The Sunday Papers

Sundays are for being pleased that it is raining so that you can stay inside and browse a collection of fine videogames. Perhaps, when you have a few minutes, you might read a few articles of games writing, too.

  • Jon Shafer’s design blog has been filling up with At The Gates stuff in the past week, but before that he wrote this: “A moniker often used for empire builders is “4X”, for exploration, expansion, exploitation and extermination. Unfortunately, once you get halfway through a game the first two Xs – by far the most enjoyable for many players – are pretty much wrapped up. Unless you really enjoy watching meters fill up or have a particular love for the less-than-perfect combat systems these games tend to feature there’s really not much left to see. And so we quit and start over.”
  • Teaching lessons via Minecraft: “The recent Queensland floods had a catastrophic impact, but Dr Jeff Brand, a Professor at Bond University refused to take things lying down. When significant flood damage resulted in the closure of his university department and a disruption in his carefully planned curriculum, he decided to think laterally. Jeff Brand decided he was going to teach his class no matter what. His solution involved avatars.”
  • Electron Dance on polish and hand-holding: “The mainstream is all about the super-polish. Games polished to the point where you can barely see the mechanics any more. For all the misguided fear that art games are going to take over the world, some shooters are more like Dear Esther than Dear Esther is. Cut scenes bridge the player between events, complex actions are reduced to a single click and there is no such thing as “player error”, only bad design.”
  • Polygon hears from the imprisoned Bohemia developers: “I am afraid I cannot fully express how exactly I felt when we first heard from the outside world,” said Buchta, “but it was great to see how many people support us.”
  • New Statesman on why videogame violence is not really violence at all: “The second thing that makes violence a staple of gaming is that opposition and destruction lead to conflict and chaos and these are inherently interesting things in a safe environment. Conflict gives us a challenge, a test of skill and strategy to be overcome. Chess is a violent game. Sure, you don’t see the pawns get clubbed down with maces, but it’s a simulation of conflict, and it’s great. Meanwhile chaos provides dynamism and a sense of the unpredictable, like a child knocking over their tower of building blocks and watching how the blocks tumble down the gamer gets to see the world react to what they are doing. The success of the Angry Birds series is a testament to the simple joys of knocking things over, watching them fall and squashing smug pigs.”
  • The Pirate Hacks Of Africa.
  • This is charting an odd trend, in some ways: the top five remakes of 2012.
  • Dan Whitehead remembers the 8-bit version of Alien: “Make no mistake, this was – and still is – a creepy and scary game. The alien itself only appears as a looped animation, triggered whenever a crew member is in the same room as the beast, but its presence is felt throughout the game. With such basic visuals, the game instead turned to sound to crank up the tension.”
  • Mode 7’s Paul Taylor on Super Hexagon: “Like the most potent seducers, Super Hexagon’s weapon of choice is taunting. It says, “The only reason you can’t beat me is because you’re not trying hard enough.” The most galling thing about this is that it is absolutely true: no game has ever epitomised the modern deprecation of talent more than this; it goes to bed reading Malcolm Gladwell. You don’t have to be good “at this sort of thing” (I’m definitely not – you should see me playing…any game…ever), you just have to put the time in. It knows that, you know that, and it knows that you know.”
  • Ubisoft’s plan to change story-telling in videogames, via their “Alice” initiative: “The first game to see significant support from Alice, however, is Watch Dogs, the upcoming open-world crime game that generated loads of excitement at last year’s Electronic Entertainment Expo. During our visit to Alice, the writers and sound designers rush to conceal their Watch Dogs scripts and working videos from view. The second we leave their general vicinity, they frantically get back to work.”

Music this week is Thomas Köner’s light-hearted pop hit, Novaya Zemlya 1.


  1. Robomutt says:

    “Alien” not “Aliens” … ahem.

    I remember it well and it utterly shit me up.

    • Taidan says:

      Yeah, that’s a great game. Had a short discussion about it over on Forbes only a few days ago, and how it’s a shame that most developers using the license go straight down the FPS route these days, rather than exploring some alternative (and arguably better-suited) concepts such as the one that the ZX Spectrum Alien scared the f**k out of us with all those years ago.

      That said, I’m still among the apparent minority who have the opinion that the first Alien film was a far better effort than it’s own shoot-em-up sequel.


