i sure do enjoy the slew of people on twitter that wait until they see somebody getting hype over a capcom product so they can hit them with the ol’ “actually capcom sucks ass, here’s my thesis on why your hype will be for nothing”
wouldn’t you rather talk about the things you DO like than shit on the things you don’t, i don’t understand
So if you’ve been following Nintendo Switch news today, you may have come across this image
These are companies confirmed to be working on titles for the newly announced Nintendo Switch. Some of these are easily recognized like Sega and Square Enix, who are both confirmed to be working on NS titles at the moment but what about the others? Well allow me to try and and go through these partners by erecting a text wall:
505 Games: Currently working on a game called “Freaktown” for most modern platforms, it’s not a stretch to assume they’ll be making an NS port as well. 505 seem to publish for companies like Arc System Works and From Software
Activision: These are the guys behind Call of Duty. Every Nintendo console (except the 3DS surprisingly) has at least 1 Call of Duty.
Arc System Works: This company is behind the legendary Guilty Gear fighting series but more recently they put out Dragon Ball Z: Extreme Butoden on the 3DS.
Atlus: JRPGS. Most notably Shin Megami Tensei and Persona. On the Wii U, this company developed Tokyo Mirage Session.
Bandai Namco: Other than publishing Souls games, BN has the rights to publish several anime properties including One Piece and Dragon Ball Z. They’ve also worked with Nintendo on Smash Bros For 3DS and Wii U
Bethesda: In the Nintendo Switch reveal, we watch as the man in the trailer plays Skyrim at home and while traveling. Other than the HD re-release of Skyrim, Bethesda is responsible for the latest Fallout titles, Doom and, Dishonored.
Capcom: This company is responsible for Street Fighter, Resident Evil and, Phoenix Wright. I’m crossing my fingers for a Nintendo vs Capcom game since it’s unlikely we’ll see another Marvel vs Capcom
Code Masters: Once a maker of peripherals, it looks like the bread-and-butter of Code Masters are racing games like the gorgeous Dirt series and the F1 series.
EA: The recipients of the Worst Company of the Year award in 2013 and 2014, EA has published the yearly Madden and Fifa sports titles we all have to endure. More recently this is the company behind Battlefield 1 and Plants vs Zombies: Garden Warfare. They also control The Sims and Sim City IP. Despite being one of the first big names to distance themselves from Nintendo when things start to go sour, they always release at least a couple of games on Nintendo consoles during the release window. Unfortunately, EA is the only publisher with distribution rights for Star Wars so if EA decides the Nintendo Switch isn’t selling fast enough during its first 90 days on the market, it could burn its bridge with Nintendo much like it did with the Wii U.
From Software: Dark Souls. From Soft also developed Demons Souls and Bloodbourn but since Sony own those two brands, it’s more likely we’ll see a complete Dark Souls 3 and possibly a Dark Souls 1 remaster. From also controls the Armored Core IP and a cult favorite of mine, Otogi: Myth of Demons
Frozenbyte: This is the company behind the Trine trilogy. This year they’re releasing a game called Shadwen.
Gametrust: The only game I see by this company is Song of the Deep so there’s something to hype you guys up: Song of the Deep is probably coming to the Nintendo Switch.
Grasshopper Manufacture: Headed by Goichi Suda 51, this studio worked on Killer is Dead, Lollipop Chainsaw, Liberation Maiden and, the No More Heroes games.
GungHo: This year they did Let it Die but their most notable title other than that was Puzzle and Dragons which lives on as a manga in Koro Koro magazine. They’re also credited with the Tomba games but I’m not holding out hope for a revival (though I guess that’s not impossible)
Hamster Corporation: This is a games publisher which seem to have rights to older IP such as Ninja Jajamaru-Kun, Ninja Kid and, not much else…the most note-worthy game I see credited to them is a PS2 version of Raiden, a space-based schmup.
Inti Creates: A development company staffed by former Capcom staff, this company is credited with the recent Shantae: Half-Genie Hero, Bloodstained: Ritual of the Night, Azure Striker Gunvolt 2 and the abysmal Mighty No. 9.
