The Sunday Papers

Technically I only want to be comfortable, respected and attractive.

Sundays are for locking the doors and toiling away at pet projects, because how else are you ever going to become rich, famous and attractive?

  • Keza MacDonald visited EVE Fanfest and wrote about the uncanny machismo of EVE Online, as expressed through many of its developers being beaten up by an MMA fighter. So many quotable paragraphs in this one.
  • As the fighting begins, I’m feeling apprehensive. I know quite a bit about CCP as a company, EVE Online and its unusual fanbase, but I know literally nothing whatsoever about MMA, so I’m concerned that they’re going to get absolutely destroyed. I don’t want to watch EVE’s concept artist or someone get carried out on a stretcher, twitching and covered in blood. But what they’re doing here isn’t the bloodsports I had imagined, but rather a sort of… protracted hugging. Painful hugging, I’m sure. But what I’m seeing here is impressively pale, Nordic, muscular men climbing on top of each other and kind of wriggling around for a few minutes until one of them taps out.

    The year I attended, chessboxing was the violent sport of choice. Its mixture of tactical manouvering with direct punches to the face seems at least slightly more appropriate to the game.

  • It’s easy enough to map videogame’s present onto the history of any medium you choose – it’s just like American sitcoms of the latest ’60s and early ’70s, clearly – but this comparison to impressionism takes a lengthy, educational stroll through art history in the process.
  • From our vantage point, it is probably hard to see Impressionism as anything as near as scandalously radical as it was viewed in its era. But if you set aside modern preconceptions and look at the values of the Impressionist painters you can begin to reconstruct why they so confounded the Academy. First, Impressionism, at its radical core, proposed that there shouldn’t be any artistic gatekeepers, commercially or artistically. After all, part of the revelation that defines thinking in the modern era is that humans perceive the world in deeply subjective way (the modern era also brought forward the rise of psychology) so every artist should make work from their point of view.

  • The Guardian’s Headquarters blog asks, “Is there any evidence of a link between violent video games and murder?” The short post is a look at the current state of research, and contains fascinating tidbits on how research is carried out and the petty, political squabbles that exist between research groups.
  • Another task, called the “hot sauce paradigm”, measures aggression by having participants prepare a cup of chilli sauce for another (again, fictional) participant. The more hot sauce they put in the chilli, the more aggressive they are deemed to be, and some studies have shown that people who are asked to play violent video games beforehand use more hot sauce.

  • Patricia Hernandez writes about the game she played when she was scared of being deported – Papers Please – and the parallels she found in it with her own experiences.
  • So, the more you play, the more you notice your little stall and the way you can barely fit all the documents, letters and rulebooks and governmental edicts is incredibly claustrophobic. You start wondering how long it will take for you to crack, ever-aware that a simple task has somehow become gargantuan, impossible—and that if you mess up too many times, it won’t be hard to find someone to replace you. The joys of living in a dystopian world.P

    Me, I’m used to being on the other side of that sort of interaction. I’m used to being with my family, who would hand over (sometimes false) documentation, since I typically acted as the translator. It’s the sort of experience that makes playing Papers, Please feel a little surreal.

  • This article will beat you over the head with its theme, but the story of how Fract OSC was built at the same time and in tandem with its developer family, is a compelling read.
  • Every family has a bedtime routine. At Phosfiend it’s been integrated into the work day. Flanagan holds Zoe while Nguyen brushes her teeth. They draw a bath, read a story. They get back to work.

    “Everything together,” Nguyen says.

    “With military precision,” Flanagan continues. “Every night.”

    But it wasn’t always this organized. Their lives, and their game, used to be in chaos.

  • This week’s Three Lane Highway at is a re-run, and I may have linked it before, but I like it. On anger, failure and David Foster Wallace.
  • Figuring this stuff out is one of the coolest things about learning to play Dota. Not only is it transferable to everything else you’ll do in life, but it hooks into philosophical principles that apply to the game’s mechanics as well. The principles I’ve listed above require engagement, awareness, and an active choice to play better. The social challenge of Dota requires a separate but parallel set of skills, another form of game-sense that allows you to take everything your brain can do with regards to perception and analysis and communication and apply it to more effectively wizarding the fuck out of five other people.

