Video Game: Dispatch

I have a lot to say about Dispatch but for conciseness’s sake and honest niceties, I’ll be frank. I didn’t think much about this game from the getgo when my manager at work started barking funny little references I didn’t understand, but when I went home, I caved and found something pretty nice. While there are a lot of narrative options I heavily disagree with, that’s the point of the game. Adopting the developers from Telltale Games, AdHoc Studios put together similar “choose your own adventure” elements in this superhero story from titles like The Wolf Among Us and Batman: the Telltale Series. What was put together, in my opinion, is one of the most beautiful games to release in the last few years. The art direction is gorgeous and has this great comic book feel that most Telltale titles share, but Dispatch is so bright and colorful and lively like vintage superheroes. There are so many layers to the game and its characters that replaying even with roughly 12 hours worth of content feels new and fresh down to the third or fourth route.

Going online and seeing feedback on this game doesn’t do it justice, because the only way people know how to talk about Dispatch is by saying it isn’t dark enough to be profound like the inverted superhero tropes of Invincible or The Boys. But not everything needs to be dark and scary to have an impact on people. The speculative fiction aspect of Dispatch is meant more to reflect the everyman playing the game rather than be a massive political commentary. The characters act like your average coworkers, and the protagonist, Robert Robertson III (yes, that is seriously what they called him), is just some guy in his early thirties going through a transitional period in his life as he is essentially disabled out of being a superhero. There’s a lot of themes of grief, moving on, and finding peace through either contentment, or malice and revenge. Overall, a beautiful experience, would recommend playing it not only once, but a few times just to surprise yourself by making the “wrong” choices.

-Lee Nienhaus

TV Series: Peacemaker, Season 2

Peacemaker season two released at the tail end of the year, and was a sensation that built off the first season in amazing ways. They developed characters, expanded the DC Universe, and allowed for characters to take on heavy issues while still keeping that comedic element to the show. They pick up after the events of season one, with many members of the 11th Street Kids looking for new work, and trying to discover themselves in their professional and personal lives. The show faces various issues head-on, including themes of belonging, guilt, privilege, forgiveness, and grief. This show is set apart from other superhero media with how it handles its characters. They show honest growth throughout the series, with the start of this season focusing on Harcourt’s growth following the death of her ex, Chris’ dedication to become a ‘real’ hero, and Adebayo’s dedication to be taken seriously in her new job. Overall, the season is done well, with key comedic action and emotions always the centering point of the show. The one critique for the show held by many, is that the ending is seen as anti-climactic and boring. I personally disagree with this. I see the ending as a way to set up the future of the DC universe, and was a great way to wrap up the series.

-Will Clair

DJ Set: HOOCHIE MAMA MIX OF GHETTOTECH JUNGLE BALTIMORE CLUB JERSEY CLUB MIAMI BASS by girlypop princess

Ever had a bad day? I’ve got something to make sure you don’t have any more of those. 

In the year of our lord 2025, following the path set for me by many a screwtape, not to mention a growing fascination with DJ Kicks, Elevator Music, and NTS, DJ Sets occupied a considerable slice of my overall music listening. The internet is truly a wonder in running across such things, the vast expanses of SoundCloud proving my personal favorite- the depths from which this particular gem fell into my possession. An hour of lush, blissful ghettotech to keep your head high and your booty bouncing. I mean, really, what more could one ask? My favorite stretch goes around the 23-minute mark, featuring an absolutely electric jungle remix of Ciara’s Get Up that had me… well, getting up. A wise man once said, “The DJ got us fallin’ in love again,” and I live by that. In 2026, may a DJ help you fall in love again. Thank you, girlypop princess.

-Evan Raefield

Movie: Sinners

Released in April of 2025, Sinners took the film industry by storm, impressing both critics and audiences alike, rated with a 97% on Rotten Tomatoes. And its reputation precedes itself. The movie is a vampire tale, blending southern gothic horror, drama and musical elements. It explores themes of racial oppression, ancestry, colonization, culture assimilation and spirituality. The film follows main character, Sammie as he abandons his duties as the preacher’s son and runs off to join his cousins, the Smokestack Twins, who want to open a juke joint of their very own. The twins are war veterans and gangsters who return to Mississippi in the hopes of giving back to their community. 