      • Jason Moyer says:

        I’ve always kinda wondered why no one has done a real survival horror Alien game, maybe something like Amnesia in space. Then again I’ve also always wondered why no one ever made a Star Wars game where the jedi acted like Obi-Wan/Luke in the movies (using stealth/subterfuge…Thief in space with a lightsaber).

        • Mario Figueiredo says:

          The first Dead Space sort of went in that direction.

          Routine is a game that has currently been greenlit at Steam. It’s intention is to make the word “survival” mean something. You may want to take a look at it: link to

          Hopefully RPS will also feature it before it’s release in April or May.

      • Hillbert says:

        One of my favorite aspects of Aliens was the initial idea of exploration and figuring out what happened, before retreating and using technology/structures to defend yourself from a somewhat unknown menace. If there was a game where this aspect was put front and centre I’d be a happy man.

        Sending a small team to start the power up so bulkhead doors could be closed, retrieving caches of ammunition, sacrificing sections of a base to focus on more adequately defensible areas, placement of sentry guns, placement of movement sensors, barricades, setting up communications to call in evacuation, perhaps even recognizing that one of your number was a traitor! All the while piecing together exactly what happened.

        Aliens is probably one of the most influential films on game design, but it’s only about 40% of the film that does this, the rest has been ignored.

        • Josh W says:

          Oh my goodness! Combine the common “scavenge then defend against waves” mode with something that involves not materials but information; make defence confusing and disorienting, then make it so that looking outside at what they have done, and looking further afield at what they have done to other people, is required explain what you are up against, how close you were to defeat, and why.

          Now this would require a strong capacity to show natural signs of the battle, variation in what you are facing, and the ability to interact with them through very removed kinds of interface; automatic turrets with simple left-right motion, abstract motion trackers, grainy cctv etc.

          Remember the first night in minecraft, before you knew what the monsters were? You’d just heard you needed to get underground? That kind of thing.

          This also means that you could make the investigation parts quite high graphics, or at least reasonably detailed with lots of decals and things, and then lower detail levels during the action segments of the story, where you are trying to interpret the signs of your sensors to assemble an appropriate defence.

      • Noise says:

        Alien is definitely the better movie. I would even go so far as to say it is the BEST movie.

        • jrodman says:

          I hate that movie.
          I hate it for being so good at what it is.

      • jorygriffis says:

        Thank you!! I don’t like Aliens very much at all and Alien is one of the best and scariest movies ever made.

      • nindustrial says:

        I’m not sure if it’s a minority that find Alien better, but if so, I find myself happily alongside you. Aliens was good in its own way, but Alien is just a piece of classic horror using the most effective of, sadly underused, tactics: don’t show.

    • rustybroomhandle says:

      The author mentions FTL, and this was exactly what I thought of when I saw FTL for the first time.

    • scorpion_wins says:

      I say, I’ve replied in the wrong place. I’m terribly sorry old chap.

  2. felisc says:

    Oh nice, I hadn’t listened to Köner’s stuff so far. Hydrophones (i guess it’s what he used) are so cool. And cheap.

    • Colonel J says:

      Köner’s old classic Permafrost is also a good one to get that party started

    • Gpig says:

      Yeah, good choice on music this week. Reminds me of some of Katy Perry’s later stuff, after the breakup with Russel.

    • Ostymandias says:

      I still can’t emphasize enough how much I like RPS musical tastes

      if you into Köner, try some other stuff from Touch Music, such as Jacob Kirkegaard’s 4 Rooms (Chernobyl field recordings!) or Jana Winderen for even moar hydrophone

      • felisc says:

        I’ve been a laptop music and field recording fan for some years and yeah it always makes me feel happy to share this with some fine rps folks. I’ve been re-listening a lot of opitope lately, a more music/sugarysweet/japanese side of things.

      • Colonel J says:

        “I still can’t emphasize enough how much I like RPS musical tastes”

        It got much better when GIllen left and took his horrible hip indie bands with him. I’m old, I can’t bear all that shouting on a Sunday.

    • President Weasel says:

      That is not a light hearted pop hit AT ALL. You lied to me, sirrah.

    • GenBanks says:

      The song is pretty much what the inside of my brain feels like today.