    Next time you bash out ‘FFS’ and ping a teammate’s recent corpse fifteen times, consider that you’re not only throwing the game but your potential enjoyment of the game. You are choosing the see the game only through the narrow lens of the part of yourself that is still two years old.

  • Back to the Guardian for this silly look at what indie developers would do with Call of Duty. Our Jim is in there and I like his idea best.
  • Clearly the next CoD should be set near Bournemouth and feature a retired colonel whose lawn has been trampled. Having spoken about this to his second wife, Miriam, he sets out for bloody revenge.

  • PCGamesN’s Julian Benson talks to Scott Kevill, the creator of GameRanger, the multiplayer service which can basically replace GameSpy when it shuts down later this month. This is a PSA for where you should turn if one of your favourite games is about to disappear offline.
  • The software he first developed was “adding support for games without needing them to be updated.” That tech’s still at the core of the software, it “makes it so nearly every game has first-class support that works as smoothly as if the company had integrated an SDK.” He had to build it this way because “early on I realised there’d be a Catch-22/Chicken-Egg situation. Companies would want to see users to be interested, and users would want to see games to be interested.”

    Since I’m going to see them on Monday, music this week is Phantogram. Start here. Music videos are mostly a load of old shite, aren’t they?


  1. Premium User Badge

    Lexx87 says:

    Cara’s is my favourite on the CoD themes:

    An Oculus Rift game set in Blitz-era London. It’s blackout, no lighting of cigarettes, no switching on of lights. You play a pregnant woman going into labour. You have to get across London to a hospital or a midwife before the baby is born. The idea is to navigate by sound and shadow, by the voices of strangers to get help, and avoid being blown the heck up. Your move, Sledgehammer Games.

    • Bull0 says:

      Dan Pinchbeck’s one actually sounds like it’d make a half-decent game. I quite liked Ian Bogost’s take, too.

  2. amateurviking says:

    Re: the violence in videogames piece. Interesting to see the methodology actually being mentioned. Highlights how fuzzy a lot of the ways in which researchers in these fields quantify (fairly hard to quantify) behaviour*. E.g. the hot sauce example (edit: without a lot of controls/subject history) might just be measuring how spicy people like their food. In which case we’d see a statistically significant propensity for videogame-induced aggression in areas of East Africa, Far East Asia, the Indian subcontinent and…Birmingham.

    *I work on insect behaviour which can either be much more straightforward (the mosquito is either eating or shagging or seeking to engage in the above) or even fuzzier (the mosquito shagged that particular other mosquito because…reasons).

    • Martel says:

      I always just assume they were shagging because one had huuuge tracts of land.

    • Fiatil says:

      I live in the American Southwest, which makes this test seem a bit silly. There are plenty of angry gun nuts around here, but you’re a terrible person if you don’t load that chili down with hot sauce.

    • Shuck says:

      Yeah, the abstractions inherent in the “violent video game” research are highly problematic. For one, the definition of “violent video game.” In studies I’ve read about where the methodology was described, they defined it so broadly that Super Mario Bros. counted as a violent game. What they shared was that they were twitch games that raised adrenaline levels. That creates issues with subsequent tests such as the chili one – adrenaline makes one pain-insensitive, so the amount of chili you’re dishing out may not seem any different after you’ve got an adrenaline rush going. I’ve yet to see a study that got around the issue by comparing play of a “violent” video game with a control group engaging in some other adrenaline-raising activity such as a competitive sport or watching a thrilling (but non-violent) movie scene. I’d expect they’d get the same, or comparable, results though.