“Stack”, also known as Elias, is the approachable and outgoing brother, often depicted in red. Elijah, whose nickname is “Smoke”, is the serious and cynical brother, dressed in shades of blue. Together, they purchase a venue, gather materials and recruit musicians, cooks and dancers. During the opening night however, Sammie’s musical talent, which is so powerful it can transcend time and connect ancestors, attracts the attention of bloodsucking vampires who seek to harness that power. Therefore, the main characters must come up with a plan to survive the night or die at the hands of the supernatural evil that needs nothing but an invite to ruin their lives. 

Coogler really nails this film as both a horror and a well-developed drama: the characters are realistic and complex, the premise is simple yet effective, the vampire folklore is handled with expertise, and the cinematography is gorgeous. A standout moment in the film is when Sammie’s performance invokes different generations of musicians/performers, and as they join the fun, the screen extends beyond the standard widescreen and envelops the entire picture. It marks the transition to the second half of the movie and raises the stakes and horror elements without us even noticing it. Additionally, Sinner’s casting was exceptional, with the actors all giving award-worthy performances. Overall, it’s a beautifully crafted vampiric horror movie that is absolutely worth the watch.

-Clara Carrion

Video Game: No, I’m Not a Human

This year, I seem to have become the de facto video game journalist for the KRUI website. If you know me at all, you know I’m woefully unqualified for the position. I have no reputation as a gamer, having only started getting into gaming this year, and I’ve only played a measly few games that I got for free on Steam. In fact, my favorite game of the year, Trioskaz’s No, I’m Not A Human, is one I haven’t even played myself. I’ve only seen it played, over and over, by various streamers.

For those not familiar, No, I’m Not A Human centers around a dreary apocalypse: the sun is moving closer to the Earth, making daytime unbearably hot. Simultaneously, strange beings dressed in human skin (called Visitors) are emerging from the ground, trying to gain entry into people’s homes and murdering anyone they find alone. You just so happen to live alone. So, against your better judgement, you start accepting people in off the street who are searching for shelter from the sun. Except some of those people might not be people. So now you’re an investigator, trying to determine whether the people you let in at night are actually human or an alien Visitor in disguise. This is the main mechanic of the game, listening to your companions’ stories and checking them for signs that they might be Visitors. But the information you’re getting about what makes someone a Visitor is shaky at best. Visitors allegedly have red eyes, dirty fingernails, and perfectly straight teeth. But what if a human spent the night crying? What if a Visitor washed their hands? What if a human recently went to the dentist? There’s no foolproof way to tell if someone’s a Visitor, meaning you’re often forced to convict without enough evidence. Either that, or you let more innocents die.

The game’s art style and writing only heightens the tension of its premise. It’s tempting to decide who to let in based on looks alone, or maybe their general attitude. But, in this game, everyone who approaches your door, Visitor or human, looks uncanny. Not even humans look human, meaning your gut instincts on who to trust will often lead you astray. It’s hard to tell who’s honestly being nice and who’s faking it; every character has unique and well-written quirks, regardless of whether they’re human or Visitor.
When creating any piece of media, it’s hard to make your audience feel the specific emotion that you want them to feel. But I and every other person who has played or watched this game knows exactly the strain of paranoia that No, I’m Not A Human depicts so well. This is a game that will make you question everything. It will give you a piece of information, then immediately contradict it. It will introduce you to a sweet, lovable character, then force you to shoot them in the face before they kill again. In times of true unprecedented crisis, the only choices you can really make are shots in the dark. But who are the stray bullets going to hit?

Can you deal with the consequences?

-Bailey Vergara

World Cup Qualifier Match: Hungary v. Ireland, Nov. 16th

The 2026 FIFA World Cup is taking place across 16 cities in North America this upcoming summer, and boy am I excited. One of the final rounds of qualifiers for the UEFA (European) teams occurred this past November, where 12 nations have fully qualified, 26 have been eliminated, and 16 will continue to the vicious UEFA playoffs in March to compete for the 4 final available slots. Hungary hosted the final match for both Hungary and Ireland on November 16, 2025, neither team able to fully qualify, but both contending here for the playoffs. Hungary needed only a draw to move on, while Ireland needed a win.

