Video Games / Editorials

The Power Of The Lost: Why Xcom 2 Has Only Gotten Better

The Power Of The Lost: Why Xcom 2 Has Only Gotten Better

Sneaking in behind a glut of release, Xcom 2 quietly deployed its first expansion pack. War of The Chosen isn’t merely a fresh offering of a few new tricks, but a clear injection of ideas and mechanics that elevate the game to a whole new level. While the new menacing Chosen Advent enemies may grab the headlines, it’s the curious new enemy faction that truly changes things up.   Lost & Found  The initial eye rolling that accompanies The Lost’s debut is both to be expected and respected. They may not share the same name, but The Lost are essentially zombies. Those slow walking, rotting bags of flesh, that have bogged down popular media for nearly a decade now. We’ve seen them at pretty much every turn since the zombie revival burst open with 2004′s Dawn of the Dead. Video games thrive on the undead masses, constantly deploying them into post apocalyptic settings or making them the core focus of a so so experience. Xcom 2 falls victim to similar ideas, The Lost have all the traits of zombies all the way down their shambling movements. But there’s a catch. Instead of being a tired trope that offers little, The Lost add a whole new dimension to the core gameplay. More than just a gimmick, their presence creates more choices and outcomes. They force the player to adapt and manage unforeseen situations. At times, all you can do is endure. Alone, The Lost are merely cannon fodder. Low hit points and the inability to think tactically result in them becoming free kills, at least for a time. A series of clever mechanics around them create a set of unofficial rules of engagement. Aim for the head, keep your distance and never use explosives. For every echoing thunder of a grenade or a near by car exploding, a new horde is ushered. The Lost will pour into the battlefield, heading directly for the source of the sound. No longer a singular token enemy, but a wall of fleshy undead dread. Quantity over quality has never been so intimidating.   Aim For The Head   The once delicate balancing act of dealing with the Alien threat has officially been skewered. The Lost hold no allegiances beyond the need to kill. Be it Xcom or Advent, they’ll take a chunk out of either. Where most developers would leave this as it is, Firaxis Games have gone the extra mile. The Lost can be seen as both an enemy and an asset. Their blind devotion to the kill can be utilized by the plucky commander to the benefit of Xcom. Creating explosions in the heart of Advent squads draws The Lost’s attention. Before you know it, the once deadly incoming horde has not become a valuable tool. But what if it all goes wrong? Accumulation of failures has always been at the heart of Xcom. A few missed shots, a mistaken attempt to lure the enemy. A single slip up and spell the end for an Xcom operator, or even an entire squad. A single miss placed shot, even with the handy free action gained by killing a Lost, generates immense pressure. They move closer and closer with each turn, one after another. Smothering a single operator, refusing to let them escape. Battling between dice rolls and diminishing reloads, the tide of Lost become unstoppable. Overrun Those brief seconds of judgment between turns allow for the doubts to sink. Repeating murmurs of ‘what if’ plague each choice. Dealing with Advent is one thing, you can predict their need for self-preservation, The Lost is a different foe. Slamming round after round into their advance, struggling to keep your head above the tide. It’s truly exhilarating. These are the moments in which heroes are born. Pvt. Sammy Forgotten, Cpl.Pete Peterson, your backup squad you never cared very much. Suddenly they’re providing fire that’s taking out the incoming Lost War of Chosen does a fantastic job of making the best use of forgotten operatives. Be in the off-screen missions found in the Resistance Ring, or an Xcom member of any rank taking down Lost. Everyone and everything fit into the overall movement of the game. It’s a nice twist that an enemy called The Lost can truly make every member of your squad feel useful. A simple threat that creates an extra layer of depth that scales beyond something else to kill. Xcom 2′s The Lost truly is an improvement to a game that was already excelling....