KT (Koei Tecmo): If it ends in “Warriors” it was made by this company: Hyrule Warriors, Berserk Warriors, Dynasty Warriors, Samurai Warriors, Gundam Warriors and, One Piece: Pirate Warriors to name a very, very few.
Konami: This is the company behind Metal Gear Solid, Silent Hill, Castlevania and, Mystical Ninja Staring Goemon. Recently, they seem to have pulled away from traditional gaming but massive fan backlash may be just enough to bring them back into games development. At the very least, they may just let another company produce a game based on one of those IPs.
Level 5: This company is behind Yo-Kai Watch, Ni No Kuni, Fantasy Life and Inazuma Eleven. Game Freak has announced recently that they’re working on a Pokemon game for Nintendo Switch so perhaps Level 5 will be doing the same with the popular Yo-Kai Watch.
Marvelous Entertainment: This is a production company who have been credited for games such as Senran Kagura: Estival Vs, Rune Factory, Harvest Moon and, Valhalla Knights
Maximum Games: A publisher/distribution company credited for games such as Lichdom Battlemage, Worms, Putty Squad, and this year’s Road Rash revival.
Nippon Ichi Software: Disgaea, Prinny and, Criminal Girls are the big three you may have heard of from NIS.
Parity Bit Inc: All I can find from this company is Pocket Football Club and, Derby Stallion 64
Platinum: The kings of great games that nobody buys, Platinum is the company behind Bayonetta 1 and 2. They’re currently working on Scalebound which is projected to launch in 2017. They also worked on Transformers Devistation and TMNT: Mutants in Manhattan.
Sega: A new Sonic the Hedgehog game is already confirmed to be in development for the Nintendo Switch. Sega is also the owners of the Nights into Dreams, Alex Kidd and, Shinobi IP’s.
Spike Chunsoft: They’re currently developing Danganrompa V3 but in the past they are credited with games like Zero Time Dilemma and, One Piece: Burning Blood.
Square-Enix: Final Fantasy and Dragon Quest are the biggest IP Square has and Dragon Quest X is already confirmed for the Nintendo Switch. Other IP Square Enix controls include Deus Ex, Tomb Raider, and Hitman.
Starbreeze Studios: A developer AND Publisher, Starbreeze are credited for games like this year’s Overkill’s Walking Dead and Dead by Daylight. Other games include the Riddick series, The Darkness and, Enclave.
Take-Two Interactive: Grand Theft Auto, Red Dead Redemption, Max Payne and Midnight Club. Please note that it wouldn’t be unheard of for GTA to find its way on the Nintendo Switch since the DS had its own GTA title and the Game Boy Advanced had a Max Payne in the past.
Telltale Games: This company is responsible for interactive story games like Walking Dead, Game of Thrones, The Wolf Among Us and the new Batman series.
THQ-Nordic: Darksiders is probably the biggest thing by THQ-Nordic but they’re also credited for work on Painkiller.
Tokyo RPG Factory: All I can find from this company is I Am Setsuna. Considering a game as old as Skyrim appears to be planned for the Switch, I Am Setsuna on the Switch could easily be in the realm of possibility.
TT Games: This is the company behind the modern Lego games such as Lego City Undercover, Lego Marvel Superheroes and, Lego Worlds.
Ubisoft: This company is credited for the Tom Clancy, Assassin’s Creed, Rayman and, Far Cry series. Before getting your hopes up too high though, the Rabbids games, Just Dance and, Just Sing are also a part of Ubisoft’s stable and more reliably appeared on Nintendo consoles over the past couple of years.
Warner Bros Interactive: This seems to be a straight-up publishing company. They have recently published the Arkham games, Mortal Kombat, Lego Star Wars Episode VII, Mad Max, and Lord of the Rings: Shadow of Mordor. Injustice 2 is a good bet for being included on upcoming Nintendo Switch titles.
Rekochoku: Rekochoku seems to be a Japanese-based music streaming service that offered some kind of service on Japanese 3DS and Wii consoles.
