maestra incluso... En medio de una generación conquistada por FPS genéricos y FIFAS, aparece un título que recuerda aquellas aventuras gráficas de los 90, que logra triunfar a pesar de eso y que el estudio gane una fama inmensa gracias a ese juego, ganando más de 80 premios a juego de año y logrando una crítica espléndida, siendo casi el resurgir de su género. A continuación vamos a hablar de todo lo que nos ofrece el juego, evitando hacer spoilers pero dejando bien claro que nos encontraremos al disfrutar del título. Este salió en absolutamente todas las plataformas quitando nuevamente a Nintendo, Xbox 360, Xbox One, Play Station 3, Play Station 4 y PC pueden disfrutarlo sin problemas.
ARGUMENTO
El juego nos pone en la piel de Lee Everett, un profesor de Atlanta que ha sido detenido por un asesinato. Empezamos ya en el coche patrulla que nos transporta a la prisión, por lo que no sabemos que fue lo que sucedió ni tampoco nada del pasado de nuestro protagonista pero durante ese trayecto sufren un accidente de tráfico y Lee se encuentra herido en medio de un apocalipsis zombie. Mientras nuestro fugitivo busca auxilio en las casas cercanas se encontrará con la joven Clementine, una niña de 8 años que nos acompañará a lo largo del juego. Con esta simple premisa el juego nos ofrece una historia sobresaliente, donde nosotros podremos los rieles gracias a TODAS las decisiones que tomemos a lo largo de ella, cambiando el transcurso de la misma, nuestra relación con el resto de personajes y demás.
APARTADO VISUAL
Este título se centra casi en exclusiva en contarnos la historia que lo rodea y se nota especialmente por la poca potencia gráfica que tiene el juego. Los gráficos de cómic quedan realmente bien, dándole todavía más identidad a este juego, pero se nota que la resolución, las texturas, los escenarios y todo lo que tenga ver con el apartado técnico está realmente desfasado, ya que como dije antes este título JAMÁS intentó sorprender a nadie en este aspecto teniendo incluso errores bastante claros, como expresiones faciales que no corresponden con lo que escuchamos, aunque para nada entorpece la experiencia del título. A pesar de todo eso se agradece que a estas alturas haya juegos que no intenten vender sólo gráficos, que busquen arriesgar con este tipo de cosas y se diferencien de lo que nos ofrece el resto.
SONIDO
El juego prácticamente carece de banda sonora, busca una inmersión del jugador de forma clara, que escuche con atención todo lo que hay en el escenario y que no haya distracciones de ningún tipo, cosa que le va realmente bien a este título, poniendo una banda sonora de fondo sólo en momentos concretos aumentando considerablemente nuestra carga sentimental, ya que el juego no es rápido ni mucho menos y varias escenas las haremos de forma lenta mientras una música triste suena por detrás, aportando un dramatismo extra de forma sobresaliente, cumpliendo de forma notable el propósito de la misma. El juego no cuenta con una banda sonora muy amplia ni variada, pero sigue dejando OST como este, que pegan a la perfección con el título.
JUGABILIDAD
El juego nos presenta una forma de jugar muy simple, ya que son escenarios fijos donde tendremos que realizar acciones determinadas para poder avanzar. Nuestro protagonista se moverá por el escenario y tendremos que interactuar con los diversos objetos, carteles, personajes para resolver los "puzzles" presentes en cada uno de ellos, siendo un juego especialmente lento en este apartado, como ya dije es una aventura gráfica por lo que carece casi totalmente de acción, cuyas escenas se resolverán mediante time quick events siempre. Pero a pesar de eso nos presenta una idea realmente impresionante, que es la de cambiar el rumbo de la historia mediante nuestras acciones, tanto en elecciones clave durante la aventura, como en las conversaciones que tengamos con el resto de personajes, logrando el aprecio de unos y el desprecio de otros, cosa que influye directamente en la historia... A continuación os dejaré un gameplay del comienzo del juego donde podréis ver TODO lo que te ofrece, ya que es un juegomuy realista donde no podremos realizar saltos de 500 metros ni matar a todos los zombies que veamos como si fuera un Dead Rising.