Overwatch’s Christmas Content Is More Of What Makes Overwatch Great

Overwatch’s Christmas Content Is More Of What Makes Overwatch Great

It’s the Christmas season, Overwatch is in full festive cheer. The latest content drop is filled with Santa hats, elf ears and snowball fights. Aside from all the new skins, sprays and poses, the latest content provides a great example of why Overwatch works so well, and I’m not talking about the gameplay. Blizzard have masterfully built worlds for years now. Their ability to create new various universes, filling them with characters and lore, is arguably their greatest asset. Much like World of Warcraft and Heroes of the Storm, Overwatch is filled with little details that breathe life into the world.   At this point, we’ve all fallen in-love with the characters, even with their limited back story. Their traits and personalities allow them to become more than just a role within the game. Tracer could have just been ‘the fast one’, Reinhardt left as nothing but ‘the shield guy’, but they’re more than that. Each character doesn’t just feel unique, they act it. Their one liners when they take down a enemy, their remarks when someone gives them a heal. It’s a collection of little touches that give the game, as well as the heroes, some personality. Interactions between the characters is something Overwatch does wonderfully. Various bits of backstory and lore are exposed in these interactions, supplying some level of humanity to a game about heroes.   Blizzard could have messed it up, they really could. Forcing interactions and overdoing one liners is a problem a lot of games suffer from. Blizzard does it in such a organic way that it becomes second nature. Throughout the game, players can find little touches that link heroes together. The recent Christmas content provides a great example of this, focusing in on two characters. Roadhog and Junkrat are partners in crime, popping up throughout Overwatch’s lore. Those with a keen eye would have noticed Roadhog’s latest festive skin features a neat detail on his gun. Tucked away on the side of Roadhog’s scrap cannon is a short message reading ‘From Junkrat’. It’s a tiny touch that would normally go untouched, but its just another reason why Overwatch works so well. Everything feels connected, creating a sense of a genuine world with history and current events. The Christmas event is just another step in Overwatch’s growth, both as a game and a world. The quirks and mannerism of each character, mixed with the interlinking nature of the world, that’s what makes Overwatch flourish....

Super Powered Battle Friends Looks Like 2D Smash Goodness

Super Powered Battle Friends Looks Like 2D Smash Goodness

I remember back when I was just a wee lad and my friends and I would haul a television and an N64 console outside onto his front porch and play Super Smash Bros all night long while sipping on cokes and munching away on cheetos and chips. Ever since then I’ve been a huge fan of games like Super Smash Brothers and I’m constantly looking for new games that delve into that formula to scratch my constant Smash itch. So you can imagine my glee when two friends of mine in the development community started developing their own 2D smash-like game called Super Powered Battle Friends (originally titled Wolf Pack Battalion). Now, I’m writing up this little piece for a couple of reasons. The first being, I wanted to get this little game out there and garner some more attention its way. There’s nothing wrong with having more games like this on the market and the fact that it looks incredibly fun and is made by two guys I’ve really come to respect in the industry is the whole reason I’m supporting their game. I played it back in the Wolf Pack days when the game ran on the BYOND engine (a free to use game development tool) that has spawned some pretty great titles on Steam itself. Such titles include EPOCH, Nother and NEStalgia just to name a few. The thing about SPBF is that these guys took a step out of their comfort zone and completely redesigned the game in the Unreal 4 Engine, which isn’t an easy feat if you’ve become comfortable and accustomed to one development engine for going on ten years. For me, that stands out as being kind of impressive on its own. They’re trying to get the game through Steam Greenlight at the moment, and for some people it’s really a make or break stage in the development process. You can vote for the game here if it appeals to you, and it never hurts to see more games thrown onto Steam and especially something like this, we need more Smash-like games in the world and it wouldn’t hurt to have some of those grace the Steam marketplace, especially one that plans on taking Smash-likes and turning it into something balls to the wall nutty. It would be a nice change of pace from all of the indie-horror & survival simulation titles that have been cropping up on the service (not that I’m complaining). For people curious about the game, and for some reason can’t take a gander at the Steam page for the title, I’ve copy and pasted some of their FAQ about the game so you can get an understanding of what they’re going for. Linux or Mac support? Mickemoose: are using Unreal Engine 4, we do have the ability to build the game to run on Linux and Mac, and we hope for a smooth simultaneous release on all three! If you guys are taking on the party side of this genre, will the combat feel as good as things like Rivals of Aether and Smash? Mickemoose: Yes. While we do currently have some more tweaks to do and I’m sure we’ll find some more as we keep on play testing every day, I can assure you we plan to have the combat tight and fluid. How many players do you plan to support? Mickemoose: At the time of writing this, we currently support 4 players, but we are discussing on having more than the standard and will most likely end up supporting a larger amount in the long run Whats with the timer in the video? Mickemoose: The timer is currently set to 0 during the recording, after some discussion we’ve decided it should not be on the screen at all if it’s disabled. What will you do differently than other games of this genre? Mickemoose: That’s a great question, we think a lot of games try to focus on the competitive side of things a little too much leaving not much room for party game aspects of the genre. Sometimes people need something to cool down the salt with. We plan to take on game modes not typically seen in these games, things like Capture the Flag, Volleyball, King of the Hill. We have plans for a multiplayer reimagining of Smash Run, using split screen so you can have all your friends over to go throughout the map, dealing with events, grabbing powerups and then competing in an event at the end of the run. And yes we have split screen capabilities right now, we just need more time to finish the actual mode itself as we’d prefer a finished mode over an unfinished one. How many characters do you plan on having? Mickemoose: Our current plans are for a roster of 11. — So there you have it, and without further ado the gameplay trailer....