Audiokinetic Wwise: This seems to be a development tool for use by Nintendo Switch developers. It seems to be used mostly in sound mixing and it looks like all other game platforms use this application.
Autodesk: Another application used to develop games, this application seems to focus on lighting effects and realistic lighting in general.
Criware: Another development tool for realistic lighting, visuals and sound design.
DeNA: A mobile developer noted for games like Final Fantasy Record Keeper and Miitomo. It would appear DeNA are currently working on a mobile Fire Emblem title.
Epic Games: Their most recent game is Paragon but they’re also credited with work on Bulletstorm (which is allegedly getting a remaster) and the Gears of War series.
FMOD: Audio software used in game development and present on games on multiple platforms.
Havok: A physics engine used in games for many years, consoles and, generations.
Rad Game Tools: Developers of the Bink 2 Codec, this is used for game development.
Silicon Studio: The three biggest games by this company are Bravely Default, Bravely Second and, 3D Dot Game Heroes.
Ubitus: A game development tool; it seems to be used for porting games from one console to others.
Unity: A game engine used by independent developers and even some larger studios. Games developed using the Unity engine include Yooka-Laylee, Surgeon Simulator, Slender: The Arrival, Hearthstone, Grow Home and, Ori and the Blind Forest.
Web Technologies: This is a developer of game development software like OPTPiX. The general friendliness of their main website makes me thing their software centers around indie development.
I hope this helps clear up some confusion and indeed, helps to build up your own personal hype!
Edit: I added in a couple of more details on some entries, specifically for Ubisoft and EA. I also made each company’s title bold.
UNDER HYPED: Kevyn Aucoin Creamy Glow Sculpting Duo
Kevyn Aucoin is often referred to as the king of contouring and I have to agree, his sculpting powders are one of the most popular products for contouring to date… His creamy glow duo however, doesn’t get anywhere near as much recognition. Whether you’re a beginner with contouring or a pro, this duo is perfect for contouring & highlighting the face. The contouring shade is a creamy, neutral brown (not too warm, but not overly cool and ashy either) the formula is pigmented upon first application, but blends out to a beautiful, sheer skin-like contouring shade. If you’re someone who’s fair you can finally rejoice about the fact
there’s a contouring product that doesn’t make you look like
you’ve got bright orange streaks down the side of your face. However, I couldn’t see this showing up very well on those with a darker skintone well. As for the highlighter, this stuff is dreamy. It’s a gorgeous luminous and dewy transparent cream with the tiniest amount of finely milded champagne shimmer, if you’re after the perfect Victoria Secret glow, buy this. It would be flattering on every skintone and is one of my all-time favourite highlighters. Despite being easily blendable and sheer creams these last an incredibly long amount of time on the skin, I can apply these in the morning and they still look fresh later in the day. My only gripe with this is that the packaging is poorly designed, not only is it tiny, but you don’t get equal amounts of both product but other than that it’s surprisingly affordable for such a good quality product and reminds me a lot of the Tom Ford Shade & Illuminate Duo. All in all I LOVE this product and I am completely blown away by the quality and how beautiful they look on the skin, I use this almost every-time I do my makeup and it never fails to impress. Two very enthusiastic thumbs up.
If you weren’t already aware, Apple had a keynote yesterday announcing various exciting products and software advancements. But about 20% of the keynote was incredibly important but overshadowed by hype over new products, and that was Apples dedication to leaving the planet better than they found it.
2 years ago Apple made the lofty goal that they wanted to reach 100% renewable energy in 100% of their operations worldwide, and yesterday they shared their progress:
Currently they are at 93% renewable worldwide.
They are at 100% renewable in the U.S. and China.
99% of their paper packaging is used from recycled paper, or pulled from sustainably managed forests.
They’ve saved and reserved 36,000 acres of working forest in the U.S. and are currently working with the World Wildlife Fund to improve the management of 1,000,000 acres of forest in China.
They’ve also created a robotic system called LIAM to ensure as many parts of Apple products are recycled responsibly as possible.