  3. Obc says:

    the quote on video game violence is quite potent. its a good analogy in some ways. and there is some truth to that video games or games in general are about conflict in a SAFE environment. Chess is war in a save enviorenment.

    here is me rambling on the nature of games and violence that we are inherintly born with and that is shaped by our life, surrounding and choices, take the following how you will:

    humanity as a whole need games, be it sports, chess/go/tetris or FPSs. we need some challenge to conquer in order to liven our mind. In order to find refuge in an abstract challenge that shapes us and defines us and shows us what kind of person we are. we need stuff like freecell on our pcs, we need to see what Özil will do to overcome the enemies defense, we need to beat the enemies king to pulp in chess. even a psychopath has his “game”. its not the game that makes us violent but its our character that has different degrees of inherint violence and we find out which kind of violence it is by trying out differnt games. the games that we liken most teaches us how our mind most likely wants to work and where we find the most PLEASURE. and games provide us with this pleasure in a SAFE envriorenment. they offer the structure (game-genre) and dressing (e.g.: fantasy) we most likely want to work with.

    • AndrewC says:

      This might be useful for explaining the more recent ‘games are too violent’ arguments, not from the Daily Mails of the world, but from the gaming community themselves.

      By removing the challenge from their gameplay, the game is not about overcoming obstacles, or conquering overwhelming foes, anymore. Without challenge, the game is about the strong opressing the weak, and about enjoying the suffering of others. It is not challenge in a safe environment, it is sadism in a safe environment.

      Without the challenge of the action, there is no joy in the completing of it, only in the effect of that action – which is graphically spectacular carnage. The games are of a different genre now: torture simulators (warning, genre name may contain traces of hyperbole :) )

      It it is no conspiracy of game designers – gamers don’t like dying therefore remove failure-states, gamers like shiny so make the carnage more spectacular – from those seemingly innocuous, player-friendly design decisions come games where immortal arseholes destroy populations.


      There’s loads of good games though. Imma play them!

      • psepho says:

        Yes — the first time this started to really bug me was kill cams in Fallout 3. I hadn’t encountered them before. The effect of the kill cam is that instead of the violence being dress up for your challenge mechanic, which makes total sense for the obvious reasons laid out in the NS quote — the violent representation is separated from the mechanic and becomes a distinct reward for overcoming the challenge. The message to me is ‘this is your reward, therefore we assume that you value it’. Or worse — ‘we are telling you to value it, for its own sake’. To my mind that does start to become questionable.

        • jrodman says:

          Personally, I found it downright gross, not just questionable.

      • Josh W says:

        Of course, that is often exactly how many action movies work; we don’t believe that the main character will loose, so we’re just watching him shoot people. Of course, the enjoyment of killcam’s etc doesn’t need to be sadism or disgust, as many of skyrims killcams or as many martial arts films prove, it can be about style.

        But it does seem amusing to me the idea of “violence in games becomes more of a problem as they become more like violent movies”.

  4. c-Row says:

    Bad style from Shafer for ending the article after pointing out what was wrong with strategy games right before offering any solutions but a cliffhanger instead…

    • RedViv says:

      He’s going to inevitable fix all of that with his game, right? Right?

    • Captain Joyless says:

      If you read Shafer’s other blog posts, all he really does is make generalities about what’s “good” and “bad” in game design. But he rarely uses examples or discusses actual games. In his post “strategy games are broken” he just lists a bunch of attributes and basically says “a good game shouldn’t have too much X, but it also shouldn’t have too little X.” He doesn’t even name a game until the next to last paragraph.

      Honestly if you read this guy’s blogs, and then the look at some of the games he’s worked on, it’s clear he has no real idea how to apply his grandiloquent notions of design to making an actual game. Also keep in mind, he’s like 25 years old. He’s barely an adult in the first place.

  5. jrodman says:

    Commodore 64 alien was *HORRIFYING*. I could not play that game. I could only watch my friend do, and was STILL horrified.


  6. D3xter says:

    I’m surprised to not see any mention of Wasteland 2’s first Gameplay Footage anywhere on this site :P


    • LionsPhil says:

      Yeah, AFAIK that isn’t supposed to be backers-only.

      It’s a bit rough in places, but not looking bad for something half-done. I can already tell I’m going to miss half the scrolling text in that little box due to watching the game world or vica-versa, though.

      • jrodman says:

        I think that can be handled with like a little chirpy noise for incoming text, and some kind of colorization until you click on the widget.

        But yes there’s some amount of focus shifting. I managed it in Fallout though, so it must be workable.