The Evil Within Still Haunts Me

The Evil Within Still Haunts Me

There’s one ‘horror’ game that tends to be called a great Halloween play. It’s from the creator of a hugely treasured franchise. It should have been an amazing horror experience that made use of the latest technology (at the time). What it ended up being was the perfect example of everything wrong with modern horror, both in games and cinema. Fuck the Evil Within. I’ve never played such a pandering game that tries to appease so many people, all while failing to do anything all that well. The whole game feels like a mish-mash of bad horror films, where the scares aren’t crafted, instead just bundled in. ‘Look at this, it’s disgusting right? All this blood yeah?!’ says the game, all while it tries really hard to scare you. In all honesty, there are some highlights. Initially, The Evil Within does a fairly decent job of setting up its tone. Players are left confused and disoriented, leaving a sense of the unknown to settle in. Tension and atmosphere slowly build, all while brooding undertones start to amass…and then the game just drops it for action and gore. Much like Eli Roth relied on gore and disgust in Cabin Fever and Hostel, The Evil Within relies purely on its gore. Blood splatters, disfigured faces and plenty of body horror. It misses the point entirely, leaving the horror to feel pretty damn cheap. Every 60 seconds the game tries to shock the player with imagery, even if that means hindering the pace of the game. I could never understand how people thought the game was scary or even well crafted. The only true terror I experienced was at how horrifically dated it tended to be. Forced in stealth and turret sections result in the game feeling like some bizarre tribute to late 90′s action games. There’s very little fear to be felt when the game is broken up with long periods of straight up fire fights. The Evil Within tried to redefine horror games, but instead ended up being part of the decline. Sequel baiting endings, padded out sections and launch day DLC were all part of deal. Marketed as the next big game in horror, designed including everything that made video games (in general, not within the genre) sell well, I truly hate The Evil Within. Obviously the game has its fans, but so does the Big Bang Theory.  ...