    • Eddy9000 says:

      I think if anything the article highlights the difference between research and the way it is reported. The chilli paradigm has been tested and controlled in various contexts where aggression or anti-social attitudes are measured, and has shown a relationship with these in other contexts; it is however an inference (as are all observed measures in science) and subject to limitations in how far meaning can be extrapolated from this. Researchers will know this, and either mention these limitations in their write-up or reference studies that show proof of the measure as well as its limitations.
      Unfortunately the press often report scientific results without such subtlety, and researchers themselves can play up their findings in order to make them more publishable. The danger here is throwing out measures like the chilli paradigm as ‘rubbish’ because they are limited in reaction to overstatements made about their validity; they are indeed limited but can be useful tools within a broader body of research.

    • Big Murray says:

      I’m assuming that with the chilli sauce experiment though, there was a control group which wasn’t exposed to video-game violence which was used to measure the significance of the amount of chilli sauce. Which implies that playing violent video-games makes you more inclined to put more chilli in someone’s food. Which is odd, and interesting.

      My personal hypothesis is that playing violent games may increase adrenaline, and we may be more liberal with the application of one thing to another when adrenaline is higher. Study really needed another group + control group of people who played the violent video games, but were asked to put something harmless in the food (like soy sauce?).

      • Wedge says:

        Soy sauce will ruin food far faster than hot sauce. Over salting something is an easy way to kill it, whereas a good hot sauce in a rich food like a chili could be added in surprising quantities.

        • phelix says:

          Slightly offtopic, but you should try saltless soy sauce. It works wonders for my ‘cooking’ without giving everyone sodium poisoning.

  3. The Hairy Bear says:

    The Call of Duty suggestions are fantastic. I quite like the idea of a game about putting the bins out…

  4. HadToLogin says:

    Wow, I really didn’t expect to say “Good thing CoD isn’t in indie hands”. Most of those ideas were horrible CoD games, showing that indie-devs aren’t that much different than EA who take known names just to sell some completely different games (Syndicate, Dungeon Keeper).

    Oh, they might be fine games. But terrible CoDs.

    • Wulfram says:

      You don’t want to play Cat of Duty?

      • HadToLogin says:

        I wouldn’t have problem playing Cat of Duty.

        But I wouldn’t want to play Call of Duty where I’m cat chasing mice.

    • mashkeyboardgetusername says:

      Have to agree, the suggestions were “humorous”, but for the most part didn’t sound like they’d make fun games.

      Some of the ideas were interesting though, the angle of being a civilian in a conflict, or being a soldier on a peacekeeping mission (which I get the impression can be extremely stressful and difficult to keep a cool and clear head in) could be interesting, especially if shooting mechanics exist in the game and are always available to the player, could give some idea of what soldiers go through in these situations and what it’s like having someone be an arsehole towards you when you’ve got a gun.

      • SuicideKing says:

        Heck i want a CoD/military shooter where you’re engaging in a counter-insurgency/militancy operation in a part of your own country.

        Like, a proper portrayal: there are civilians, guerrillas are mixed with them, you don’t know who’s who, when you’ll be shot, etc.

        • MartinWisse says:

          I want the opposite, a CoD type game where you’re the heroic guerilla fighter against the oppressive might of the US/UK occupier.

          • LionsPhil says:

            Good luck selling that in the US or UK.

          • sinister agent says:

            I’d definitely buy it. We’re British, we hate Britain.

          • The Random One says:

            I remember an article in these very papers some months back about how Iraqis loved shooting Iraqi terrorists in the bam bam bam manshooty games.

            But if you asked me, not Call of Duty, but rather Homefront. Forget Korea; in the same way that Bioshock isn’t about Rapture but about weird magical cities based on fringe political views run by charismatic larger-than-life men, Homefront is now no longer about North Korea hulking out and taking over the world but rather about modern Western societies being invaded by an enemy with incompatible cultural views – and in Homefront 2: Homefronter, the enemy is the United States. After the Republican party tries to win the favour of the swing states with a central-leaning candidate during an economic crisis, the ever-growing far-right Republicans vote for a write-in candidate who is a half-crazy miltary vet from Arkansas. President Bobbert than proceeds to fulfill all of his election campaigns by simultaneously invading China, the Emirate Arabs, Uganda, Mexico, Brazil and France. The player viewpoint switches between civilians in all of these places who must first fight off the overwhelming invading forces, good-boy-never-meanin’-no-harm US soldier from a simple, religious family in the Bible Belt who starts to realize morality may not be as black-and-white as he’d been raised to believe, an US activist turned terrorist and a bunch of assorted helpless civilians, including a few reporters. In the end, the US army folds itself due to the logistical nightmare and plumetting morale of their worldwide war; Texas declares independence and neutrality; the activist now wages a civil war for the independence of California; and everyone else is gathering along the Mexican border for an attack on US soil. The final level shows a ragtag group of people destroying the US’ final defences in Fortress Washington and forcing President Bobbert to capitulate. This is all intepresed with documentary style footage of interviews made after the war, and after the end it is suggested that the harsh sanctions pushed upon the US are causing its people to starve and parallels to pre-WWII Germany are subtly drawn. During the end credits the US national authem is played on a kazoo.