I share this because not many companies out there are as transparent as Apple is around their responsibility to the environment. Although there is so much more progress to be made, we should be challenging more companies to be more open and more bold in their role in protecting our planet. E-mail these companies, call, make it known that change is necessary for everyone.
There are still some plot bunnies that I would like to do so I’ve listed them below (they didn’t fit in my last post tbh). If you are interested in any of these please either shoot me a message or like this post and I’ll come to you. A list of the fcs I want to play / play against were included in my last post.
A “The Joneses” inspired plot where Muse A and Muse B pose as the perfect family, along with their perfect kids. In reality, they are actors working as professional salespeople who use product placement and their recommendations to hype up products for companies. They’ve been picked to look good together but don’t actually know each other that well, but as time goes by, they get to know one another (and probably either fall in love or start hating each other).
A Titanic inspired plot where Muse A and B meet on this luxurious cruise ship in the beginning of the 1900s (pre-WWI) and Muse A is rich, upperclass and also engaged to someone else. Muse B is a poor, struggling artist who was only able to board the ship after winning a game of poker against someone with tickets. We don’t have to go down the route with the iceberg, but I think the setting and characters would be really fun to play around with. Could be either f/f or m/f.
A city witches plot where two witches are roommates in New York and they use little spells in their everyday life but they have to hide it from the world, and while Muse A is really strict with their magic and makes sure to always stay out of sight from humans, Muse B could care less and is very free spirited and continues to almost expose themselves and it creates a lot of tension but they’re best friends (or lovers) so they try to work through it. Inspired by this.
A fallen angels plot inspired by thispost. Angel roommates who have lost their grace and are now struggling with their identity and who they are back on Earth. They’d probably find comfort in each other as they try to move on with their lives and learn how to live as humans.
A gold digger / age gap plot where Muse A is this young and bright-eyed college student who marries Muse B for their money. Muse B is older, experienced and can kinda guess what Muse A is after, but marries Muse A anyways because they’ve been looking for love for years and never finding it so what the hell, right? A few months into their marriage, Muse A starts falling for Muse B but Muse B is kinda hesitant because they have been hurt before.
A similar plot where Muse A needs to marry someone to stay in the country, and Muse B agrees, despite barely knowing Muse A. In order to pass all the inspections and to stop the authorities from exposing their marriage as a fraud, they are forced to move in together and pretend to be happily married.
A plot where both Muse A and B are major assholes and have been friends since they were kids. At this point, they are the only ones who can stand each other and they constantly fight and bicker, but really they care about each other a lot.
Anybody who says Ronda [Rousey] was pure hype and strictly the product of media promotion is off the roll call of people whose opinion of MMA, or sports in general, that you can take seriously, forever.
I know it’s pretty much been the common/popular opinion that Mighty No. 9, as well as its creator Keiji Inafune are pretty much doomed. Yes, the Development of this game was a disaster. Yes, the final product didn’t live up to the hype. Yes, said Final Product bricked a few Wii Us and Xbones. And yes, it definitely paints a dark picture for Mr. Inafune, his company Comcept, and even Crowdfunding Campaigns for Games as a whole.
Even with all of that in mind, I still can’t see myself getting as severely pissed about it all as others. Call it stockholm or whatever but, even after backing it up and dealing with all the delays, I didn’t find myself as overly meh or enraged as others who’ve had this game. Maybe I’m lucky, or ignorant idk (probably helps I got the Steam Release and can play it flawlessly on my Windows 10 PC).
Whatever the case, everyone has a right to be pissed. I’m just trying to keep my opinions as chill as I possibly can given what I’ve experienced.
Also with recent articles going on it assures me the whole “Better than Nothing” line was just a mistranslation by some former Capcom employee (how random). From the sounds of things Inafune might have learned his lesson and, should he try again (if he’s even able to cuz that already sounds like a pipe dream) that he can create an actual Mighty Number that lives up to the name. I mean hey, Sonic’s still around even after he starred in a game that nearly destroyed his Series. Maybe Beck or even his Successor might have the same luck.