Dark Side Of The Moon: Routine Release Date

Dark Side Of The Moon: Routine Release Date

If you’re anything like me and love indie-horror games, then Routine would have been on your radar back when it revealed in 2012. It was revealed to be a first-person survival horror game in the same vein as titles such as Outlast, Amnesia and so many others. The only difference is that it’s set on a lunar base on the Moon, and seems to be set in an alternate reality with a 1970′s take on the future. I’ll admit, for the longest time we wouldn’t hear anything regarding the game, but low and behold on Halloween, Aaron Foster tweeted out a very beautiful and special trailer for those of us who have been eagerly awaiting to get our paws on Routine. That’s right kids, March 2017 is the projected release window for Routine. The most intriguing thing about Routine is the fact there’s a permadeath system in place. Make one mistake and you’re gonna have to start over from scratch. I don’t know about anyone else reading this, but I’m ready for March so I can get my hands on the game and explore the moon base. So, get a hold of your moon boots and your freeze-dried astronaut food, it’s time to go into space and survive the dark side of the moon....

Battlefield 1′s Four Most Annoying Traits

Battlefield 1′s Four Most Annoying Traits

Battlefield 1 is currently storming the charts, as well as earning high praise from consumer and critics alike. With amazing visuals, intense multiplayer action, and a campaign that’s not too shabby. There’s plenty to enjoy, but it’s not perfect. Frustrations and annoyances float around very aspects of the game, not all of them are exactly DICE’s fault however. These are three worst things about Battlefield 1 -     Scaled Back Destruction - For a game set during a time where the power of explosives and artillery was stunning the masses, not much can really be blown up. A number of walls will remain standing unless hit by certain weapons or vehicles. Dynamite will have little affect on some structures, resulting a look of confusion on the player’s face. Bombs and tanks rip through the map, but field guns not so much. It’s not a major problem, but does take away some aspects of realism and strategy. Past Battlefield games would allow players to blow up would be sniper potions, Battlefield 1 is a little less accommodating. In general, it would have been nice to see more of the map rip and tear under the pressures of war. But hey, at least the Zeppelins look amazing as they crash to earth.     Team Work Makes The Dream Work - Players who join the game in a party will automatically form a squad in-game, awesome. The catch comes in the shape of those squads being set to private by default. It results in most games being filled with random two-three man private squads, making the game feel less of a team experience. Unfortunately it also has an influence on a team’s performance. Squad spawns can change the tide of a match. Effective squads can flank enemies, allowing team mates and push onto objectives. The bigger the squad, the more effective squad spawns are.   Working as a team is not only hugely helpful, but it’s a core principle of Battlefield on the whole. Spot enemies, supply allies, hold positions. It all makes for a successful team. It’s just a shame that so many people stay in their small private squads. Just set them to open by default, please DICE.   Tanks, Snipers And The Pains Of Life - Everyone single Battlefield game ever has had issues with snipers. Those players who will sit at the back of the map, refusing to do anything but snipe. Battlefield 1 is jam packed with these people. Each of the sniper rifles are pretty simple to use, almost to simple. Bullet drop and damage reduction isn’t all that harsh, allowing even the most novice sharpshooter to succeed. You could easily argue that sniping within the game is too easy. The design of the maps allows for players to hide away with relative ease, rarely fearing attack. Counter-sniping is a option, but that only leads to more snipers. It’s not rare to see a game devolve to snipers on top of snipers with even more snipers. Tanks provide their own issues. In short, it’s far too easy to repair them and remain safe. Open maps like the Sinai Desert are often dominated by one or two armoured units. The only real counter to tanks is the fairly short ranged anti-tank grenade, dynamite and mines. They all require the player to get up close however, which is near impossible on maps lacking cover. Projectile anti-tank weapons do very little, forcing players to use the before mentioned tools.   Not Another Pistol - You finally get a Battle Pack and it’s another pistol....

