Download Resident Evil 2 Remake For PS4

Download Resident Evil 2 Remake for PS4

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Oceanhorn 2 Demo In Nordic Game 2017!

It is news time! Oceanhorn 2: Knights of the Lost Realm will make a gameplay debut with a playable demo in Nordic Game 2017!

If you are coming to Malmö, head to Epic Games' booth and come and see what we have in store for the new Oceanhorn game! So whether you're a fan, a journalist, a publisher or a fellow game developer – we would be delighted to give you a tour on our game and talk more about Oceanhorn 2.

Oceanhorn 2: Knights of the Lost Realm is a continuation to Oceanhorn: Monster of Uncharted Seas, a million selling action RPG title released for iOS, Mac, Steam, PS4, Xbox One, Android and later this year for Nintendo Switch. Oceanhorn 2 is powered by the unrivaled Unreal Engine 4.

Nordic Game 2017 17-.19.5. in Malmö, Sweden.
http://conf.nordicgame.com/

We could not be more excited about Nordic Game ourselves. In addition to Oceanhorn 2's big moment, Fumito Ueda is also going to be in Malmö! He is the mastermind behind Ico, Shadow of the Colossus and The Last Guardian and we are big fans of his work. It seems like Action RPG's are only now starting to catch up what Shadow of the Colossus did 12 years ago. The carefully crafted spirit of his games and the brilliance of his game designs are a driving force for game developers like us.

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Download Resident Evil 2 Remake For PS4

Download Resident Evil 2 Remake for PS4

Download Links:

PART1
PART2
PART3
PART4
PART5
PART6
PART7
PART8
PART9
PART10
PART11
PART12

PASSWORD: AFTER THE PAYMENT

MUPPETS INSIDE: THE MUPPET CD-ROM

"It's time to put the disc in. It's time to turn stuff on. It's time to meet the Muppets on the Muppet CD-ROM!" Jim Henson's Muppets are back in Muppets Inside: The Muppet CD-ROM, developed by Starwave Corporation and published by Jim Henson Interactive in 1996. It's a well-put-together collection of mini-games and classic clips that's impossible to do anything but cheer you up.
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Meet Commodore's VIC(-20), The Friendly Computer

When Commodore made the PET-2001, they made a computer that found some success in the market, especially in Europe.  The PET turned into a series, but it was an all-in-one PC that came with a monochrome monitor and was rather an expensive product.  Commodore wanted to expand to more of a mass-market, and they designed the Commodore VIC-20, the first personal computer to sell for less than $300.  The VIC was very successful when it was released in 1981, becoming the first computer to sell over one million systems.  Its low price and feature set (color graphics, 4-channel sound) helped it to outsell its competitors.  But it days in the limelight were short-lived due to the arrival of its successor, the Commodore 64.  Having acquired a VIC-20, let's take a look at some of the practical issues with using it.


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You say "obsessed" as if it is a bad thing.

Oceanhorn 2: First Gameplay Video And Screenshots!

Since many of you can't make it to the Nordic Game conference in Malmö, Sweden – we decided to capture a video of our demo! The video is unedited footage that is captured on an actual iPhone 7 Plus.

If you happen to be in Nordic Game, come visit us at Epic's booth and try out the demo yourself! I will keep it short and let the video and screenshots speak for themselves.

 

Oceanhorn 2's Hero lives near ancient structure called Beacon.

Try and catch me!

Home sweet home and trusty old training dummy

So this is why the treasure is still here!

Arne Village is the starting location of Hero's adventures

Hero can carry and throw all sorts of objects

Owru houses

Journey will take Hero around the world

Galactoss will not suffer fools. Watch out for your healthbar!

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CX 2692, Moon Patrol!

This episode is all about the Irem arcade game Moon Patrol, ported by Atari via GCC. Thanks for your patience regarding the release of this episode. I had a bit of an emotional setback in January and I'm trying to fight my way out of it. M.A.D. by US Games will be the next game I'm covering, so if you have any feedback for the game please send it to me at 2600gamebygame@gmail.com by end of day 23 February. Thank you for listening!

Moon Patrol on Random Terrain
Moon Patrol on KLOV
Moon Patrol on Atari Protos
The Zorfon Mystery by Rob Wanenchak
Mark Ackerman's web site
Atari Age Moon Patrol title screen glitch
Get Matt's Repro Freeway patch on eBay

Big Suzy Cube News: Gear And Google Play Pass!