We’ll just have to wait and see what happens. u. u
Translation’s going slower than a snail’s progress because @d4ftka keeps showing me posts to look at (good for my Boueibu obsession and “s2 in July” hype, bad for my productivity!) and…I’ve been letting you all down with my need to work on my RL needs (and a giant need to empty out my long list of “watch anime” links), so have a teaser page.
At the rate I’m going at, ch 9 will be the next finished but I might get inundated more as time goes by.
Plus…my country finally got Sakamoto Desu Ga? not too long ago, so rejoice at the Shinji Takamatsu goodness of volleyball scenes and weird comedy!
Benefit are no stranger to creating hype around their products, but unfortunately more often than not the hype is not true to the quality of the products themselves (a la la They’re Real Liner) I had really high hopes for this mascara especially since They’re Real Mascara is my all-time favourite. This mascara was by no means bad
or the worst I’ve tried, but it was still notoriously over hyped. The
mascara has a small, curved plastic wand which Benefit calls a “hook and roll” brush which “grabs, separates, lifts and curls” I didn’t really think the wand
was anything special, but it wasn’t awful either. In terms of curling
this mascara does a good job and you can definitely get away without
using a lash curler. Despite Benefits claims
this mascara does not keep lashes curled for 12 hours and I found the
curl started to drop after a couple of hours. If you simply wiggle two coats through the lashes you aren’t
going to get long lashes or good definition. For good results you need
to wiggle the mascara through the lashes and then twist the wand upwards towards the tips, this works but your lashes may start to look a little clumpy and you often end up with
mascara on your eyelids (see results here) Many people had issues with Benefit They’re being difficult to remove, I can report that this one is easy to remove with makeup remover and doesn’t flake or smudge in the middle of the day. All in all I think this mascara is okay, it is
better than some others I’ve tried, but that doesn’t mean I think it’s
the best. I know many people love it, but I find I just have to spend
too much time applying it in order to get nice big lashes.
This hymn of praise for Benedict’s Hamlet deserves it’s own post.
The critic of SÜDDEUTSCHE ZEITUNG hates the hype, the production (too bombastic) and the stage (like Die Fledermaus in the 1950s), criticizing it in a respectful way, liking all the actors except Ophelia, also he had a strange encounter with a fan (I won’t translate it, but if it’s true, it’s rather embarrassing) - but he ADORES Cumberbatch. This is the kind of praise I was waiting and hoping for….I try a translation, but I’m really bad at these…
“Everytime one of the great soliliquies is about to start, everything else comes to a hold. Not only onstage where the other actors stop with their acting or slow it down to slow motion, but also the entire audience holds their breath in anticipation. It’s like the star tenor preparing for his bravura. The star doesn’t disappoint in these moments: When Benedict Cumberbatch’s Hamlet climbs the banquet table of Helsingör and wishes that his too solid flesh would melt, he does it with wistful urgency, which really isn’t easy to do with this soliloquy that has already been spoken by other actors in every possible way. When he looks at Yoricks skull, his “I knew him Horatio” sounds like a childhood’s memory he digged up with the skeleton.
The evening escapes the danger of failing only because of his main protagonist. Because, all the madness and bombast aside, you can’t overlook what an outstanding actor this Benedict Cumberbatch is. And when the stage gets cleared every now and then, at least they have an actor who knows how to fill it. Even the silliness of the fake madness, dressing up as a toy soldier and entrenching in his toy castle, are evidence for Cumberbatch’s exploration of the character which is far and away superior to that of his director.
Despite the laggard cliche, Hamlet is a restless doer. This forward pressing without ever reaching the goal is embodied by a sinewy Cumberbatch full of devotion. Him running after the ghost of his father, running away after murdering his father, that’s pure desperation, turned into muscle and energy. When it comes to the decision “To be or not to be”, Cumberbatch shows us the rapid disruption of a reason-guided mind through grief.
