why does this game cost so much

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In case you were wondering what the new outfit they totted as ‘perfect for romantic endeavours’ looks like…

I’m sorry but Bioware isn’t making it easy for me to defend this game when this kind of shit happens. What is this? It’s so bad. I like the idea of a blasto shirt but what is this outfit? Why are there headphones? Who designed this? Did they really think this was ‘perfect for romantic dates’? IS that outfit still coming? Is this some weird product placement for headphones?

Originally posted by gurl

Oh and on a side note, you can’t use it in any playthrough yo already collected the special deliveries in, because it won’t let you pick it up. So you have to go back to a save where you didn’t pick them up yet to get it.


Also, before any of you start, it’s not ‘a freebie’ it’s part of the deluxe edition that cost more money, even if it wasn’t, we’ve still paid for the game, this isn’t a free to play title. Honestly some people think you shouldn’t be allowed to be upet about anything in this product we paid money for.

By the way, why does this game have so much fewer casual outfits than the previous titles? This game seriously has just two casual outfits (I am not counting the ‘rolled up sleeves’ version of the exact same outfit as a different outfit obviously), unless you paid $10 more! And this is what you get! Oh and the Hoodie (which I actually think is nice enough).

And this one still has the sweatpants, apparently they’re regulation lol

anonymous asked:

I'm excited as heck for XoXo Droplets!!!! I will literally throw money at my computer screen when the kickstarter begins. Besides that I have questions. 1. Since the school M.C. and boys go to is a private school, does that mean their all like filthy rich? If so I feel even more bad for Lynn having to deal with jerky rich kids. 2. Does the M.C or any of the boys have siblings. I can imagine Everett having a stuck up older sister or Shiloh having a ton of younger siblings?

Thank you very much :D.

All the characters talk about their families and give an impression of how/why they’re at the school during events in the game. So in case anyone wants to see it explained through events, I’ll answer your questions under a cut :).

And thank you for the questions~

Keep reading

Just a little spill

Author: really-meg

Pairing: Reader X Dylan

Warning: Swearing, alcohol

Word Count: 1,308

Synopsis:  You’re at a mets game when someone spills beer on you and you don’t realize it Dylan O’Brien. He offers to buy you a new jersey to replace yours and you realize he’s dylan obrien until later on.

A/N: So I got the idea from someone I know who this happened to them except all the hot famous hot guy with crazy fans but still it was really fun writing this, I’m not a huge fan of watching baseball so I hope everything makes sense since I was writing from experience of playing softball for years. I’m also so bad at writing blurbs about my writings because I want to say what happens but I also want to have some things you have to read to find out but hopefully I’ll get better. Also would you guys rather me write in first person or second person?

They were down one, last inning, bases loaded, two strikes. Your knee bounced in anticipation as Wright got into his place at home. If he struck out the game would be over and they would lose to the Dodgers. You absently starting biting your nails before Kershaw wound up flying the ball at Wright. You watched him swing the bat before hitting it causing it to fly all the way through the outfield into the stands. You jumped up screaming at the top of your lungs just like every other mets fan in the stadium. Your favorite team had won its first game of the season and you couldn’t’ve been happier to experience it in person. Suddenly you felt something cold splash over you and you gasped as your hair stuck to you face dripping down soaking your shirt with beer.

Keep reading

anonymous asked:

So I've been seeing a lot of hate towards the indie game, Gone Home, specifically posts like, "This game is ruining the industry, it's just a walking around a house lesbian simulator, for 20$?! " and, "The only reason this game was successful is because critics are so desperate to have games be considered an art form. No real developer has said they liked it!", and the well known, So what are your thought's on all of this as a game developer?

I’ll be the first to say that games like Gone Home are important because they serve to expand the medium. It’s important that these games exist, just like different kinds of movies exist. A documentary isn’t the same as a romantic comedy, an action blockbuster, or a noire thriller, but it shouldn’t be. They are all movies that serve different target audiences for different reasons. The friction comes from gamers who misunderstand the point of the game, or its target audience, and the backlash is because these consumers are unhappy since they feel like they’ve purchased a product, but it wasn’t what they expected.

Gone Home is a game that’s all about telling a story via ambient storytelling. Throughout the course of the 1-3 hour game, the player plays as Katie Greenbriar as she arrives at her family’s old, creaky home late one night and no one is there. The goal is to explore the house and figure out what is going on. The game itself relies on certain familiar horror tropes to tell its tale, and then subverts (some of) them in interesting, but understandable ways as you progress through it. The real benefit to the game comes through how it crafts not just one, but multiple stories through ambient storytelling. Through trying to find out more about the main character Samantha’s story, you also find out about the other members of the family and their alternate personal stories as well.