At just 3 minutes, Hungary scored the first goal to set their immediate daunting lead. The match continued scrappy from that point on, high energy and desperation from both teams charging their playing. Neither country is favored to make it into The World Cup, with Ireland’s most recent appearance in 2002, and Hungary’s in 1986. This time around, both teams have strong players carrying national hopes on each side, Ireland’s hero with two goals against Portugal just three days prior, Troy Parrot, and Hungary’s captain the Liverpool star, Dominik Szoboszlai. The qualifiers are an incredible series of matches to see these fierce teams as they scrap it out, and play with a kind of energy and madness that really makes the game special. It’s not a clean or perfect match from either team, but that kind of toe-to-toe brawl into a last minute, game-deciding hattrick goal is the pure vision of drama that’s special to The World Cup.

Ireland will continue to the playoffs after the unbelievable last minute score from Troy Parrot crushed Hungarian dreams 2-3. They will face The Czech Republic on March 26, 2026. If they win, Ireland will need to beat Denmark or North Macedonia during the playoff final to finally advance to The World Cup

-Pauly

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Well, yes, obviously. Fish have pain receptors like the ones found in humans, and when they are injured, they act how you’d expect an animal in pain to act.

But consider this: we’re not fish. 

We don’t know what fish feel. What we can identify physiologically as pain in a fish’s body might not be expressed that way in their minds. Maybe fish pain feels different from human pain.

And consider this: maybe we don’t care.

Humans as a species have a reputation for treating other animals like playthings. We eat them en masse, experiment on them, dress them up and keep them as pets. We grind their bodies in large metal machines, keep them locked in cages and pens. We manipulate them as we see fit. 

Maybe, to a fish, we are a race of uncaring, unfeeling gods.

In How Fish is Made (2022, Wrong Organ), you play as, quite literally, a fish out of water who must make its way through a mysterious, pixelated landscape that walks the line between cold, unfeeling machine and graphic, fleshy human organ. As you traverse through the machine’s disgustingly rendered belly, you encounter other fish, who seem to have only one question for you: are you going UP or DOWN? You must answer every fish, but, interestingly, you can change your answer at will— the game doesn’t make you commit to your choice until the final room.

The mechanics of the game for the PC are relatively simple. You use your arrow keys to move forward and backward, your mouse to rotate, and the spacebar to interact with fish. It’s also a short game, clocking in at around 30-45 minutes to complete. But despite its simplicity, this game contains a surprising amount of depth. The environment, while pretty low-poly, evokes a visceral sense of discomfort and disgust through its depictions of disturbing body horror imagery. (The example that immediately comes to mind is the lotus seed pods, which have small, beady eyes instead of seeds.) And as you inch past your surroundings, your fishy flopping is accompanied by a score of mechanical whirs and fleshy squelches enough to make skin crawl. 

The game’s driving force is its NPCs: your fellow fish. When you first crash-land into the story, you meet a large fish who presents you with a choice — UP or DOWN — that will haunt you for the rest of the game. Every fish you meet afterwards will ask you the same question, but each one has a different perspective on the issue. One fish with a bent spine preaches the gospel of UP with a maniacal intensity, while another ensnared in a ring of plastic confidently declares that DOWN is the way to go. Some fish seem almost cartoonish in their convictions, while others act more human. A fish you meet will ask you whether they should travel UP with their family, or DOWN with their best friend. “I don’t want to choose,” they squeal, “if I can’t know exactly how it will turn out!”

At its core, How Fish Is Made breaks the human experience down to its most basic component: choice. And yet, when playing, you’ll notice that there are no humans in sight, only fish. However, there is a distinct human presence that remains unspoken. In one room, human voices play from distant recordings. The lights and buttons you find in the different rooms are fully functional, installed (presumably) by a human. In one of the most quietly disturbing moments of the game, you find one fish dead, trapped inside a condom filled with an unsavory white goo.

It’s interesting, then, that this game is about choice. As I mentioned before, humans typically remove most elements of choice from the life of a fish; we act almost like gods. So if humans are gods to fish, able to manipulate them at will, then perhaps the choices a fish makes in its lifetime are essentially meaningless. Whether it is eaten, used for testing, or kept as a pet, every fish ends up the same way: dead. Does it matter what the fish chooses to do in the meantime?