        • LionsPhil says:

          I don’t think Fallout 1 used it quite so much; usually just on entering an area, or as a direct result of user action (like inspecting something). But then again maybe they’ve got it spitting text every five seconds just to show it off for the video. Early days.

    • Reapy says:

      Damn that was sexy, i probably should have backed this one. Have to say I like the infinity engine look in 3d and I love the axing of voice for more dynamic dialogue, also don’t have to worry about flat acting with text. Very nice so far!

  7. coffeetable says:

    I like how Ubisoft considers Assassin’s Creed to be the finest storytelling in their lineup, worth bringing to every other title. Christ.

    Also, I felt like I’d come across the same kind of insufferable writing as this before now, and checking wikipedia I now know where: of /course/ they’re a sister site to the Verge.

    • Runs With Foxes says:

      I like how you have to read half the article before the author deigns to inform you what the article is even about.

    • KenTWOu says:

      For May, one of the big goals of Alice is to dissolve the cutscene/gameplay/cutscene/gameplay structure that so many video games rely on. “Obviously we haven’t hit it yet,” says May, acknowledging the Assassin’s Creed series is as guilty as its contemporaries. “But the end goal is to break that mold.” He hopes his work helps games to become seamless experiences in which game and story are one and the same.

  8. Mario Figueiredo says:

    Oddly enough it was Aliens on the ZX Spectrum, not Alien, that scared me the most. That games was absolute terror and frankly nearly impossible to complete. As the monster waves intensified and you’d find yourself often stuck in a room, it was panic time. Exactly the type of panic that got you killed. The panic where your mind just freezes and you can’t react as they start attacking you.

    You’ll get a taste if you watch this and let it play till the end. It’s worth: link to

    • Rawrian says:

      The one where you kind of side-scroll through corridors and suddenly Alien appears?

      • Mario Figueiredo says:

        That very same. You’d hear a distinct beep when an alien was in the same room as you. You’d frantically pan across to try to find it and shot it in the limited time frame before it lashed out against one of your team mates (death was immediate). All with the inadequate QAOP-SPACEBAR keyboard setting we knew then.

        As the game progressed you’d start hearing more than one distinct sound. When it came to three you’d just panic. There was no way around it. The fast and brutal death animation and seeing your team mates being rolled over was just too much for my boyish heart. I could never stomach that game for more than a few minutes.

        • Rawrian says:

          I remember the music from it, and also that I was really bad at this game (as with a lot of ZX Spectrum games, admittedly).

    • Taidan says:

      Relevant: link to

      It’s a PC remake of said game, with added mapping, mouse-control and co-op play, among other things.

  9. Chris D says:

    Pssst! Jim! I think you forgot this piece about the making of XCom.

    link to

    I thought it was a really interesting insight into the process and why they made the design choices they did.

    If you just add it in now you could probably get away with it.

    • Mario Figueiredo says:

      Oh, wow! That read like a novel. Thanks a bunch!

      Screenshoted into my collection of gaming articles.

    • Paul B says:

      Thanks from me too – looked at the first paragraph and seems like it’s going to be a cracking read – marked for reading later on Pocket. Looks like Polygon is going on my Speed Dial too – seems this site is full of great, in-depth game articles.

  10. BubuIIC says:

    Wow the African hacked game article is hilarious! Thanks for linking to that!

    • Reapy says:

      I actually wanted to see the building the games came from more than the games.

    • Josh W says:

      Wonderful! I sort of don’t want to say anything about it because the comic timing of the article is that good.

    • Eukatheude says:

      I’m pretty sure there’s stuff like that in Naples.

    • The Random One says:

      I’m in Brazil and we have stuff like that.

      A coworker of mine asked me to help fix her son’s PS2 (it was just a jammed button in the controller). She gave me one of his games for me to see if it worked. It was called GTA: Spiderman. It was just San Andreas with CJ replaced by Spiderman. It looked like they had only changed the skin so every time CJ spoke it looked like he was choking in his mask. Also several textures had been replaced with Spider-man related pictures, so you’d be driving and a side-road would suddenly be filled with Spider-man mats. And the loading screen were just pictures of Spiderman, ending in a glorious one being a photo of an incredibly fat man in a Spiderman costume sitting on a plastic chair and drinking beer.

  11. ReV_VAdAUL says:

    I’m glad you posted the link to Gameological Society rather than Eurogamer in regards to the hacked African games.