          • SuicideKing says:

            That’s the point, you’re not NATO and you’re not occupying any other country, it’s another country running an insurgency in yours.

            Guerrillas aren’t all the heroes they’re often made out to be.

            At the same time, I’d love to play on the Vietnamese side.

      • VelvetFistIronGlove says:

        what it’s like having someone be an arsehole towards you when you’ve got a gun.

        Spec Ops: The Line had a scene very like this. One of your team is being harassed by a mob of unarmed civilians, and they start to physically assault him. You have to take action to resolve the situation.

        Unfortunately that scene is within the broader context of the game, which like Call of Duty trains you to shoot everything that pops its head out, so I imagine that biases the outcome of the scene somewhat.

        Well, that and the fact that the only tool you have is a gun…

        • Finjy says:

          You can fire into the air to scare off the crowd without hurting any of them.

    • dE says:

      My CoD would be two games in one. First part, keep as is. Second part, Ace Attorney Style but you’re the prosecutor and the soldier you played is put to Jury for the warcrimes he commited.

  5. Marinetastic says:

    Call of Duty but you’re a cop after the police have been privatised.
    Open world, you get quests from different stations and randomly generated missions come in over the radio. The city reacts to how you behave, if you’re trigger happy, crime rates will drop but the chance of civilians rioting rises, if you’re more restrained, criminals get more brazen. MP would be the standard game modes and able to call in back-up in singleplayer like in the Souls series.

  6. Guvornator says:

    “Since I’m going to see them on Monday, music this week is Phantogram”

    No love for Hotline Miami’s Scattle? He’s got a new EP out link to

  7. Prolar Bear says:

    Wonderful articles, thanks.

  8. Henson says:

    Take Call of Duty back to WWII and play as the Axis powers. Make the game about what it’s like to play as a simple soldier for the losing side. One level highlights misguided pride in the Nazi party and the belief that they are invincible, tied to their inevitable downfall (like, pride speeches interrupted by a bombing). One level is from the perspective of a Kamikaze pilot: the level ends abruptly and uncomfortably once you crash the plane.

    I just think it would be nice to humanize the faceless enemy soldiers.

    Of course, multiplayer would be completely borked, but it’s not like I care about that anyway.

    • Geebs says:

      The problem with the Kamikaze pilot idea is that, in order to do “protagonist dies in the idiom of Call of Duty”, it woul have to look like you’re just about to make it out of the mission alive…. Then there’s a tap on your shoulder and you look over – just in time to see a ship leap out of the sea and crash into your fighter.

      • FriendlyFire says:

        I think it’d be easy enough to pull off by just making you do everything from takeoff to getting in combat and identifying your target without knowing you’re in a suicide plane. Then the camera looks backwards at the plane and you see explosives everywhere in the cabin, and you’re tasked with flying into your target. The fact you know you have to commit suicide to succeed could be quite potent.

      • Henson says:

        The way I envisioned it, you know right from the beginning what your mission is: to die, and in dying, become Japan’s “mighty wind” that will turn back the American machines. The abrupt ending, and our own foreknowledge of historical events, would undermine these pretty words and accentuate the inevitable hopelessness.