I fell in love with this game not because of its striking graphics, easy gameplay, or clever dialogue, but because of the way it considers the emptiness of choice. As soon as you are presented with the game’s central question — UP or DOWN? — you know that it doesn’t really matter which way you go. It’s not as if one path leads to death and the other salvation; this isn’t that type of game. You don’t get to choose if you die, you just get to choose how. You’re a fish.

In How Fish Is Made’s most memorable cutscene, a dancing parasite (I promise, this makes more sense in context) sings a song to you in front of pictures of decaying flesh and wriggling bugs. In the middle of his slideshow, he shows you a picture of a heap of dead fish in a cannery. On top, text reads: “Do Fish Feel Pain?” For the longest time, we humans didn’t think so, and we treated fish accordingly. But pain exists regardless of whether we perceive it or not.

When we picture a god of humans, we typically think of it as resembling ourselves. We draw them in human form, call them human names, and imagine that they understand human pain. But what if they can’t? What if the entities that control our fates, that make our choices virtually worthless, don’t understand the pain of deliberation that goes into making a decision? What if they exist only to use us while we live, harvest us when we die, and make our bodies into the filling of a delicious sandwich? 

What if they don’t know — or don’t care — How Fish Is Made?

The post Ethical Gaming: Choices, God, and “How Fish Is Made” appeared first on KRUI Radio.

I’ve been an active member of the Rusty Lake community for a little over a year now, and every time I play, I’m stunned by just how much depth the creators are able to fit into their games, which usually only take anywhere from an hour to four hours to play. Particularly, I’m fascinated by the games’ takes on environmentalism and mental health, both of which are central elements of the games’ setting and story. I’ve spent hours writing and theorizing, and come to the conclusion that the series lends itself as an ecocentrist, the perspective that nature’s needs outweigh human ones.

In an effort to ensure that my year long trip down the Rusty Lake rabbit hole was not in vain, I wanted to explain my thoughts on the deeper message behind the game series. There are spoilers ahead.

There are multiple interconnected plotlines within the Rusty Lake universe, but the linchpin of the franchise is the story of Dale Vandermeer, a detective investigating a death within the Rusty Lake Mental Health and Fishing facility, which sits atop the titular Rusty Lake. The deceased, a woman named Laura Vanderboom, died under mysterious and possibly supernatural circumstances. While attempting to investigate, Dale encounters a handful of chilling characters, including half-human, half-animal hybrids Mr. Owl and Mr. Crow, a parrot named Harvey, and a human-shaped “corrupted soul” with no name and undefined intentions. Later installments of the game allow the player to take on different playable characters and explore different storylines, some of which take place several centuries in the past.

One of the central plot devices of the story is the Elixir, a concoction made by alchemist Caroline Eilander in Rusty Lake: Paradise that created the human animal hybrids Dale interacts with in his games. The Elixir, created through the magical powers of the Lake, works only when two parties drink it. One dies, and one becomes semi-immortal, taking on the form of a hybrid. 

In line with the games’ ecocentrist themes, the Elixir seems to represent human corruption and the exploitation of nature for selfish ends. Not only was the Elixir made by harvesting the power of the Lake, an act that mirrors humanity’s own misuse of natural resources, but is also almost exclusively used without one party’s consent. In one case, that party was a dog, who James Vanderboom drugged in Rusty Lake: Roots in order to attempt to become immortal himself. This backfired on him spectacularly, as the dog ended up becoming fully immortal. This was while James kicked the bucket.

The way this plot point plays out reads to me as Rusty Lake’s satirical critique of human hubris. Animals have been around long before humans, and they will continue to exist long after we die. This may also explain why James’ dog is the only character that becomes fully immortal after taking the Elixir. Both Mr. Owl and Mr. Crow, who were once humans, express the desire to retake it at some point in order to renew its effects.