    Eurogamer are generally great but this is the second time I’ve seen them post a cursory link to Gameological and then posting all of the content of said article. With both this and the Medal of Honor was promoting real world weapons article, Gameological had done genuine journalism and Eurogamer should not have reposted it in its’ entirety as if it were a press release or something. Sure include a quote or a picture of one of the weird games but not the whole thing.

  12. dangermouse76 says:

    I had 2 ideas when I was a kid for ” non violent ” or simulated violence FPS’s. One was essentially an extended training course in a city; but your guns only fired paintballs or hacky sack rocket launchers that knocked people out.
    It was called Hackasack attack. I think that was one where the name came before the game.

    The other which was trying to be pseudo intelligent had the player starting immediately from turning the game on ( no trademarks or back story / intro ) standing in combat – location not important – and having orders shouted at you to get your arse into gear.

    The game would then move through various conflicts seemingly unconnected to each other. The idea was to have a just get on with feel, for the player / character ( who was silent ). Don’t think just react. At the end of the game the holodeck you were in all the time is turned off and your are thanked for your time and sent out the room to a waiting area.

    The credits roll just as the testers are coming in the room to give you your results. I liked ( in my child brain ) the idea that with in the world of the game narrative you had effectively killed no one but felt like you had. I had some bent ideology about perception of killing being as powerful as the real thing if it felt real at the time……..some meta nonsense.

    Anyway my point is …….uh I liked the New Statesman article very well written.
    Need more tea.

  13. scorpion_wins says:

    Thomas Koner’s work reminds me somewhat of Lustmord.

  14. karthink says:

    It’s funny that Robert Yang chose Dishonored (of all games) to point out the polish glut and lack of agency in mainstream games. In comparison to most of its peers released in the past few years, Dishonored is fantastic at respecting player agency.

    • Vorphalack says:

      I think he chose it precisely because it allows more freedom of action that just about any other big budget title of the last few years, and is still not immune to prompting, hand holding and magical narrative injection. It shows how even titles that set out to rise above the murk of mainstream design are still cleaning bits of said muck off themselves right now.

    • Poliphilo says:

      “The mainstream is all about the super-polish. Games polished to the point where you can barely see the mechanics any more.”

      Oh man, tell me about it. I finally got curious and played the first quarter of DXHR. Even with low expectations it’s one of the most horrible things I’ve ever played. Almost every bit of dialogue, how characters’ completely shiny plastic faces reflect the light (is it *that* hard to make a *single* matte skin-shader and just apply it to every character?) hand-holding every 2 feet, kindergarten-level exposé, game environments that don’t make sense and are just dressed up tunnels with some ducts and an alternative route thrown in. Nothing about the whole backstory and the “prequel” game world so far makes any sense with regards to DX, let alone the real world. Basically this is what I imagine happens if you take a game that should never have existed and you then polish it till nothing much is left. I would like to finish the game, out of curiosity, but I’m not sure I can stand listening to one more NPC (luckily the voice acting isn’t as atrocious as the writing, and luckily it can be skipped). But rushing through the game like a madman trying to get to the ending is not how I picture myself playing a Deus Ex game. What a shame.

      Even the little bits and bobs they copied from DX didn’t manage to retain their function, like the little environmental hazard puzzles. In DX they were hardly difficult, but in DXHR the answers are always practically highlighted (even with object highlighting and objective markers turned off, although sometimes the game just turns them back on for some reason, presumably because it REALLY wants you to use them, being designed around it I suppose) so you don’t have to try stuff and think. I can just imagine where they playtested these and went “shit we have to dumb this down or players won’t get it in under 2 seconds and become stuck and quit”.

      Basically it feels like I’m playing a spin-off to a horrible sci-fi (or Syfy) show, one that has nothing whatsoever to do with the original game. It doesn’t have the smarts, cleverness, humour, and seems to go out of its way to create a completely unbelievable and implausible fictional world. I’m unsure if at any point during development this was going to become a DX game, but if it was, someone sure ‘polished’ it down to a perfectly round and boring shiny ball (yes that’s a pun on the horrible lighting and shiny shaders)

      If funny because when I think of for example Valve and polishing I think of an entirely different process; one where kinks are ironed out and stuff generally gets better, not worse. Had I been playtesting DXHR I would’ve just gone “yeah, no sorry, this is all completely crap, start again from the top please”.