        • Bull0 says:

          Maybe preface it with some friendly bant in the hangar before you set off on the mission, foreshadow it a bit with the odd grim look but don’t give away that it’s a suicide mission until you’ve flown to the target – then it just comes up with “New objective: crash” and paints a big target on the US ship. There’s some surprise, some shock, and before you have time to really come to terms with it you’re crashing.

          It wouldn’t capture what it was like to be a kamikaze pilot but it’d be quite affecting, I think. The surprise wouldn’t work on anyone over 18/anyone who knows any history, “but that’s not a problem for COD’s market anyway ag ag ag”

          • Shadow says:

            There were desperate outcomes like that, possibly, but as far as I know kamikaze missions were planned, and there was a whole ritual before they started. All very solemn.

          • Bull0 says:

            Yeah, you’d have to use a bit of creative license and cut to the scene after they’d been through the planning and send-off stages. If you cut it judiciously you could make Omaha Beach look like a pizza party. It’d be a nice point to make in a Call of Duty game since the message is so often “We’ve got the tools to get the job done! We got the job done! Amurrka!” and this would be “Looks like we’re doing something! Off we go! Ah shit, what? *Death*”

          • LionsPhil says:

            I don’t see how bending history to try to make it a surprise (which wouldn’t make it past the first preview releases intact) would make it stronger; if anything, quite the opposite.

          • Bull0 says:

            Let me try again. The events in the game are, statically, at least, exactly as they would be in real life, so you’re not bending any history, but you use the conceits of it being a game to mask the true nature of what’s happening until the pivotal moment – much as with film, you can cut to hide key information, etc. It’s a very simple cinematic bait and switch. Never mind that it would be hard to keep secret, you could say that about every twist in media ever.

            Re-reading my comments and, yeah, I think it made sense the first time, actually. Accusing me of wanting to “bend history” just makes it seem as though you didn’t actually read what I said, LionsPhil.

            It fits even better in one of the ridiculous “speculative” near-future COD plots we already get. Make them white american guys doing kamikaze runs, because the situation’s so desperate. That would work perfectly.

          • LionsPhil says:

            It’s bending history because kamikaze pilots were not kept in the dark until near their target, at which point they, what, opened sealed orders reading “crash into it”?

            For the sake of cheap shock value, it would ignore the more complicated social and emotional impacts of preparing for such an action.

            If it were white Americans, their noble sacrifice would have to be successful, of course.

          • Bull0 says:

            Yeah, you definitely didn’t read what I said, then. I’m not saying the character is kept in the dark, I’m saying the player is, through selective cutting of scenes. Or worse, you’re deliberately misunderstanding so that you can accuse me of denigrating history for some reason, but that just… I don’t even know where to go with that

          • Geebs says:

            Ok how about this:

            You go through the kamikaze ritual – there is a deep, meaningful moment with your loved ones. You strap on the scarf (press ‘X’). You climb into the cockpit. You take off (cutscene). You get into formation. You follow the squadron leader. If you fly off course, you die instantly (“kamikaze pilots did not fly off course”)

            As you fly over an atoll, your navigator waves to some children.

            You reach the US fleet. You mow down waves of fighters. After three (3) waves, you crash into the deck of an aircraft carrier. You pull yourself out of the wreckage because nobody ever dies due to an aircraft crash in Call of Duty. “Man that turret!” Shouts you C.O. You get on the turret and shoot down waves of American fighters.

            The segment ends when your navigator, a Russian separatist in disguise, caps you in the back of the head.

            Fade to black with red splotches.

          • Bull0 says:

            Yeah, that’s almost certainly what we’d end up with. And you’d get an achievement pop up at the end.

          • LionsPhil says:

            No, I get that you’re wanting to play M. Night Shyamalan—it’s just that doing it to try to conceal from the player the role of the person they are playing as from an immersive first-person perspective is almost Molyneux levels of ridiculous for the sake of a surprise twist which ultimately undermines the whole thing and externalizes the protagonist’s motivation into the omnipotent and inarguable objective marker. You have built a very different set of emotions there.