No Man’s Sky Backlash Represents A Possible Consumer Turning Point

No Man’s Sky Backlash Represents A Possible Consumer Turning Point

No Man’s Sky may be Steam’s most poorly reviewed game, but that doesn’t reflect the game itself. If Hello Game’s product was merely disappointing, maybe even bad, no one would have been talking about the game this late after release. Reaction to the game speaks volumes about the state of the modern industry, at least from the consumers point of view. Some critics and publications may have went into overdrive trying to defend the game, but the consumers had no time for it. No Man’s Sky was sold on lies, not just a few white ones either. From features being promised then revoked only to be subsequently hidden under stickers on printed copies, there’s a lot to be infuriated about. Sean Murray had teased, promised and dazzled the masses with his showcasing of No Man’s Sky. Flashy buzz terms married with veiled answers to questions along with simple bright eyed charm, it was hard to resist the hype. His beguiling nature helped paper over the cracks in most of No Man’s Sky presence across various expos. When you market a game on hype and charm, people become invested. At the end of the day, your’re still asking for a full price entry fee from the customer. This forms a strong connection between the game and the player, which sounds good…assuming the game is what was promised. The sheer backlash towards No Man’s Sky is justified. Consumers didn’t feel underwhelmed with the game, they felt lied to. It’s not a nice feeling, sparking instant bitterness within the victim. Comparing what was promised, to what was delivered, leaves some truly mind blowing realisations. How could a game be sold on that many lies? A game worked on by the ‘indie’ scene we were told to love and cherish so much. Why did only a handful of well known critics try to ask the hard questions prior to release? Steam’s user review system is infamously brutal. The boiling pot of hobbyist reviewers, dank meme addicts and trolls, no game is safe from its taint. No Man’s Sky undoubtedly has a number of troll reviews on its store page, like any other game. The primary factor in this store page’s review is just how many reviews consist of concise critiques on the game, rather than blunt ‘F**K DIS GAME’. No Man’s Sky represents the very worst of modern video games. It’s not rare for games to be marketed and hyped on lies, just ask Bethseda’s Todd Howard or Gearbox Software’s Randy Pitchford. No Man’s Sky is the folk in the road, perhaps even the enlightenment the video game consumer has needed. In the age of social media and blogging, consumer reactions/impression carry much more weight. It’s why the days of sites like IGN and Gametrailers dictating popular opinion are over. Streamers, Youtubers and those with large social media followings are the new frontier. Those same people are often consumers who have happened to fallen into their own place of power. Could Sean Murray’s little bundle of lies turn out to be an important game for reasons he didn’t plan? Hello Games have since closed down the Reddit for No Man’s Sky, all while they rarely seem to comment on the game itself. Robotic statements that never answer anything, silence from Murray himself. It’s been a disaster for a game that was seen as the darling of the industry not that long ago. Consumers have expressed their displeasure with a product they bought in good faith. Could the industry learn from the follies Hello Games? You’d hope so....

We Happy Few Is Nothing Like Bioshock, Avoid Disappointment

We Happy Few Is Nothing Like Bioshock, Avoid Disappointment

We happy Few has seemingly got many people confused. When ever you see a gameplay video or Early Access lets play, you’ll be sure to see someone mention Bioshock. The unfortunate thing, at least for them, is We Happy Few has little to no shared Bioshock vibes. Gameplay is based purely on survival, this is not a simple case of shooting your way through. The player is vulnerable, struggling to keep their head above water. Areas are open, allowing the player to explore and discover. Yes, We Happy Few is played in the first person, but that’s one of the few similarities the two games share. The tone of the game is totally different from the underwater dystopia rife with social issues and political intrigue. We Happy Few is much closer to the likes of The Twilight Zone and 60s/70s BBC news coverage. It’s all very polite and clean, regardless of the subject matter. It’s how We Happy Few creates its creepy and unnerving atmosphere. Forced smiles, blocking out the dark past, ignorance is bliss…even if it comes at the cost of your mental state. Bioshock was much more direct experience. The world was already falling apart by the time you arrived. You, as the player, weren’t part of Rapture’s population, you were merely a visitor. We Happy Few is from the point of view of someone who has lived within the culture. They’re part of the system, a system which is breaking them down. It’s a pretty major difference between how the two games frame their stories and approach. Most importantly, We Happy Few simply plays differently. As mentioned before, the game is focused mostly on survival elements. People expecting a straight laced shooter may be underwhelmed to find that combat makes up very little of the game, at least initially. It almost feels that We Happy Few and Bioshock are being lumped in together through it being ‘the easy option’. In all fairness, it could be association through the imagery. Both games are set in the early 60s, resulting in the two games sharing similar culture traits. Clothing, language and music are both heavily defined by their time period. Beyond that, any connection made between the two is questionable at best. Do yourself a favour, don’t go into We Happy Few expecting anything like Bioshock. Survival mechanics and rogue-like elements will be the only thing you’ll find, not a story driven shooter with minor RPG elements....

