Category: blog-686

  • Cry zone Sector 23 Information

    Hi all. Information has been updated on the official website of the Cryzone project and I am posting it here.I hope someone will be interested.

    Release date:
    Let’s start with the fact that a test beta version of Cry Zone: Online (the network part of the project) was recently released; the release of a full-fledged multiplayer build is scheduled for the end of January.
    Multiplayer, like single player, promises to be rich, but it will come a little later.
    CryZone: Sector 23: Single player release date has been greatly shaken. Now it is known that the plot will be divided into 2 episodes. The release of the first episode is approximately scheduled for the end of February and tells about the arrival of the Main character in the zone and the search for ways to resurrect his son; according to the plot, the hero will be helped by already familiar characters from the book “Blind Spot”.

    Life simulation:
    A-life, as the GSC developers called it, was the most important emphasis of the Stalker setting. You will learn more about how the implementation is going, since there are still people who doubt that a life simulation can be built on Cry Engine 2.
    Stalkers: The most important argument when creating a life simulation for NPCs was AI.
    Now, stalkers truly move freely around the zone, arrange rest stops, hunt for artifacts, etc.d.
    At the bases they rest and share news. You can also fight with your fists with someone for money.
    The highlight of the simulation is the “random” behavior and relationships.
    Now there are no absolutely neutral NPCs. Each stalker decides for himself whether the main character poses a danger or not, even if you passed by him and did not come into contact with him.
    An additional script is responsible for the paths followed by NPCs, if, for example, in S.T.A.L.K.E.R. stalkers walked along the same trajectories, then in the implementation from [WoS team], NPCs have the right to choose which direction to go, turn, or go straight.
    Now all stalkers are “looters” and traders in their own way.
    If the NPC liked your weapon and wants to get it, then you can expect a "Roundup".
    Ambushes in life simulation are now becoming commonplace.
    In battles, NPCs completely rely on the environment, if you can deal with one enemy without much effort, then with two it’s already about 80%, then that
    you will play in the box because they will not break through.
    Now the AI ​​NPC prefers to flank, attack from behind, hide behind bushes and shelters. Combined with the fact that the main character cannot use first aid kits with one keystroke, but is forced to take out a first aid kit or a syringe and inject himself with a painkiller, which does not work immediately, so.e. before you fight you need to think about everything.
    Views on such a group as “Bandits” were also completely revised.
    If in the original Stalker they were enemies, in ZP they were neutrals, and in CN they could also stage a “Shmon” at the approaches to the trails, then [WoS team] decided to rethink this grouping a little.
    It is looters who are now the most common traders, because having robbed stalkers, it will be very difficult to sell the stolen goods, so they give one part of the equipment to the base, and the other can be offered to you in the form of goods. It is the marauders who will be associated with the armored suit system, which will be discussed later.

    Monsters:
    Monsters, like stalkers, now have freedom of choice of movement; a pack will never walk the same path.
    "Dogs": A pack animal that can now even smell bleeding. When the main character loses blood, even the most distant packs can smell the “Smell” of blood.
    "Boar": A very tenacious pack animal that is easy to kill in the original stalker. Therefore, a script was written for him about the possibility of knocking him down and injuring his limbs. On a critical attack, you will either fall, sprain your leg, or drop your weapon.
    “Flesh”: Now this is not a pack animal, it lives in dense thickets and attracts stalkers by crying a child, imitating the voice of a wounded stalker.
    “Controller”: The monster is not alone, there will always be a couple of zombified ones walking around it, and one of the important features is that it can put the player into paralysis due to which the main character will not be able to move.
    “Bloodsucker”: A monster that innocent people walking around the zone will never meet. He, like dogs, can smell blood, and the most important thing is that he never attacks directly. All of his attacks will be from ambushes, and attacks will often be delivered to the back. If you receive a critical hit, you may lose your balance and fall.
    “Burer”: The monster has now been revised and becomes a rather harmless creature, he can sell his finds to stalkers in exchange for anything edible, or if you give him an artifact, the burer will be able to take you to the places where the artifacts should appear. "Dwarf": Not to be confused with the dwarf from builds, this is an underground animal that has the ability to disorient the player, blind him and transmit hallucinations.
    “Witch”: We all remember the witches from L4D, this is it.