            It takes what is potentially a very powerful human thing (sacrificing yourself for the greater good), and completely dehumanizes it into “do the thing the computer insists you do”. (Yes, that’s what you’re always doing in CoD. But the reason we wrap games in fluff like narrative is to try to make you forget that, and to use it as a substrate for conveying experiences is less-interactive cases, else we’d all be just playing chess.)

          • Skull says:

            The concept of keeping the audience in the dark from the protagonists true motives has been in literature for centuries. I don’t know why you are giving the impression only hacks like Molyneux or Shyamalan would dream of using something like that?

            Obviously, if it was done in a heavy handed way it would be terrible but too many games try to make everything obvious and simple.

            Saying that, it wouldn’t be enough to get me buying again.

          • LionsPhil says:

            Because it creates a very awkward disconnect when you are in the shoes of that protagonist in the most immersive variant of the most immersive storytelling mechanism we have to date. A FPS is very much being a person more than a non-first-person game, much much more than a novel or a play or a film where you are watching them from a more detached passive audience perspective. A surly, backtalking adventure game protagonist who doesn’t want to pick that up might be able to get away with this sort of thing (and use it to good effect), but Blankface McFPS is you as far as practical technology allows.

            Because the whole narrative point of this is the emotional buildup of your inevitable planned death, which is a bit different and interesting, which was sort of the point of “how would you change CoD”?

            Because the only reason to twist it seems to be “because CoD has got to have dumb surprise twists”, and that is just making more of the same.

            This, this right here:

            It wouldn’t capture what it was like to be a kamikaze pilot

            Why would you willingly try to create this emotional disconnect between the player an the protagonist/the reality? What you are doing is presenting some alternate history where kamikaze attacks as a suprise to those who did them because that is the set of rollercoaster rails you would be putting the player on while in that role, and it defeats the point of trying to explore the interesting mentality of it in the first place by cramming it into the standard “a factor out of your control suddenly kills you out of the blue”. The very notable aspect here should be that you are launching your attack with willingness (to varying degrees) and awareness of your action and its impending consequences.

            (I’m probably going to have to stop here. Trying to get this point across is frustrating, especially when hitting the usual tedious “you didn’t read/you’re just trying to find an excuse to be mad” retorts, and I’m just not in the mood for those games.)

        • Shadow says:

          I know CoD games sometimes give you a game over for deviating the slightest bit from the script (facepalmingly hilarious at times), but in this case, I’d make it so there’s no difference between slamming into the target ship, getting shot down or missing and crashing into the ocean.

          The outcome would be the same, and likely just as sudden. Staying in one piece long enough to hit the target would be very difficult, but in the end it’d make no difference. The story would continue anyway, and the game wouldn’t comment on it, but perhaps further drive home the idea of the hopelessness of the situation.

          • Henson says:

            Ooh! That’s an interesting idea. I do wonder if the point would be lost, though, if you can only get this experience through multiple playthroughs. Rather than “we are doomed to failure”, it might be “oh I failed, though maybe I could have won”, even though ‘winning’ is death.

  9. SuicideKing says:

    One of my favourite gaming related sci-fi pieces:

    “Morrigan in the Sunglare” by Seth Dickinson.

    The navigators tell Laporte that Indus is falling into the sun.

    Think about the difficulty of it. On Earth, Mars, the moons of Jupiter, the sun wants you but it cannot have you: you slip sideways fast enough to miss. This is the truth of orbit, a hand-me-down birthright of velocity between your world and the fire. You never think about it.

    Unless you want to fall. Then you need to strip all that speed away. Navigators call it killing your velocity (killing again: Laporte’s not sure whether this is any kind of funny). It takes more thrust to fall into the sun than to escape out to the stars.

    Indus made a blind jump, fleeing the carnage, exit velocity uncertain.

    And here they are. Falling.

    • Thurgret says:

      What an apt user name! Blue Planet is a marvellous piece of storytelling. I’m not fantastically keen on the third instalment – I prefer plain old military science fiction, or whatever Age of Aquarius was – but it’s still excellent.