This isn’t even to mention the fact that “corrupted souls” as seen in Dale’s games, are later shown to be the remains of people who drink the Elixir and die. To me, this feels as if the Lake has corrupted their souls as a physical manifestation of the human corruption that led to their deaths. In fact, natural manifestations of human greed seem to be a recurring motif within the games. The ultimate example, the biblical Ten Plagues of Egypt, is used as a framing device in Rusty Lake: Paradise, which is also the game that introduces the Elixir.

The games’ ecocentric views also tie into its portrayal of mental health, which starts with Laura Vanderboom from the first games. Laura is shown to struggle with severe mental illness. She attempts to reconnect with nature at the Lake in order to regain some sense of normalcy, and the games frequently use nature based metaphors as an abstract representation of her depression. The game Rusty Lake: Seasons is entirely built around this concept, using seasons, as the name would imply, to represent Laura’s mental states and subsequent descent into depression. Laura is also often shown in pictures next to a cherry tree. This gains more significance in the game Underground Blossom, where Laura literally blossoms into a cherry tree. In this game, “blossoming” is used to represent a purification of the soul and Laura’s ascension from her mental turmoil. 

Laura’s story hints at the connection between the series’ views on nature and mental health. Laura comes to the Lake to mitigate her depression by engaging with nature, and the end to her story suggests that she ended up doing just that. Only by becoming a part of nature was Laura able to make peace with her trauma and escape her depression. 

Her story also marks a notable contrast between how the games treat engaging with nature in a mutually beneficial way versus doing it for one’s own gain. Laura never seeks to exploit the Lake in any way, just to engage with its aesthetic beauty in order to improve her mental state. James Vanderboom, however, seeks to misuse the Lake’s resources to gain immortality and ends up paying for it. Both within the Rusty Lake universe and in real life, there is a difference between enjoying an area’s ecosystem services and overexploitation.

There are so many other aspects of Rusty Lake that I wish I had time to discuss, but my space at the moment is limited. So, thank you for humoring me. I urge you to try these games for yourself, many of which are free to play. Feel free to come back with your own conclusions about the games and prove me wrong. As Mr. Crow would say: You know what to do.

The post The Environmentalist Message Behind “Rusty Lake” appeared first on KRUI Radio.

I’ve played three FromSoftware games; Sekiro: Shadows Die Twice, Bloodborne, and Elden Ring. All three are masterpieces in their own right. Elden Ring was the most fun the first time through, but Bloodborne is the one I keep coming back to. It has less variety than Elden Ring and less freedom, however these things work to Bloodborne’s advantage. Because of the smaller scale of its campaign, they can capitalize on linearity, and make the combat, story, and aesthetics much more polished. That being said, quality is not valued over quantity in the gaming industry today, which is why Elden Ring won Game of the Year and Bloodborne did not. In this first edition of Ethical Gaming Journalism Reviews, I want to talk about why Bloodborne is the pinnacle of the souls-like genre for me, and why a remaster or sequel of the game would be lucrative.

Saw Clever (left) and Boom Hammer (right). Images via Fextralife

The combat of Bloodborne is incredibly fun, and the most technically impressive up until that point. The classic souls-like dodge roll is traded out for a quick side-step. When you get hit, you can deal damage to get some of that health back within a certain amount of time. There are over twenty weapons in the game. Given the dozens to hundreds of weapons in other souls-like games, this doesn’t sound like much. However, every weapon has two modes called transformed and untransformed. Transforming a weapon can vary from simply making a weapon longer, like with the Saw Cleaver, to adding a fire buff like with the Boom Hammer. These transformed move sets are also able to be combined into normal moves and vice versa.

On top of this, Bloodborne has guns. They do poor damage, but they allow players to parry enemies. This opens them up for a visceral attack. Instead of just stabbing your sword into them, you shove your hand into their body, and then pull it out, aggressively. That’s the main theme of Bloodborne’s combat; aggression. While souls-like games often encourage waiting and timing your attacks, the game wants you to learn the move sets and rewards your efforts by allowing you to eviscerate people. Bloodborne wants you to be powerful, and in her glory gives you the tools to do so.