    RPG features:
    Ripping off limbs from https://theslotsisland.co.uk/login/ stalkers, unfortunately, heads explode
    it won’t, the reason is a bug.
    Trade. As we already know, traders can also be looters
    and even burers. Regular traders are divided into classes: Gunsmith, Ammunition Trader, Gadget Trader. Trading will be carried out in a separate window, or directly select and select the desired product with the hands of the main character.
    Food, you can eat or have lunch at the bartenders. If you don’t eat for a long time, you may lose consciousness or balance.
    Armored suits, did we mention that marauders can
    trade additional goods. This product is clothing items. You need to look for each element yourself and it will be unusual. Also directly influence the player’s abilities. For example, in sneakers you will run faster and move more quietly, but the chance of injury to your limbs is higher than in combat boots.
    The inventory will no longer be a window where items hang, now all items will be packaged in pockets.
    The system of first aid kits and artifacts is similar, the same “injection” of a syringe into a vein. If you inject the essence of artifacts, you can gain invisibility and a huge number of other abilities, the essence is extremely unstable, so it can all end in death.
    In addition, the mod will include squad management, weapon upgrades and dialogues.

    About the plot:
    As far as we know, the plot of the project is based on a comic book
    Roman Surzhenko’s “Dad” and the book “Blind Spot”.
    We will also see a colorful change of seasons, and all! Due to the fact that the plot will be divided into episodes, the question of the passage time has arisen. Dividing into episodes, on the contrary, will have a positive effect on the duration of the game.
    [WoS team] came up with a rather interesting way of presenting tasks and quests, due to which the game time does not depend on the speed of completion
    tasks.
    So, a few examples.
    Quests can no longer be profitable, if in regular games each quest brings profit, then in the WoS Zone stalkers know how to lie and deceive.
    Completing some quests may result in certain death or a trap. One quest leads to a chain of additional scenes that delay the process of completing them. For example, an ordinary task about the extraction of an artifact can end in a conflict between factions, about the division of territories. Even an innocent task can snowball into new events.
    In Stalker, almost all quests were easy to complete because it was indicated “where, what and how”. In Сry Zone you will have to think only with your own head, look for the right place, understand how to complete this or that quest. Sometimes a whole chain of quests can be solved by finding some PDA of a dead stalker and unraveling a tangle of tangled events, but this corpse will lie anywhere, and no one knows about its existence, so the chances that you will find it are low, this gives a “zest” to the quests and increases their completion time.
    What also brings “taste” to the tasks is that there will be a larger number of Cut-scenes using facial animation.

    Cry Zone Online
    So in Cry Zone Online ver 0.2 4 locations with new modes await us,
    equipment and even bases!
    Example of several locations:

    Location "Dark Landfill"
    Background: You feel dizzy, you don’t control your movements and hear voices in your head, damned north of the Vehicle Cemetery, this is where you and your squad ran into a strong Controller,
    which now pits you against each other..
    Description: Torrential rain, a huge amount of abandoned equipment and impenetrable fog. Every little thing gives off a feeling of renunciation and
    fear.

    Location "Arena"
    Backstory: The bar has never been so crowded, of course. The most
    strong fighters of “Duty” will fight in the arena with the rather weak “Svobodovtsy”
    Description: The familiar arena from the bar. Team Battle mode)

    Location "Winter Pripyat"
    Backstory: Back in the fall, Strelok opened a passage to the center of the Zone, but
    Until now, the central square of the city of Pripyat cannot be divided between Debt and Freedom.
    Description: Winter, snowdrifts, snow and ice. Few people have seen Pripyat like this. Team Battle mode, vehicles available.

    About the latest location of the multiplayer CryZone Online you can
    write a whole article, since it is so full of features that the gameplay is comparable to battelfield rather than Stalker.
    About the location: Chernobyl 2. I immediately remember the installation
    The RAINBOW radar is enormous in size; a location almost 4 km in size is created specifically for it!
    Bases: Each group will have full-fledged bases. Also on
    level there are 3 neutral bases that clans can take control of.
    Equipment: Tanks, helicopters, trucks, infantry fighting vehicles, Shilkas – This was not seen in Stalker? You will see in CryZone: Online!