      I’ll try to finish the game some time though. Hey on the plus side the game is so bad I don’t even care about the pointless switching-and-back to third-person for takedowns any more, or the horrible cover system (putting aside of course the fact the entire game is certainly designed around use of the cover system). Ultimately this game is more polish than ideas, the last thing a DX game should ever be.

      • VelvetFistIronGlove says:

        Wow. It seems DXHR really rubbed you the wrong way. Not that I blame you much. The many handholding options—objective markers, object highlighting, etc.—do tend to be in your face. And while mechanically the game feels very different from DX, the soul is still there, even if it’s sometimes hard to discern under the AAA sheen.

        Give it another go, and see if you can’t give it the benefit of the doubt.

  15. soldant says:

    Ah, Bond University. All you need is LOTS OF MONEY. Seriously though that Minecraft class thing was ridiculous, an absolute non-news story. Sometimes I think people just report on it because it’s Minecraft, not because they actually accomplished anything worthwhile. Building Bond in Minecraft is pretty cool though.

  16. Hahaha says:

    lol I look forward to the stand RPS will obviously take against the new coke advert BAN THAT SICK FILTH

    • Metalfish says:

      If you’re going to bring up RPS’s equality agenda apropos of nothing you’re going to get the exact opposite of what you want: more people talking about feminist issues. Look I’m doing it right now. Feel free not to read RPS or pointlessly comment.

    • Koozer says:

      Yeah, polar bears building snowmen? Ridiculous!

    • D3xter says:

      Which do you mean?

      I found different ones, for one apparently this: link to
      With the top rated comment making me laugh: “This video is incredibly racist, furthering the stereotype that camels are lazy!”

      And this, which is incredibly sexist against men, I mean, why does he have to be shirtless? Why that man? It doesn’t make any sense!

  17. Chris Evans says:

    Going to have to have a look at that Minecraft piece after work, just skimmed over it and it sounds quite fascinating. Really shows how far the gaming medium has moved forwards since the 8-bit days of Alien!

    Not Sunday Papers worthy, but I’m working on a Game of Thrones custom update for FM13, follow my adventures here.

  18. DXN says:

    light-hearted pop hit


  19. Eukatheude says:

    “Jon Shafer’s design blog has been filling up with At The Gates stuff in the past week”

    It’s fun that there’s a band named At The Gates, which has one song called Beyond Good And Evil.

    • strangeloup says:

      I’m glad it wasn’t just me thinking that. As I recall they had some quite good ambient-ish bits in between RARR SCREAMY METAL which I wasn’t so much keen on.

      • psepho says:

        Au contraire! Some rather good screamy metal which gradually got watered down into middle of the road ambient rock.

  20. Tasloi says:

    I’m not sure on that New Statesman article’s argument of racism & sexism vs violence. With all the commotion on these topics lately i’ve been thinking about it aswell in a similar manner. Except where he finds the reasoning to set violence apart good enough I found it to be rather flimsy & arbitrary.

  21. TechSmurfy says:

    I know it’s a little off-topic, but, Jim, you should consider compiling all your “Sundays are for” definitions into one big What Sundays Are For tribute list ;)

  22. guygodbois00 says:

    The Pirate Hacks Of Africa,he.
    I am Spartacus.

  23. El Mariachi says:

    I would love to play Okami HD (and replay Ico/SotC) but I’m not buying a damn console to do it.

    (Also, my ex-girlfriend did one of the main voices in Zone of the Enders.)

    • jrodman says:

      I don’t want to buy a console, but I’d be willing to to do it if they promise to come out with 5 games I’d actually want to play and sell it for less then 300 dollars. Also it has to work with a computer monitor because I have no interest in a TV.

      Come at me, console makers!

    • Malibu Stacey says:

      So how exactly did you play Ico and/or Shadow of the Colossus in the first place? Magical fairy dust on the couch or what?

  24. kupofatu says:

    If you think Phyllis`s story is cool,, four weeks ago my mum’s best friend basically easily made $4921 working seventeen hours a week from there apartment and they’re roomate’s step-sister`s neighbour was doing this for 3 months and made over $4921 in their spare time from there laptop. use the tips on this address..

  25. TechnicalBen says:

    Talking about the context of violence (chess) is not violence. Acting out the context of violence (FPS) is violence.

    • jrodman says:

      How do you figure? Is the play MacBeth violence?

      I agree that you’re drawing a real distinction, but I don’t agree with your assertions.

  26. Screamer says:

    Africa is a continent, not a country. :/