#SuzyCube #gamedev #indiedev #madewithunity @NoodlecakeGames

It's been a while but I've got some big news for fans of Suzy Cube and stuff! Oh! And a whole new way to enjoy Suzy Cube on Android! Hit the link for the detail!

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Louard's game design sounding board and home of the Pro's and Con's reviews.

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It's Just Two Spinners Sharing The Night

I finished up the turrets on the Night Spinners last night. I ended up going with a magenta for the Doomweavers, and putting the glow more towards the middle/base. Annoyingly, I painted on my gloss coat which resulted in a yellow/brown tinge getting on them. I'm not sure if it was something in the brush or what but I have to clean up a few parts (it's most noticeable on the white highlights). I'll get to that in a bit and get some grass tufts on there as well, then I have to figure out Falcon turrets.

[Hackaday] US Navy Looking To Retire Futuristic Prototype Ships

US Navy Looking To Retire Futuristic Prototype Ships

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Adding RGB To A 6 Year Old PC In A 16 Year Old Case!

This project was something to get my oldest daughter interested in building PC's.  She got a bit interested when she saw me looking at parts to upgrade to a new machine; my current PC was built only a few months after she was born.

She got interested in the cases, specifically the ones where the pictures had glorious RGB set to "Unicorn Barf" mode.  She immediately asked if my new machine could look like that and suffice it to say I'll be spending some extra money on RGB parts and a case to help show it off.



When she found out that my current computer would be setup so she and my wife could have a place to play, she asked if we could make it have unicorn barf as well.

Since I still had an old original Antec LANboy windowed case laying around upstairs, I decided to buy some cheap RGB parts and move my current machine into that case with all the new fancy LED's, provided that she would help me do it.

To my joy, she was super excited to do it and so we had our own special Daddy-Daughter PC project.

My parts arrived the next day, on Sunday no less, so we immediately got to work around 11AM. My youngest wanted to hang around as well, so we took a group shot.

First I wanted to see if I could salvage an old power supply out of a very old PC that we had used as a HTPC, which needed to move out of our entertainment center anyway.  Sadly it wasn't going to work with my existing build, but my daughter did enjoy taking all the parts out of it to be recycled. Nothing needed to be saved so she got to pull lots of parts out and was excited.

Next was complete disassembly of my existing machine. True to its era, it was built into an Antec One case. Here is my daughter using it to play some Minecraft.

Here is how it looked with both panels off, it wasn't perfect cable management, but it was pretty clean and allowed for good airflow.

2013 Build Specs:

Intel i5-4570
16Gb DDR3 RAM
GTX 760
120GB SATA 6G SSD
1TB HDD
512GB SATA 6G SSD (added this XMas from a friend so my games don't take forever to load anymore).

As we were removing parts I decided to start cleaning up the old Lanboy dust wise and I started mounting the hard drives to the removable drive cage.  Yes kids, back in 2003, removable drive cages were an amazing luxury for system building.  Compare this with the Antec One from 2013 and it's tool free drive sleds that mount from the opposite side panel and I was starting to appreciate how much cases advanced over time.

And then the Lanboy really started to show its age.

You see my system has two SSD's and one HDD.  Not bad for a six year old computer, and while the Lanboy has space to the drives, it doesn't necessarily have space for the drives AND my massive video card.

I spent no less than an hour trying to tetris my way into fitting things properly. Unfortunately the top most drive bays on the tray require the HDD to be further forward, because, um...well...

You see kids, back in the day we used to have 3.5" drive bays that would stick out to the front of the case. For floppy disk drives, ZIP drives, or if we got fancy in early 2003, a SD card reader.

Sadly, the covers for the 3.5" drive bays on the front of the case wouldn't let the HDD mount properly and I couldn't squeeze in my massive GeForce GTX 760 and the drive.

In the end, I installed my SDD drives and then used only two screws (with rubber grommets at least) to secure the HDD at the top of the drive tray.  Luckily the drive doesn't really travel and is secure enough.

So I finally got everything mounted in the case, but nothing was cabled up.

And here is where the Lanboy started to show its old age even more.

The other side panel does not come off at all and there is almost no where to easily do any cable management. This is when the nightmares of my old non-LED lit build from 16 years ago came back to haunt me.