    Features: A huge number of gadgets, ranging from welding tools to incendiary cartridges.

  • Crunches harm the industry and burn people out

    While CDPR employees are crunching patches for Cyberpunk 2077, it’s time to dive a little into the topic. This short note will provide links to specific studies and experiments, as well as discuss various views on the problem of crunch from people in the industry.

    Overtime is perceived as the norm

    Some even approve. Many, in fact, have simply never experienced prolonged crunches. And those who have encountered it are susceptible to cognitive distortions, which is why after the fact they begin to say that “there’s no way without crunches.”.

    Approval and acceptance of crunch as a given comes from people in the industry as well. Fergus Urquhart (head of Obsidian Entertainment), believes that "there is no need to rely on crunch", while justifying the processing on the basis of creative essence.

    The creation process is complicated. I doubt that Einstein gave up after 40 hours a week, and I doubt that James Cameron only worked for 8 hours.

    Warren Spector (founder of Junction Point Studios) thinks crunch is the result of dealing with a lot of unknown factors. According to him, crunch will always exist as long as there are these unknowns.

    We work in an environment of unknowns. We usually start projects with a high-level idea and a release date and rely on others to bring those ideas to life. As we get deeper into the process, we discover that things that look good on paper don’t work in practice. What worked in prototype doesn’t work at a fully textured and lit level.

    According to Spector, the only way to avoid crunch is if you’re working on a clone of another game or a sequel.

    Former 2K Marin creative director Jordan Thomas and Naughty Dog co-founder Jason Rubin agreed with the idea. They believe that crunches have several positive aspects – they bring the team closer together.

    Naughty Dog still follows this harmful practice and "successfully" continued it with The Last Of Us II. There were problems during development at all levels. The worst thing for some Naughty Dog developers was the time when a decision at the highest level could lead to their work being canceled without them even knowing it. An artist may have been working on something without realizing that their scene had been cut or altered. They may not have known about it for days or even weeks, resulting in hours of wasted work—a demoralizing feeling compounded by other stresses of the job. Disagreements among managers also had a negative impact. This was back during the development of Uncharted 4, when Straley and Druckmann disagreed on whether there should be guards in a stealth scene, which led to three weeks of wasted work by 3 people.

    Rockstar employees sometimes worked 100 hours a week while working on Red Dead Redemption 2. This became known from interviews with more than 70 employees. While Rockstar allowed employees to talk to reporters (as long as they notified HR), nearly all of the people interviewed wished to remain anonymous. Some said they feared retaliation for speaking out about their negative experiences at Rockstar.

    Marcin Iwinski, CEO and co-founder of CD Projekt Red, calls crunch a “necessary evil,” adding that “game development is hard work that can ruin your life.”.

    Derek Paxton, a game designer at Stardock, says there’s no point in crunching.

    Crunch makes games worse. Companies struggle to promote a specific game, but in the long run, talented developers, artists, producers and designers burn out and leave the industry.

    The developers of A Plague Tale believe that there is no way without crunch, provided that they are paid for and it does not violate the law. The main thing is that you don’t need to do this in the early stages, because. To. with crunch at the very beginning of development, the team will simply burn out. Reworks are “good at the finish line” when “magic comes into play”.

    And someone not only does not receive compensation, but may also be thrown out onto the street. This was the case with the employees of Sega Studios San Francisco, who were fired when the studio closed a month before the release of Iron Man 2.

    Although creative director of Arkane Studios (Prey, Dishonored) Harvey Smith condemns crunch, he believes that creating video games is a hobby, akin to any creative activity. Like writing a novel, recording music or making a film, he says, the artistic process can be unpredictable; creativity is difficult to plan.

    I have mixed feelings about working overtime. I don’t think any company should ask people to sacrifice their lives or health to maximize shareholder returns or anything like that, but when you truly love what you do..

    In his case, it happened while working on Deus Ex. He worked 100 hours a week. And at first he even liked it, but after that he hated it.

    Rafael Colantonio says that crunches are very useful – they help bring out the best in people.

    It takes incredible effort to do extraordinary things. It’s very unlikely that anyone could create an amazing game without crunch. I would be surprised by this.