OPINIÓN PERSONAL
Como siempre, me gusta decir lo que pienso del juego del que hablo, por lo que sin entretenerme mucho diré que el juego me ha enamorado de principio a fin, en primer lugar por aportar algo nuevo y diferente a la industria de los videojuegos, optando por una aventura gráfica en una época donde ese tipo de juegos casi se ha extinguido, por no intentar presentar un juego con un apartado visual ostentoso y presentar un juego estilo cómic que respeta totalmente la esencia de la obra creada por Robert Kirkman y por último por haber creado un argumento realmente realista y adulto, dejando nuestros sentimientos a flor de piel debido a nuestras decisiones, teniendo un tiempo muy reducido a la hora de elegir, con unos personajes con una personalidad realmente humana, cada uno con su forma de ser, de actuar... Como dije varias veces a lo largo del blog, el juego carece de acción, es lento y se diferencia a todo lo que estamos acostumbrados a jugar por lo que si buscas un título de matar zombies te estás equivocando de juego, pero si en cambio eres alguien que quiere disfrutar de una historia sobresaliente, que te meta dentro, al pie del cañón, logrando que te emociones, llores, te de rabia, que te permita empatizar totalmente con sus personajes, un título diferente en el apartado visual y jugable te lo aconsejo encarecidamente ya que en PC lo encontrarás por 23€ en Steam, pero si vas a páginas de keys como Instant Gaming, G2A y similares lo podrás conseguir por poco más de 5€, un precio para nada abusivo.. Pero antes de terminar, aconsejo a todo el mundo probarlo aunque sea, porque como dije presenta algo totalmente diferente, por lo que aunque a priori pueda no interesarte igual la historia te logra atrapar y no soltarte hasta que te termines el juego.
Thank you all so much for everything this year. It means so much to me that you are all enjoying and contributing to the show. Sarah and I wish you all the best holiday season ever.
Ravnica Allegiance is a 264 card set. Darkness is coming to Ravnica. A conflict that could tear apart the world itself looms large, and the fragile peace between the guilds is strained to its breaking point. Now, with everything on the line, it`s time to step up, prove your loyalty, and fight for your guild.
BUY-A-BOX
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MTG PLAYERS!
We have millions of MTG cards in stock from Alpha thru current set and will be online soon with a TCG E-store at www.tcgplayer.com.
Come on by and check them out!
CHECK OUT OUR EXCITING NEW FEATURE! Games with James!
Flights of Fantasy's Store Clerk James gives you the low-down on great games available right in the store!
Flights of Fantasy now has signed copies of the following authors' books:
Elizabeth Bear
Anne Bishop Ben Bova
Peter Brett
David Brin Kristen Britain Terry Brooks
Lois McMaster Bujold
SC Butler
Patricia Bray
Chelsea Cain
Barbara Campbell James Cambias
Cinda Williams Chima
David Coe Glen Cook
Larry Correia
Julie Czerneda
Charles De Lint
Stephen Donaldson David Drake
Sarah Beth Durst
Ian Esselmont
Steven Erikson Charles Gannon Max Gladstone Alex Gordon
Charlaine Harris
Eloisa James Les Johnson
Jack McDevitt Sharon Lee & Steve Miller
Gregory Maguire
L. E. Modesitt
Kim Newman Garth Nix
Joshua Palmatier
Rachel Pollack
Robert Redick
Mike Resnick John Ringo
Kim Stanley Robinson Pamela Sargent
Robert Sawyer
Alex Shvartsman Rik Spoor Kristine Smith
Allen Steele
Carol Stevermer Charles Vess
Jo Walton
David Weber
Chelsea Quinn Yarbro
George Zebrowski
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