Still, I managed then and I managed now; it was just...painful. Even simple things like inserting the power supply was a strain.  I did the best I could, there aren't any cable tubes or sleeves that I had lying around, but I did manage to use cable ties and some double sided tape as needed to hide just about everything I could.

In the end I think it looked pretty good.

It was even better once I powered it on and the light show started. Everything booted up and was working fine too.

Front shot, you can also see my other very old Antec case which houses my server.

Conclusion

An old PC into an even older case was an odd build, but my daughter loves it and we had fun building it together.

The LED's aren't really controllable, well the two 80mm (yes, that's right this case only has 80mm fan mounts!) are set to permanent unicorn barf mode, but I technically have a small remote to control the LED strips.

Building the new machine will be a cakewalk in comparison. I'm looking at a Corsair cube case, though I've not 100% settled on it yet. I'm waiting for the Ryzen 3000 series to get released before I pull the trigger, and man waiting for that is hard. My daughter is already excited to help with that too, which makes it even better.  The only downside is that all the extra RGB stuff adds a bit to the overall cost, but my daughter is worth it and if I'm honest I like it too.

9 Years, 9 Lessons On Horror

By Thomas Grip
Edited by Kira

It has now been over 9 years since we released Amnesia: The Dark Descent. That is a bloody long time, and feels like we should celebrate that by talking about the craft of horror games.

Horror games are quite a different beast when it comes to the game industry at large. Most other genres revolve around what the player does. In a turn-based strategy you take turns doing strategy:

Into the Breach

 In a first-person shooter you shoot things from a first-person perspective:

Doom

In a Match 3 game you match three thingies:

Candy Crush: Soda

In a horror game, the activity is not at all as important. What is important is that the experience is a spooky one. This makes designing horror games different from designing within other genres. Many times the standard industry tricks just won't work, which makes one think about game design in a different light.

In the past 9 years we have learned a great deal about horror games, and to celebrate the occasion, I wanted to share 9 lessons we have learned over the years.

That being said, I don't see these lessons as only useful for horror games. There's quite a bit of overlap with other genres, especially any games that aim for a narrative-heavy experience.

And finally – this is by no means an exhaustive list. Still, the lessons here are at the core of the craft of making scary video games.


Lesson 1: Horror is not enjoyable

The basic emotion of horror is not a pleasant one – yet people play horror games wanting to experience horror. This is the paradox of horror as entertainment. This paradox requires game developers to be careful in how they deliver the experience to the player.

You could draw an analogy between horror games and rollercoasters. The basic purpose of a rollercoaster is to simulate the sensation of falling. Under controlled circumstances the experience of falling is thrilling and fun (at least for a good portion of people). But if you put someone in a barrel and push them down a cliff, chances are they will not find the experience fun at all. Even if they survive unscathed, the whole ordeal would be a horrible experience.

The same is true for horror games. If you have a game that only relies on jumpscares – figuratively throwing people off a cliff in a barrel – few people will consider that fun. This became apparent in certain maps in Penumbra. We thought it would be good enough for a scary gameplay section to have a maze and some monsters. Instead of becoming mazes of fear, they instead became mostly... annoying. Amnesia: The Dark Descent had similar issues towards the end, where the monster encounters were just that, not supported by any other aspects. At that point the game no longer felt as entertaining.

Well this is a familiar face.

Lesson 2: Players are working against you

For a horror game developer, the worst enemy is… the players. Seriously, if we could sit around and make games without having to worry about what the players will do and think when playing the game, life would be so much simpler!

As mentioned before, being scared is not a pleasant feeling. Therefore the players will try to optimize the feeling away, often unconsciously. In the end, the players will ruin the intended experience for themselves.

Take the demon dogs from our first game, Penumbra: Overture. The game takes a bunch of time to build them up as creepy monsters that stalk the dark mines. However their AI has some weaknesses that some people are very quick to catch. Hence the dogs become easy to defeat, and are no longer scary.

Can't get me. I'm on a box.

And the crazy thing is that the players complain when this happens! They probe the system for flaws and choose to exploit them, yet want the dogs to remain scary. So their behaviour ends up going against their will.