    Arkane, like many other studios, exists on the edge. Although they don’t force employees to crunch, in practice it still happens.

    Amid the resounding success of Fortnite, a story has surfaced about terrible reworkings at Epic Games. The studio needed to add content and fix bugs as soon as possible. As a result, people worked 60-70 hours a week. QA department employees complained that someone was working more. But there was no way out. To. if they refused, they were simply fired. Managers called such contract workers “bodies” because they are easy to replace. A company spokesperson confirmed the overtime and said the average contractor overtime at Epic is “less than five hours per week.”.

    Many stayed on weekends so as not to shift their work to others. There was a constant atmosphere of guilt and fear. People even recycled on their own volition, because “if they didn’t do this, then others would look askance”.

    A 2015 survey by the International Game Developers Association (IGDA) found that 62% of employees reported having crunch in their studio. Of these, almost a third meant 50-59 hour work weeks by crunch; another third reported 60-69 hours; and just under a quarter admitted to working more than 70 hours a week.

    Some managers do not explicitly force employees to engage in crunch, but use other forms of pressure.

    Many employers put emotional pressure on their employees, asking them to “make extra efforts”, “do it for the sake of the team”, etc. e, justifying unhealthy work-life balance.

    Kate Edwards Executive Director of IGDA from 2012 to 2017

    For some companies, crunches helped unite their teams and establish friendly connections. But in reality it burns people out, prevents them from continuing to work in the industry and has a very negative impact on physical, mental and social health.

    IGDA statistics confirm all this. A 2014 survey found that the most common reason for developers leaving the video game industry was “poor quality of life.”.

    People don’t mind crunching themselves

    Someone is “sick” about the project and recycles it of their own free will. Often without even receiving any compensation for it. Some people have a martyr complex. A person deliberately drives himself. Such people do not understand themselves, they focus on giving themselves to others. And when they don’t get a return, they burn out.

    There is a category of employees whose vigilance has been lulled by abstract or incommensurate compensation with costs. Witcher 3 developers reportedly received bonuses worth several salaries. For some, this is not even enough for treatment, let alone for employees who are simply burned out and can no longer work either physically or emotionally.

    Some game developers have left the industry for years, like the people who worked on Fable. After 6-7 day work weeks of 12+ hours, by the end of the project, people were simply devastated and turned into zombies. It’s not easy to ignore the harm from something like this, even despite the success of the game.

    Clark Nordhauser, who got a job at a major studio in January 2014 working on a game from a famous franchise, received a hint from the producer on his first day that “it would be wonderful if he stayed after work for a couple of hours.”. Eventually this developed into working on weekends. In the end, he could not stand it and left the studio and the video game industry.

    I’m disappointed in AAA projects with all these reworkings that are not compensated in any way. Until some kind of union is created for game developers, I will not be able to find a place for myself in the industry.

    Statistics show that many are leaving the gaming industry in search of something more stable, profitable and less stressful. Steve Holland, a former QA, admitted that he gave up his dream of developing games after he had to work 60 hours a week on games like Civilization III at Atari.

    From my observations, crunch is not a one-time situation that occurs in the final mile. No, this is a requirement if you want to build a career in the video game industry.

    Some justify crunches due to a bias in the perception of the choice made, a tendency to retroactively attribute positive qualities to the object or activity that the person chose. And here it doesn’t even matter whether the person made the choice himself or, say, his boss. The brain will distort this information to support this choice. If a person chooses option A over option B, he is likely to ignore or downplay the disadvantages of option A, reinforcing or underwriting new negative disadvantages in option B.

    You can also add irrational amplification here. Explained by three elements. Firstly, the situation requires costly resources invested in the project. In our case this is time. This then leads to a point where the project does not live up to expectations. Finally, all these problems force the decision maker to make a choice whether to continue or not.

    Crunches do more harm than possible benefit

    It’s all about productivity, really. Business tries to maximize emissions at lower costs. Experiments on the topic have been carried out since the beginning of the 20th century. The well-known Henry Ford conducted a 13-year study on the impact of working hours on employees. These experiments have been repeated in one form or another many times over the past 100 years, including in the game development industry.