That’s a nice segue into the next topic of aesthetics. This game runs like there’s a hamster wheel inside with an elderly rat on it, but that doesn’t matter in the larger picture. Within Bloodborne, Miyazaki was inspired by the gothic setting in Bram Stoker’s Dracula, and by H.P. Lovecraft’s cyclopean structures, eldritch presences, and cosmic horror. This contrasts the dark fantasy locales inspired by the likes of the Japanese manga Berserk. These two ideas work so well in tandem that it’s almost absurd. The gothic structures akin to the Victorian era seem like they were built by towering gods, drawing inspiration from the Notre Dame Cathedral, Our Lady of Chartres Cathedral, and the Brussels Town Hall.

The main enemies are human citizens of Yharnam, a fictional country based on Victorian England, that are undergoing various stages of turning into werewolves. The central hub of the game, the Hunter’s Dream, functions as a workshop where you can upgrade your weapons and stats. The player character, simply referred to as “the Hunter”, is tall and slender, mainly to emphasize the giant prey slaughtering weapons they’re granted. The weapons are not only large but absurd. The main weapon on the cover is aptly named the Saw Cleaver, which is a saw that, well, it turns into a cleaver. My favorite weapon in the game is the Boom Hammer. It’s hard to explain that one. Every design choice is intentional in Bloodborne, from the Cleric Beast having one arm larger than the other, to the text after you kill a boss being “prey slaughtered,” instead of “enemy slain.” 

Fans have been begging for a remake or remaster, or anything at all Bloodborne related for years. From the Insomniac/Sony leak a couple of months ago, we found out that the game has sold about seven and a half million copies. With the success of Elden Ring, I think a Bloodborne remake or even a sequel would be incredibly successful. It would be the perfect chance to sand down some of the rough edges and improve upon a formula FromSoftware has been working with for over a decade. Unfortunately, the game studio is owned by Sony. No matter how many fans demand it, if Sony says no, that’s it. However, something Bloodborne related could come soon. Even Sony can’t deny the appeal forever.

The post Insights into Miyazaki’s Magnum Opus “Bloodborne” appeared first on KRUI Radio.

Much in the same way that the genre of hip-hop had been around for years, so too had the battle-royale genre before Fortnite’s interpretation of it. Its history goes all the way back to the Minecraft Hunger Games mod and the days of DayZ. Originally a mod for Arma II, it first popularized the premise of spawning in on an enormous map, providing the ability to obtain loot & materials for building, encouraged interaction between players (with unpredictable results), and also sort of launched the epidemic of zombies in gaming. But what really sold DayZ was the thrill of the potential unscripted meeting with another player and seeing how the encounter would pan out.

At 벳무브 you will find an incredible site, it has a lot of incredible games and the best part is that they have incredible prizes for the winners.

Another modder, Brendan Greene, eventually developed an updated version as a mod for Arma III upon its release. He was then soon given a chance to craft his own standalone game, PlayerUnknown’s Battlegrounds (or Plunkbat, let’s go with that abbreviation). Several other battle-royale games started popping up, legitimizing the trend. But let’s roll back slightly to the year 2011 to see what Fortnite was up to. It had just been publicly announced but as an entirely different beast, and a completely PvE one at that, titled Fortnite: Save the World. This was Epic Games concept album.

If you’re interested in exploring more about gaming strategies and tips, check out these stardew valley guides from gamemite to enhance your gameplay and make the most of your gaming experience.

Just as Fortnite was initially announced as a co-operative survival game pitting pals against zomboids, Lin-Manuel Miranda’s initial pitch for Hamilton was as a concept album. To recall May 12^th 2009, Miranda had been performing his musical In the Heights and was invited to the White House by then-current President Barack Obama to perform a song from the show in celebration of America’s artists. But instead of a piece from In the Heights, he chose a brand-new piece never before performed in public from a twinkling of an idea a future production. The song in question was, as Lin put it, “about somebody who embodies hip-hop, Treasury Secretary Alexander Hamilton.” It draws from the well-established genre of hip-hop but uses it to tell a story that has nothing to do with hip hop. Using it as form, not content.

Let’s hear more of those overlaps, please

Both titles underwent a six-year development cycle, constantly morphing and being reshaped by their writers, artists, and overall talent. At times either of which could have become an entirely different product, but modern culture pushed both towards the end result we see today. One ended up on Broadway in 2015 and the other was gaining momentup toward its 2017 early-access release. Another six weeks and the Fortnite Battle Royale beta was added to the game. Just as the 18^th century revolution was inevitable, the same could be said of Fortnite in its contribution to the fabric of our society.