Some games solve issues of player exploitation simply by making the enemies extremely hard (think Dark Souls): they make sure the monsters are just as hard to beat as they look scary. Another approach is to instead skip much of the gameplay (think Dear Esther): if there are no mechanics, there's nothing for the player to exploit – problem solved, right?

I don't think either of these solutions is optimal. Instead I think one should aim for a third route: making the players think about actions in a more narrative fashion. More about that later!

Lesson 3: Scares alone won't make a horror game

Horror is like a spice that defines a dish. You cannot do without it, but you can't cook a dish solely out of spices either. That would be just gross.

As an example, let's take three horror movies I consider to be at the top of their genre: Alien, The Exorcist and Ringu. All three movies deal with very different subjects, have different styles, and are overall different from one another. But there is one thing they have in common: they all have very few scares in them!

Instead each movie is mostly about the characters, the discussions, the anticipation of the horror – building up the atmosphere and the dread of things to come. Very little time is spent actually facing the horror.

Let's get back to our roller coaster analogy. When you think about it, the actual roller coaster ride lasts a very short time. Most of the time is spent doing things like buying a ticket, standing in line, and hearing other people scream. All these actions are not superfluous extras – they build up for the actual ride, and are crucial to the overall experience.

When we first made the study section of Amnesia: The Dark Descent, we implemented a ton of jumpscares. Books fell down from shelves, doors banged, pianos started playing and so forth. But as the map became more complete, it felt like something was off. So we reduces the scares to just a couple, and instead focused on letting the player learn the castle's mysteries. At first we were afraid this would make the level too boring – but as it turns out, spacing the scares apart made players much more scared than previously.

In horror, less is often more.

Lesson 4: Fun gameplay is just too… fun

In a horror game more than any other, the players go in expecting to have a bad time. And as designers we want them to feel anxiety, despair, and a whole array of negative emotions. But gameplay – because it's so damn engaging – tends to counteract all these juicy emotions.

Let's use Dead Space as an example. When I started playing it, I was really scared, walking around slowly and peeking around every corner. Then, about an hour in, I learned how to kill the monsters, and what tricks I needed to survive.

Dead Space 2 promo art

All of the fun, none of the horror!

Not only did I get good at killing the monsters, I thought it was great fun! The things that used to terrify me now became a source of amusement. Instead of dreading the monster sounds they now made me excited – oh great, another necromorph to dismember!

So where did the fear go? It was simply overshadowed by the rewarding gameplay.

Us humans tend to have this thing called attention, and we only have a limited amount of it. If the game is constantly engaging the player with thinking about their aim, checking ammo, and looking for loot, there's no room left for much else. In other words, the players' brain will lack resources to frighten themselves.

The early designs of Amnesia: The Dark Descent included genre-typical weapons, and even guns. We also experimented with very elaborate puzzle set-ups, everything from swinging chandeliers to redirecting rays of light. All these caused the same issues as Dead Space. They were too fun, and took attention away from what mattered: getting scared.

Eventually we decided to reduce the "fun" elements the gameplay had – and it paid off.

We saw this very clearly when watching Let's Plays of the Amnesia games. Since players didn't have things like combat to pay attention to, they reacted to things they might not have even noticed in other games. A vague sound, almost like a footstep, was suddenly a reason to look for the nearest cupboard to hide in. Had the players minds been filled with thoughts of loot boxes, they would have never reacted like this.

Lesson 5: Narrative is a core element in good horror

So if engaging gameplay can be counteractive to the horror, and you need to be careful with the scares, what do you fill a horror game with?

While no silver bullet, narrative is a big part of the equation.

By building up a narrative, us game designers can make game worlds bigger and more intricate than they actually are in-game. We can prime the player into doing a lot of the scaring for themselves.

In order to explain this, let's take a random image let's take a random image of a quaint town:

Aww, I wanna go there. :)

This feels like a great place for an evening stroll, right?

Now let's give this image some backstory. Put on some spooky music, like the Amnesia soundtrack, and read the following:

It has been two weeks since a huge storm cut the town from the rest of the world. All means of communication are down.

Today, our emergency services received a call – it just started out as static, a joke that kids would play, but then the screaming started. The screaming of people, then an otherworldly roar, nothing a man nor beast on Earth could make. I had to find out what happened to these people up the serpentine road from us. 