We Happy Few Preview – Solid But Uninspiring

We Happy Few Preview – Solid But Uninspiring

*Based on the Early Access build After creating a lot of buzz, mostly thanks to its tone, We Happy Few might not be the joyous experience many are expecting. At its core, We Happy Few is a survival game with some creepy imagery and themes. The Early Access build opens up a fair amount to play with, but it’s not exactly fun. For all of the world building and scene setting the initial five minutes indulges in, the gameplay is uninspired. Players must take into account thirst, hunger and fatigue. There’s various other effects that need monitoring when trigged, such as bleeding and sickness. Gathering materials and supplies forms the spine of the Early Access build. For a modern title, these mechanics are dated. Go here, pick this up and combine it. It’s where the build lives, and unfortunately, dies. Most of the time spent playing is walking around looking at the same NPC models, buildings and hearing repeated lines. The crafting system itself is so basic that feels more tacked on than developed. There’s quests to complete, all of which require certain materials to be gathered. None of the quests in the Early Access build come even close to being interesting. We Happy Few’s struggles continue with its inventory management. Items take up slots in the backpack, with the slots dictated by the item’s size. This causes a fair amount of time fiddling with the inventory in order to make room. This won’t be a issue for many, but is worth noting. Menus feel like they were made with consoles in mind, leaving the PC version feeling a bit clunky. That’s perhaps the best way to describe We Happy Few’s Early Access build, uninteresting. For all of the unnerving elements the game initially promises, it melts into mediocrity This is particularity true with the combat. Attack and block, that’s about as deep as it gets. The audio feedback may sound brutal, but the combat itself is far too light to be satisfying. One element of We Happy Few that does work is the procedurally generated town. Each time you play, the town will differ in certain aspects. It keeps things slightly fresh, even if the size and layout remains familiar. The environment featured in the Early Access build is dark, gloomy and depressing. Characters will mutter under their breath while expressing grief, or straight up lashing out. Streets are painted with shades of grey, with very little colour in sight. A curious feature found in the build was the ability to change the look of the world via pills. Popping a Joy will cause the environment the light up, bursting with colour and joy. Graffiti will change to show happy messages, NPCs will cheer the player on. Even the sky gets in on the act by spawning a rainbow. It may be a small touch, but it works wonders in the context of the game. Most people will pick up on the ‘Britishness’, which is a fair point. There’s a strong 1960s BBC vibe to the whole game. The initial few minutes use it to the game’s advantage, but once the game starts it soon runs thin. NPCs will mutter lines that become increasingly insufferable. Repeating quirky words and British stereotypes does not result in comedy gold, just annoyance. We Happy Few’s Early Access build gives a fair idea of what to expect, even if it’s not all good. The crafting system is extremely basic, doing very little to enhance the experience. Combat is light and lacks any satisfaction on sense of impact. There’s brief flashes of what the game could be, but it is so far hidden behind some mediocre mechanics. Fans of survival games will get some thrills out of it, but will ultimately feel trapped. The Early Access build lacks the charm and unnerving nature the game gained attention for. There’s still plenty to flesh out and build upon. In it’s current state, it’s all rather uninspired.      ...