Epic Games reinvented battle-royale with its ceaseless updates and fresh game content. While other popular battle-royale games of the time lagged in updates and communicating with their fanbases, Epic Games was consistently cranking out new content. This kept players engaged and feeling valued.

Perhaps the most hip-hop aspect of Fortnite is how it broke barriers in its efforts to build a community. Millions flocked to the community and ushered in new cross-play implementations never before seen for the likes of Sony and Microsoft consoles. Paving the way for future cross-play games like 2019’s Modern Warfare. If Hamilton’s revolutionary moment was to use hip-hop as the form to tell history to new audiences, ultimately breaking barriers between communities of all backgrounds, then Fortnite’s moment was also to use the genre as form to break these same barriers and connect communities across platforms. Adding a unique touch to this cultural fusion, enthusiasts can even consider integrating a medieval sword from Mini Katana into the virtual realm, creating a distinct and engaging experience within the gaming landscape.

Which brings me to a way cray hip-hop feature

What better way to bring folks together than with the introduction of a completely non-violent game space? As April 2020 rolled around, Epic rolled out an update with a social space dubbed, Party Royale. This set the groundwork for some rad and wildly popular events. We saw the screening of several Christopher Nolan films, a performance from BTS, and the infamous Travis Scott concert. This is of course the most obvious connection one could trace back to hip-hop.

There’s a great quote from Manuel on how the musical “is a story about America then, told by America now.” It’s chock-full of historical facts but told through a modern lens. The goal during production was then to gather top-tier talent, no matter their background, race, or gender in order to produce the highest quality show. Casting thus placed a higher priority on a performer’s ability to nail that feeling that the history of these figures evoked rather than to paint cast by number, so-to-speak. Here we have a diverse array of performers that has a much greater potential to affect its audience, especially typically underrepresented populations. Hamilton has provided not only role models for these folks, but also hope for performers in landing a coveted role on-stage.

Fortnite then does casting in a similar fashion, with the auditioning performer being the players themselves. It randomly assigns the race and gender of a given playermodel, allowing for that same prospect of “landing the role.” It’s a tried-and-true genre that is just now catching up with the modern lens. This provides that role model or representation aspect that is also rarely seen within the medium or genre. Potentially sparking the thought that “hey, I can land a gig in this medium too” or, “I feel represented here.” So, both Hamilton and Fortnite are performing this superb balancing act of adhering in part to tradition and part to the innovation of the craft. That craft? Hip Hop, baby.

If you’re interested in learning more about the creative production process behind Hamilton, I’d highly recommend checking out the novel on this very topic. A fabulous resource I used to write this article, and the audiobook is narrated by Lin-Manuel himself. So hop to it.

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Besides bands and comedians, this festival holds discussions and panels from a huge range of disciplines. Beforeplay was a panel discussion held at the Mill at 2 pm on the second day of festivities. Like the title suggests, the panel was exploring the process of playtesting, which is essentially the game maker putting the game in the hands of some trusted peers in order to receive some very early and important feedback.

This connects to one of the main pillars of Witching Hour: exploring the creative process. With that phrase, one usually summons to the mind an image of a painter or a music producer, but the creative process is really embedded in almost everything we do as humans.

Especially play.

Obviously, play was central theme of the panel. Play is something that crosses all cultures and is an inherent part of the human experience. That’s why these panels members wanted to dig into the very genesis of it.

The panel consisted of various people involved in the gaming world, both video games and tabletop board games. This diversity was an important part of the panel.

As it went on, we discovered the places where the creative process was similar or dissimilar between the two types of gaming. They even took a quick poll of the audience at the beginning to see what people in the crowd like to play.

The panel was moderated by Wesley Berry. Some other panel member were  David Miessler-Kubanek, Eric Neuhaus, Tyler Persinger, and Jon Lonngren. 

The first place they went in the discussion was the creative process itself, and how inspiration is gained and utilized. John said that the process of making a game is “1% inspiration and 99% perspiration,” a reference to the fact that ideas are essentially useless unless acted upon. He also explained that it had to be a grueling process, and there are always going to be moments when you question yourself, in any creative mode.

