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I'm sure you've been asked already, but how do you feel about all the drama going on right now about Zoe Quinn? from acedrgn

patrickklepek:

You want me to walk into a minefield? OK. Let’s try to keep this short.

There are numerous angles to what’s unfolded over the last few days, and I’m not going to address all of them. Please keep that in mind here.

This has turned into TMZ. For just about all of this, it’s not our business.

There’s no excuse for the extreme harassment and abuse in the last few days. No one deserves to have nude pictures of themselves distributed all over the Internet without their consent. No one deserves to have their address blasted on social networks as a veiled threat. No one.

There is no excuse. None, nada.

Some people see a conspiracy. Others see common human decency.

What we have is an ugly corner of the gaming community exploiting an opportunity to tear into a situation with the flimsiest of justifications. The idea that such abuse is warranted because of concerns over the “ethics of games journalism” cannot be taken seriously by people who utter “whore,” “cunt,” “faggot,” and other words in the same sentence. A quick perusal of “zoe quinn” on Twitter will find you plenty of these people.

A response to that line of criticism might be “yeah, but…

There is a universe where a blog was written specifically to raise ethical concerns about personal relationships between the games press, and not a character assassination meant to tear a person’s life apart.

We do not live in that world. Do not try to pretend that’s what this about.

However.

Disclosure is important. Kotaku editor Stephen Totilo addressed this specifically on Twitter, given his reporter and publication are in question:

Nathan Grayson never wrote a review of Depression Quest for Kotaku. He did write about the indie game jam that went to pieces, which happened to involve Zoe Quinn. Numerous publications also wrote about the same incident, and nothing in Grayson’s write up is particularly different from what you would find elsewhere. On Rock Paper Shotgun, Grayson mentioned Depression Quest in a writeup about 49 other video games that were recently greenlit on Steam. Another mention of Depression Quest was published on RPS written by Adam Smith. You can verify this through the Depression Quest tag.

Yes, disclosure is important. Yes, we should be aware if the press has engaged in a personal relationship with a developer. But nothing justifies what’s transpired since. People have hijacked this for madness.

Cliche but true: some just want to watch the world burn.

Given I’ve spent the last few days trying to ignore folks accusing me of cheating on my wife, you’ll excuse me if I’m over talking about this now.

This is the last I’ll say on this topic. No other questions will be answered.


Doomed Deliverance: Pallbearer's 'Foundations of Burden' & Yob's 'Clearing the Path to Ascend' →

steelforbrains:

image

by Craig Hayes

If you’re of the mindset that metal is metal, and the mainstream is the mainstream, and never the twain should meet, then it’s understandable that the mainstream media heaping praise on underground metal bands makes you a little cranky. I mean, if you think metal should…

both these albums are tremendous. the pallbearer i’ve blabbed about; the yob takes the no-frills sound of Atma and gives it just a little polish. a sheen. it’s hardly slick, but it’s more textured. Atma sounds like butchery; Clearing the Path has grace and scope alongside the pummeling. there’s room for both, thankfully.


Now that you've finished P.T. What are your overall thoughts on it? Also, what do you see Kojima and Del Toro doing with Silent Hills? from Anonymous

fastkarate:

It’s cool as heck!

You never know who’s doing what (if they’re doing anything at all) with these big names attached to products. But if Kojima and del Toro are only tangentially involved, they sure found people that can ape that style. They do a lot with movement and camera that you wish games would do, because maybe it’d be cool if games played around with the tools they had to make the experience disorienting or frustrating or weird. The camera movement in P.T. is bizarre. It takes a few minutes to get used to how your head sort of swims around. Midway through the game your perspective and movement changes, and suddenly the game blurs when you move, skittering forward at super speed like some scuttling creature. 

The look and movement of the monster is immediately evocative of 2013’s Mama—which del Toro produced, not directed—the short of which you can watch on Youtube.

(spoiler warning: MEGA SPOOKS)

Read More

welp this is essential


what’s super-interesting about the new pallbearer (besides that it’s stuffed to the gills with Mad Riffs) is that it’s a case study in the push-pull of refinement.

on one hand, the production is objectively better and works in tandem with increased songwriting prowess - one makes the other possible, but which came first i can’t say. the guitar tones are all fantastic, varied. all sorts of new textures where the first LP was about pure rumbling fuzz. brett campbell’s vocals are less geddy lee-on-a-bed-of-nails and more measured (tho a few clean bits sound like thrice…lol) because touring has taught him his range. that’s pretty cool. if you look up live stuff he’s completely struggling with the old songs; like not even in the same key. the drumming, like the production, is objectively better: more fluid, moving the songs through their changes beautifully.

on the other hand: there’s a uniquely mournful, desolate quality to the first record that is missing here. these songs have company: they’ve got delay textures, clean tones, electric piano, choral breaks. they’ve got rush-like (think “circumstances”) scale runs. the first album was no-frills, genuinely emotional stuff. campbell’s voice was human - it cracked, strained against the cavernous space carved out by the messy woolly guitars and chris-haikus-style steady shuffle drums (i miss that popping snare tone, too). it created a sustained mood, which + the clean vocals i think is what struck a chord (^_・)with people and allowed this band to get where they are - deafheaven-big but without deafheaven’s obnoxious pandering and musical ineptitude.

in short, if i can manage that, it’s a better album. but especially on “worlds apart” there are sections where the riffs are kinda moving along but not completely forcing the neck into a headbang, and it seems a little aimless. everything on the first LP either made you want to take hemlock in the woods or lose your shit (the mid-section of “devoid of redemption”???!!). there are moments here - just moments - where they lose me. 

that the album holds together as such an impressive achievement - towering ambition realized thru compositional prowess - is worthy of the highest praise. because for every not-incredible riff there’s the sabotage-era ozzy chorus of “watcher in the dark” or the melodic reprise at the end of “ghost i used to be” or the morbid angel-esque clusters of pinched notes on “foundations.”

both of these records will be in my head till i die, so it’s all just nitpicking. this album had to change in order to be what it is. you can’t get mad at that.

(Source: Spotify)