      • SuicideKing says:


        Yes Blue Planet has an exceptionally well written story, worthy of a full AAA game, if not better. I sort of enjoyed War in Heaven’s story more, though my computer can’t handle Act II…so i haven’t finished it yet. Need a better CPU!

        • VelvetFistIronGlove says:

          Is this Blue Planet the Freespace 2 mod, or Blue Planet the RPG?

    • StormTec says:

      That was a fantastic read! However, I don’t know anything about the source material it was taken from. Where can I get more like this??

      • Thurgret says:

        It is based on the Blue Planet campaign/mod for FreeSpace 2. Only chapter one – Age of Aquarius – is voice acted, so far, although I think they’re making good progress with the first part of War in Heaven, which is the second chapter, and what this bit of writing is based off.

        Here’s one of my own favourite missions from it, to give you an idea. Heartily recommend watching in full screen, otherwise you can’t see the dialogue. link to

  10. dsch says:

    From the Guardian article:

    This was followed by comments from various researchers attacking the author’s work, which was then followed by a particularly invidious reply entitled “Does doing media violence research make one aggressive?”

  11. Lone Gunman says:

    “You can place wards in the jungle of your own mind – and you should, because no-one else is going to do it for you.” – C. Thurstan

    Great quote :)

  12. akbarovich says:

    Jim Rossignol’s idea was by far the laziest, most dismissive, and least funny.

    However this is a game I would seriously want to play:
    My version would draw on competitive puzzlers such as Super Puzzle Fighter. Two participants play in separate stages. Enemy soldiers wear either red, yellow or blue jumpsuits, and if you shoot three of the same colour in a row you get a chain. Getting bigger chains sends more enemies to your opponent, but if they chain them right back they can send even more to you. Ka-pow! It would be called Call of Duty: Combo-Bustin’ Chaos.

    • Bull0 says:

      Hey now. Hey. Not cool. Brevity is the soul of wit, and all that. I liked it.

      • LennyLeonardo says:


      • Gap Gen says:

        I thought it was a decent enough joke. Also clearly it’s not going to be made by Activision any time soon.

        My own take would be to just give Bohemia all the money if they promised to spend part of it on a bigger Q&A dept.

    • Premium User Badge

      phuzz says:

      Bulletstorm sort of went that way.

      • The Random One says:

        But multiplayer! Gasp! Maybe that’s why Valve is taking so longer to deliver Ricochet 2!

  13. satan says:

    That CCP MMA thing was absolutely hilarious, thanks for the link.

  14. jorygriffis says:

    “This article will beat you over the head with its theme…”

    Not to be mean to them, but I feel this way about every article I read on Polygon. Their writers’ attempts to incorporate human themes into their stories can feel really contrived. It’s an admirable goal, but the product is always strained.

    • Geebs says:

      The only thing that sucks more than Polygon’s writers is their typesetter. Ugh.

      • zontax says:

        Webdev here, typography on the web is a lot of work and when your finally finished it still looks like shit 50% of the time.

        • Geebs says:

          Anybody who simulates paging on a website should get taken out back and shot. I suspect that this already happened to the Polygon guy, which explains why they neglect one side of the page and shove everything down the right hand side. That’s not something that’s difficult not to do….

  15. kwyjibo says:

    But what they’re doing here isn’t the bloodsports I had imagined, but rather a sort of… protracted hugging

    MMA is just the worst.

    • SkittleDiddler says:

      I love that MMA is a thing that exists. It’s like a bizarre humanity-enhancing social service, taking today’s psychotic street thugs and transforming them into tomorrow’s harmless bed-ridden droolers.

    • Snargelfargen says:

      The ccp event wasn’t actually mixed martial arts, just Jiu-Jitsu. So grappling only, no striking allowed. It is a rather silly looking sport to newcomers.

  16. PopeRatzo says:

    Indie game developers sure lack self-awareness.

  17. vivlo says:

    For those who still want some more – a very recent, kinda sad article about Notch in Rolling Stone magazine : link to

    • Wedge says:

      Yeah that is pretty depressing, though a family history of being bipolar explains a lot about his behaviour.

  18. engion3 says:

    phantogram is the best.