The difficulty here lies in what some folks expect, and what they are given. There are a lot of rather odd games out there besides Gone Home that don’t easily fit into the mold of existing game archetypes, and that is confusing to players. There’s quite a bit of “That’s it? That’s lame!” sentiment from some of the more vocal detractors, but it’s important to realize that it isn’t necessarily a bad game because of it, any more than somebody who wanted an action movie and saw a psychological thriller instead probably didn’t like it either. That isn’t to say that either type of movie is necessarily bad, it just means that they were expecting one thing and got something different.

Another common complaint I see is the price tag. They see a game that costs $20 that is completed in 2-3 hours (or, if you really want a speed run, 40 seconds), but I’ve never really subscribed to the dollar-per-hour theory of entertainment. If someone really cared that much about the dollar-per-hour value of entertainment, there are a literal slew and a half of free to play games available at no cost to the player but time. What the price tag does carry with it, however, is expectations. At $1, this game would be an amusement that few would complain about. At $5, it would probably get ignored, or a shrug at the best. At $20, the user feels entitled to something more, which is why so many feel that the game is a betrayal of sorts.

From a technical standpoint, Gone Home shows us several interesting narrative and world building techniques for creating a narrative without the need to actually see all that much. These sort of techniques are definitely applicable to all sorts of other game genres, and any designer should pay attention to them. In addition, the developers use some rather interesting tricks with the established tropes of the supposed genre (dark and stormy night, environmental objects that are evocative of certain things, and even building and surprising the expectations of the ending. There’s a lot to be learned by level and environment designers for how to tell a story from this game.

When it comes down to it, however, the general issue here is that the naysayers tend to feel the way they did because they were expecting a creepy horror story and didn’t get it. We’ve all seen movies where the trailer makes the film seem one way, and the actual movie was very different, and they dislike that. The closest sort of experience I can think of that would be analogous to Gone Home is probably the film “The Blair Witch Project”. The film relies almost entirely on ambient storytelling and relies on your own mind to fill in the horror, and got a very similarly split response from viewers.

Regardless, games like Gone Home are needed to advance the medium in new and different ways. The developers tried to tell a story about a memorable and interesting set of characters through a game that provides a surprising amount of detail if the player is willing to look for it and put the pieces together. The entire story is surprisingly coherent if you spend the time to find and assemble all of the pieces, but a shallow playthrough of the game won’t show the real depths of the story, or how the different storylines actually intertwine. This is a game that was crafted with care and deliberation, and there’s definitely an audience for it who would greatly enjoy it.

In my personal opinion, I think that it’s a rare game that actually tries to tackle a mature story. Not one in the traditional ESRB rating sense where “mature” somehow equates to the presence of breasts and blood, but a truly mature story about a family that has problems, and how each person in the story grows, changes, and deals with these problems. It’s a story about feelings and emotional connections, and that sort of thing is something tremendously lacking in games today. That’s why I think it is important that games like Gone Home exist - they push the boundaries of the medium in ways that haven’t been explored yet, and I think this is a good thing. I understand that not everyone likes games like that, just like not everyone likes god sims, or real time strategy games, or fighting games, or MMORPGs. It’s fine to dislike a game or a movie, but it’s silly to call it bad simply because it isn’t to one’s tastes. It just means it was made with a different audience in mind.

Fire Emblem IF announces more DLC.

Surely after splitting the game into three bits that consumers would have to buy, they would wait, they would would have the kindness in their heart to wait to create DLC that would improve the game. No, not with this game, this game they said let’s do something fun. The Fire Emblem Trading card games starter decks will be each coming with a DLC code for Marth and Lucina respectively. These decks retail for about 10 USD and there is another DLC that you can get from a promo pack for about 3 USD Consumers in Japan now have confirmed about 100 dollars they need to spend to access all that day one content. 

Sure you don’t need these extra characters, in fact they may be worse to use then a standard unit. However, these are two very popular characters being locked behind a pay wall that if not for the fact they were charging 80 dollars for the full game would be like “well they are giving us this massive game, I get that they want to promote their TCG.” Since they are not giving us a massive game, they are giving us “an awakening sized game” that is then split to make more money. 

In the west we likely won’t get this situation, we likely won’t get the TCG (Despite the fact that I want it). It’s also likely we don’t get the game piece mealed to us in the west. However, if we don’t complain then what do you think any company would do? They are going to charge us more for the game that we all want to play. “IF you don’t like it don’t buy it” some may scream at me. Well I won’t but it would suck because Fire Emblem is my favorite series of video games, of all time. I love every Fire Emblem game I’ve played (Well Shadow Dragon, I liked) but I won’t give Fire Emblem a pass. Even beyond just the this game costs to much money, if this game gets away with it do you really think other games won’t start doing it and doing it worse. That is how all bad DLC practices start, it starts on a “Oh well I could see why” then everyone does it, then we get blind it since it happens so much.