Most of the panel members agreed with this idea. A few of them even said the figure of 1% is too large. That’s why play testing is so important: you can test your ideas with a real, tangible audience.

The next question was straightforward: in the process of making games, when do you know you have enough to show people?

Tyler said he had no shame about it. He’s show people the bare bones, right when there was anything at all to show people. He liked to include that feedback as early as possible to make it available for purchase as fast as possible. He also said he thinks of these creative efforts in a business oriented manner, so expedience was important.

One thing that all of the game developers on the panel agreed on was that the first version of something that you show to people should be ugly. If you give them a wobbly prototype but make it pretty, they’ll tend to think of it as a finished product, possibly throwing off the truer opinions and feedback they need to hear.

Also, know what you’re looking for. Have some specific parts of the game that you focus in on for a session of playtesting, and ask questions that get specific feedback. If you don’t know what you’re trying to fix, you’ll end up fixing something that isn’t broken.

The relationship between creator and player is a complex one, at all levels. From a consumer to a playtester, the creator is making the game for those people.

It was interesting to hear creative people from different genres all diving into the same concept. There were moments of agreement (most of them) and a few moments where ideas couldn’t be further apart from each other.

It was interesting for me to learn about the culture of board games. I haven’t really played any of the games like the ones they made, but I do play a lot of video games.

The discussion was very different from my preconceived vision of it, but that is exactly the point of Witching Hour. It made me think about the games I play but from a creator’s perspective, and also about looking into new types of games I’ve never tried before like satta king.

The post Witching Hour: Beforeplay: An exploration of the art of playtesting @ The Mill 11/5/16 appeared first on KRUI Radio.

One particular game released this year has been hailed as the new vanguard of the video game horror renaissance: Five Nights at Freddy’s, created by indie developer Scott Cawthon.

Five Nights became an unlikely internet sensation following its release in August 2014, sparking a wave of “Let’s Play” (gameplay accompanied by user commentary) Youtube videos and receiving thousands of downloads within weeks. The player takes the role of a hapless security guard at Freddy Fazbear’s Pizza, a crusty Chuck E. Cheese’s look-a-like with a disturbing secret: at night, the restaurant’s animatronic animal characters roam the halls with murderous intent. The game opens with a dash of dark humor, the former security guard casually relating your new occupational hazards to you via voicemail. Naturally, you’re stuck working the night shift.

To be both off-color and completely honest, the horrific tension reaches an explosively pants-wetting level while playing this game. You cannot leave your security office. You have no weapons. Your only defenses against the haunted robotic terrors of Freddy’s Pizza are two light switches, two door locks, and the various security cameras placed throughout the restaurant. You sit, you watch, and you wait for the clock to hit 6 AM. That’s when the ‘bots shut down. That’s when you’re safe. Rinse and repeat for five nights.

And oh yes, one more thing: locking the office doors and turning the hallway lights on uses up the restaurant’s power. If you run out before sunrise, you’re dead. How does death come about in Five Nights, you may ask? The animatronics view you as a fellow machine without an animal costume, and will force you inside a spare if they catch you. Picture a Chuck E. Cheese character opening up like an iron maiden torture device. Survival is unlikely.

Five Nights hearkens back to 70’s and ‘80s horror films featuring killer dolls and robots – the Child’s Play series, the Poltergeist clown, Terminator, the androids of Michael Crichton’s oft-forgotten Westworld. The difference, of course, is that players are in control of their fate during their five nights at Freddy’s Pizza. Hiding under the blankets results in a quick, terrifying death and a Game Over screen. These mechanical demons are after your blood. Surviving all five nights and completing the game takes a scant 45 minutes, but there’s no downtime. The horror is pure, constant, unrelenting. Five Nights at Freddy’s is scarier than any film released this year.

And in fine, trashy horror tradition, the sequel’s just been released with no time to catch your breath. Who wants Freddy’s pizza?

You can check out Five Nights at Freddy’s and Five Nights at Freddy’s 2 on Steam.

The post SavePoint: Five Nights at Freddy’s – How Video Games are Resurrecting Retro Horror appeared first on KRUI Radio.