The Media Pins Shooting On Video Games. Just Another Witch Hunt

The Media Pins Shooting On Video Games. Just Another Witch Hunt

*Note – As someone who has grown up watching British media outlets sell lie after lie, this post comes from frustration and disbelief. The real topic on this latest event is not video games, for the media to try and frame that way is highly disrespectful towards the victims. They’re not your soap box.   It seems like the media can’t help themselves these days. Fresh off another tragedy, the media has promptly stood onto the fresh corpses in order to use them as a soap box. What’s their topic? Violent video games of course. The case in question is the recent shootings in Germany, in which a young male opened fire at people in a shopping centre. His mental state has already covered by various sources, along with his history of being a bullying victim. Bizarrely, a number of media outlets have ignored these stated facts, instead choosing to focus on the media he consumed. Video games, the multi-billion dollar industry consumed worldwide, has became a target. They’ve mentioned that the shooter enjoyed first person shooters, but it’s the context they this is. It’s almost like the press is saying he prepared for his spree through his playing of said games. This is not a new concept, the likes of Jack Thompson was saying similar things. The BBC, a tax payer funded institute, goes out of their way to focus on the video game side of the story.     They’re not the only outlet to focus on this. Professional scum The Sun have had their say on the matter. Before they highlighted the shooters mental health issues and history, they mentioned video games. The Sun are no strangers to pinning the blame on video games. They’ve done it plenty of times in the past. The odd thing is, they constantly promote, cover and enter into partnerships when it comes to violent games. While not as prevalent, the BBC also covers video games, but their agenda is never far behind. Their Panorama program, which focused on video game addiction, was laced in selective coverage and snobbery. Both The Sun and the BBC rely on scare mongering. The Sun may be worse than the BBC, but it’s still a shared trait. Both wish to have their cake and eat it. The BBC has worryingly tried to get ‘in’ with the industry once again, mostly by buddying up with Esports. Back in 2004, Rockstar’s Manhunt 2 came under fire. The motive for the crime was robbery, yet the resulting murder of teenager Stefan Pakeerah (14) was pinned directly on Manhunt 2. The Victim’s mother believed killer Warren LeBlanc (17) was obsessed with the game, which was why he killer her son. Mrs Pakeerah called for violent video games to be banned, which is exactly what the press and BBFC (British Board of Film Classification) wanted to hear. The press took the ball and rolled with it, condemning the game and applying pressure for it to be banned.   Mrs Pakeerah said - ”I can’t believe that this sort of material is allowed in a society where anarchy is not that far removed. “It should not be available and it should not be available to young people.” This was echoed across the media, even though none of them reported the fact the game was rated 18. Manhunt 2 was soon removed from store shelves. The Suns coverage has since went ‘missing’ and the BBFC has a long history with questionable choices and ethics stretching back to the days of the video nasties. The media does not care for facts when it comes to fear mongering and pushing agendas.   Make no doubt about it, The Sun is far worse than the BBC. They’ve directly blamed games for murder  and Teen suicide. The media on the whole is quick to attack video games in the wake of any tragedy that can even be slightly linked. After the attacks in Paris, a number of HUGE sites and media outlets decided that the attacks were planned via the Playstation Network. Media can’t even review a film based on a video game without a sly dig towards the media, as proven by The Daily Mail’s Brian Viner -   The sad matter of it all is the real issues are lost in the noise. Mental illness and isolation was the the topic that should have been talked about. The latest shootings weren’t caused by one of the most popular forms of entertainment. The young man in question was not mentally sound or happy in anyway. Creative media is not, and should never be, a scapegoat for the actions of a human. There’s plenty of people who retreat to their favourite films, album, video game or book when they don’t feel good. It’s undeniable that the entertainment we consume is part of our recovery process. The fact the media continues to blame such things for violent acts is hugely dishonest and rather despicable.     I suppose it’s easier for a journalist to throw out some sensualist headlines and use opinions to influence their NEWS post. This is why, at least one of many reasons why, traditional media is going under. The Sun knows it, The Daily Mail knows it, the BBC knows it. In the same way they’ve demonised rap, metal, horror films, books, comics and toys, video games is just another witch they wish to hunt.           ...

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