I am now here, yet no one else seems to be. It's like everyone vanished. But as the cold sun sets down over the mountain, I get a sense of unease…

...And now look at the picture again.

The worst monster of all is leaving the lights you've been murdered horribly.

Not so cozy anymore, right?

A new context leads to re-interpreting the environment based on this information, and get into a different mindset based on it. While you previously admired the view, you are now scanning it for signs of danger.

A big part of horror takes place inside a player's head. And by fueling their imagination, we can turn a cozy village into a place of terror and despair.

Looking back on which areas worked in Penumbra, this component became apparent. The most loved environments were those where players could use lore and environmental clues to fantasize what happened… and what could happen. The expansion, Penumbra: Requiem, lacked a lot of this background information. So despite us designing some of our best puzzles and implementing interesting visuals, Requiem was received quite badly. Without a strong narrative component, the players didn't get the experience they wanted.

Penumbra: Requiem, or as we call it, The Marc Game.

Lesson 6: The world must feel real

In order for a horror narrative to have proper impact, the world it takes place in must be taken seriously by the players. But what does "serious" mean? Grey and brown tones with no cartoonish elements? Not quite.

Let's draw a parallel between real and imagined worlds. If you suffer from nightmares, there's a trick to that: make a habit out of knocking on walls, tables, or whatever is closest to you. Eventually you will start doing the same when you're asleep. However, when you knock on walls or a table in a dream, your hand is likely to go through the surface – that's how you'll know you are in a dream, and no longer need to be afraid of the world around you.

Making horror games is basically a business of creating nightmares. But it's hard to be successful when you have a bunch of players (those damn players again!) constantly doing the equivalent of "knocking on surfaces", simply by playing the game. As soon as they discover some sort of glitch the immersion of a terrifying world breaks, and it takes a long time to build it back up again.

Let's look at an example from Penumbra again. In Penumbra we want the players to imagine that the demon dogs are "real", implying all the traits (demon) dogs possess. So, we want players to be worried about encountering a dog, and hiding from it. However, some players "knocked on surfaces" by messing around with the environments, and figured out that the dogs can't reach you if you camp on top of a box. So, whereas a real dog could jump up on the box and chomp the player up, the AI dog cannot. Therefore the fantasy of dogs as "real" is lost, and the game loses a bunch of its scariness.

Penumbra: Overture by IsisMasshiro on DeviantArt

The intended reaction when encountering a demon dog

Because of this effect, game developers have to be careful about how they construct environments, and what tools they give to the player. There should be enough things to do to make the place feel real. But not so many as to aid players in breaking the illusion.


Lesson 7: Keep it vague

You know creepypasta and scary photos you can find on the internet? Almost always the thing that makes them scary is that they leave a lot to the imagination. Seeing a silhouette and glowing eyes out in the corner of a photo feels threatening. A close-up glamour photo of the same monster does not.

AAH! What IS that?

Oh, just our good friend Terry bringing us a gift. (by ThiccBoiMyers on Discord)

As mentioned before, much of the horror comes from simply not being sure what the hell you're looking at. It's when there is a gap in our knowledge, a certain amount of uncertainty, that horror can really shine. This is especially true when you combine it with some sort of danger element.

It is quite common in games to make sure the player understands the systems in place as clearly as possible. This often results in some really daunting tutorials. Of course for some games, like fighting games, it's important to have in-depth knowledge about the systems to be able to optimise the game. In horror games we actually want the opposite!

A vague and uncertain game system is like a creepy photo. You can make out enough to get an idea of what's going on, but there's still room for the imagination to go wild. Let's use the health meter in Resident Evil as an example. Internally it is an analog property, a decimal number from 0 to some value, but the player will only ever know that it has "three" states. This strikes a great balance between giving information and being vague, and helps crank up the tension.

The sanity system in Amnesia: The Dark Descent is similarly vague. You know scary things – whatever those are – lower your sanity, and bad things – whatever those are – will happen if it drops too low, so you don't want to risk it.

This was not always the case. We started out with a pretty straightforward gameplay system, hoping players would play along with it. However, people either game it or got frustrated by it. When we tweaked it so it was much less clear how it worked, it sparked player's imaginations and it was much more enjoyable.

Alex isn't looking so good.