The introspective caesurae of his soliloquies give the audience what they expect from the best Hamlets: masterful interpretations, central texts of world literature, spoken like it’s the very first time. Majesty that never comes across as leaden. Intelligence that can’t escape it’s self fulfilling doom. Benedict Cumberbatch’s performance deserves so much more than this event machine of a production.“
I’m so proud of "central lines of world literature, spoken like it’s the very first time”. That’s exactly what he intended to do.
Benedict Cumberbatch in Hamlet: Moving a soliloquy caused uproar – but many other modern directors would do the same
After plans to move one of the most famous lines ever written for the stage to the opening moments were abandoned, many in the theatre world have wondered what all the fuss is about.
This week’s U-turn by Hamlet director Lyndsey Turner and the return of the famous soliloquy, “To be, or not to be, that is the question” to its traditional home in the third act, came after early preview performances of the much-hyped new production starring Benedict Cumberbatch were condemned by some critics and Shakespeare purists.
With the so-called “Cumberfever” surrounding the play London’s Barbican reaching peak levels, the production and its innovative changes have elicited plenty of debate before it opens on Tuesday.
But West End insiders have said that Turner’s controversial experiment is “far from unusual” and comes as a new wave of directors is experimenting with 500-year-old scripts as never before.
“Today directors see the classics as being there to be reinterpreted,” Terri Paddock, critic and co-founder of the My Theatre Mates website told The Independent. “Why on earth should they always be performed in the same way they were 400 or 500 years ago? It shouldn’t surprise anyone that a director wants to try and take a fresh take on a classic. Sometimes it works, and sometimes it fails spectacularly, but that’s what previews are for.”
What has shocked critics such as Ms Paddock, though, is the extent of the “media hysteria” over a change that many directors see as “far from radical”, especially when compared to a host of other recent productions. These include an all-female production of Henry V at the Union Theatre in July, and the casting last year by the more traditionalist Royal Shakespeare Company of a black actor for the first time to play the villain Iago in Othello.
The all-female version of Henry V was directed by Ricky Dukes of the Lazarus Theatre Company, one of the new breed of more adventurous directors which includes Edward Hall at the all-male Propeller Theatre Company, Nadia Fall, Polly Findlay and James Dacre who recently cast a female actor as nobleman Jacques in As You Like It, radically transforming the play’s famous “seven ages of man” speech.
“For us, this whole furore over Hamlet is very exciting,” said Dukes, whose latest work is an update version of Christopher Marlow’s Tamburlaine the Great at the Tristan Bates Theatre. “We reimagine our plays from the very beginning of the artistic process. You have to remember these [classic] writers wrote for the audience at the time in an outside venue without lighting, so it would be ludicrous to present plays in exactly the same way [as] 500 years ago. ”
Hall, who has cut whole scenes from Shakespeare plays in the past without media comment, said: “There is precedent rolling down the ages for adapting Shakespeare plays on stage. We only have the blueprint of the text to go by and very little stage direction, so it’s perfectly legitimate to make it approachable and accessible to a modern audience.” Hall added there is no “hard and fast set of rules” for directors who adapt historic plays, but he said he always trusted his instincts as a theatre-goer.
There is another theory around the “to be, or not to be” furore this week though, added Hall, who suggested the scene may simply have been moved as an experiment. Ms Paddock agreed that the “tweak” could have been a temporary experiment by director Turner, as it is not unusual for plays to lose as much as half an hour of their running time in previews as new ideas are tested. The team at the Barbican have been tight-lipped, insisting that they will let the play speak for itself on the opening night.
The director Carrie Cracknell added a dose of dance to her production of the tragedy, which ran at the Young Vic for three months from last November.
Tamburlaine the Great
The Lazarus Theatre’s latest project has seen the casting of black actor Prince Plockey as Tamburlaine in Christopher Marlowe’s work. It opens Tuesday at the Tristan Bates Theatre in Covent Garden.
King Henry V
At the Union Theatre this summer, the Lazarus Theatre Company presented this Shakespearean epic with an all-female cast – with few comments in comparison to Hamlet this week.