Lesson 8: Players need a role

All stories are driven by the characters that are contained within it, and how a plot plays out is determined by the characteristics of these characters. Just imagine how different Jurassic Park would be if the annoying lawyer guy was replaced by Judge Dredd! So, in order to get the most of any narrative, it is crucial to establish roles.

Games are no different. The role that a player inhabits will determine what actions they have at their disposal, what their goals ore, and so forth. Knowing the character is a vital component in order for the player to be an active part of the story.

Yet this is one of those components that many horror games forget. You are often thrust into a story as some generic character. Often the thought behind this is that the player would "play as themselves", but this is not how any narrative really works. In order to properly parse a story situation, you need to understand what kind of person is dealing with it.

Say that you come across a corpse. You are playing as Sherlock Holmes, a corpse means a case! You will want to search for clues and try to solve the mystery of how this person died.

Now imagine you're playing as a flesh-eating ghoul. Now the same corpse is suddenly dinner - yum!

An alternate universe where Daniel is turned into a ghoul. Bon appetit!

In most areas, horror games are well beyond your average game in terms of narrative. But for some reason, a large portion of horror games just fail to set the player role properly. It's strange, relying on a narrative backbone, yet losing so much of the atmosphere by not defining the player role.

Another big reason for defining roles is that it can help with some of the issues addressed earlier. For instance, it can limit the number of actions the player feels is rational to take. For example Penumbra's protagonist Philip is a physics teacher, so while he could perhaps fight some demon dogs, it would be more logical to run and hide from aggressive humanoids.

This lesson we clearly learned in SOMA. At first we thought about having a non-speaking Simon with very little character. However, this made player distance themselves from the events. Things got a lot more personal when they played as a character who was reacting to what was happening. While players previously wouldn't ponder the strange events in-depth, Simon pushing them in the right direction it worked much better.

Lesson 9: Agency is crucial

When I talk about agency, I'm not talking about the CIA. What I mean is agency of the free will kind. A game that has a lot of agency lets the players make decisions and feel like an active part of the narrative.

This is closely tied to the previous lesson. Not only do we want to give players a role, we also want them to own that role. They need to feel like they really inhabit the character they are supposed to play. A game can achieve a lot by combining agency with keeping things vague – and letting players decide to take uncertain decisions.

Say that you are faced with a dark tunnel – dark tunnels are pretty scary!

Now imagine that the game explicitly tells you that your goal lies beyond the tunnel. There's no choice, you gotta go in. And if the game forces you do something, it will also make sure you do actually have the means to complete this quest – in this case get to the other side of the tunnel.

What's the worst that could happen? :)

But what if entering this dark tunnel was voluntary, or at least presented as such? The game vaguely tells you that there might be something important there – but you don't know, and might also be a certain death. All of a sudden the tunnel feels a lot less safe. By adding agency and making entering the tunnel an uncertain choice, all sorts of doubts pop up in the player's mind.

There's also a number of other ways to add agency. Say the player needs to do something unnerving, like Amnesia's Daniel drilling into a corpse to get blood out. In the game it is clear that there is no other option. Overall reactions to this was not very strong.

Just petting a guy's head while the drill drills a hole in it.

Compare this to similar moments in SOMA, where intended course of action is much less clear. Here players are forced to actually think through what they need to do, and get emotionally involved in the process of it.

While SOMA did do this part better, it also had its shortcomings. In Amnesia: The Dark Descent, the game was divided into hub maps, so there was no one path or right order to do things. These choices increased anxiety. Whereas maps in SOMA were way more streamlined, and we noticed a considerable drop in scariness due to this.

In closing

And them's the rules! As said before, these are not the only ones, but I believe these come out on top when listing the most important ones. You could also go into them with a lot more depth, but I wanted to keep this blog concise. A lot of my previous blogs in the design tag dive deeper into related subjects.

Finally, I want to close by saying that, because of all these special requirements for horror games, I don't think you can approach them like other games. Instead of "finding the fun" and iteratively building upon that, horror game design needs to start with some strong principles.

When designing a horror game, you want to hone into what you've chosen as your core principles, be it atmosphere, theme, or something else. Then, as you progress in development, you don't want to evaluate the game on how "fun" or "nice" it is to play – but in how well it fulfills its set core principles. And a cornerstone for being able to do that evaluation is to keep the above lessons in mind.

This in itself is a huge topic of its own, and will need to be dealt with in some future post. Stay tuned for more!