    Longer periods of continuous work sharply reduce cognitive performance and increase the likelihood of a catastrophic error. In both the short and long term, reducing sleep by just one hour can lead to severe cognitive decline.

    Everything has already been invented before us

    More than a century ago, Dr. Ernst Abbe made observations of working hours and productivity at the Zeiss Optical Works in Jena, Germany. As plant director, he reduced the working day from 9 to 8 hours and kept careful records of daily output per worker before and after the change. His experiment confirmed observations from the 19th century: moderate reductions in working hours increased total output.

    Philip Sargeant Florence’s Economies of Fatigue and Unrest and the Efficiency of Labor in English and American Industry summarized the accumulated evidence from the 1920s:

    A decrease from 12 to 10 hours leads to an increase in daily productivity; further reduction to 8 hours results in at least maintenance of this value; further reductions, while increasing hourly productivity, seem to reduce total daily output.

    Productivity is not linear

    What is management trying to achieve by sending employees on death marches?? Achieve maximum output, want to produce a (good) product as cheaply as possible. At the same time, it is desirable to minimize resources that increase the cost of finished products, unless absolutely necessary.

    Let’s imagine a manager who https://rainbow-riches-casino.co.uk/login/ does not understand the issue and thinks in discrete units. Let’s say if an employee produces 16 units in 8 hours, he should produce 18 units in 9 hours and 20 units in 10 hours.

    Where O – total production volume, X – a given volume of production for a control number of hours, designated Y, A t – actual number of hours worked. In this hypothetical situation, increasing the time t – the easiest way to increase output O.

    This assumption may be valid in the limited case where operating hours are extended for a short period. But research and years of experience in other industries have shown that the limits of such surges are reached sooner than most people think.

    A more realistic representation would take into account changes in hourly productivity. These changes occur mainly due to 2 reasons: physical and mental fatigue that occurs in the later hours of a long day, and accumulated physical and mental fatigue that accumulates over a long period of crunching.

    O = P(t1, t2, t3…tn)

    Where O – general output, and P() – changes in hourly productivity that occur over time t1 – tn. In this equation P() is a function, not a constant. P() will vary depending on the employee. P() will also vary depending on the hour, because people are not machines and do not perform the amount of work evenly throughout the day. Finally, P() will vary based on past work days because people, for example, perform worse if they haven’t had enough sleep.

    Sydney J. Chapman in “Hours of Labor” (1909) gave such a diagram.

    Curve height P represents a worker’s productivity (productivity per unit time for a given number of hours worked per day).

    There is a point b, in which more hours do not create more value. In fact, after b Every additional hour worked gives a negative value.

    The Chapman diagram assumes that a workday of a given length is maintained for a significant period of time. Thus, he includes both simple and accumulated fatigue in his model. At first, the decline in productivity per hour simply reflects the effect of fatigue on both the quantity and quality of work performed at the end of a given day. But in the end, daily fatigue is aggravated by cumulative fatigue. That is, any additional output produced during extended hours today will be more than offset by the reduction in hourly productivity tomorrow and the following days.

    Michael White in 1987, drawing on extensive research in the engineering, construction and printing sectors, found that longer work durations tend to lower the long-run equilibrium level of output.

    La Jeunesse in 1999 details a series of studies in the US that provided evidence confirming that longer working hours lead to long-term decline in productivity.

    Even during one extremely long day, production can grind to a halt as an exhausted employee becomes unable to work. Or the outcome may turn negative as tired employees make catastrophic mistakes that destroy previously completed work.

    Essentially, labor productivity declines over time. A worker who creates 10 widgets per hour at the start of a shift may produce only 6 per hour at the end of the shift, peaking at 12 per hour a couple of hours into the workday. Over time, he works slower and makes more mistakes. This combination of slowness and bugs eventually reaches a point of zero performance, where each widget takes a very long time to create, and each subsequent one somehow gets corrupted. When this level of fatigue is reached, the risk of serious accidents leading to large and costly losses increases.

    When developing Call of Juarez: The Cartel, the developers from Techland were full of enthusiasm, but due to fatigue they made mistakes that later had to be corrected. People worked 7 days a week. After finishing crunches, some people’s immune systems simply shut down and they immediately fell ill.

    From a knowledge worker’s perspective, a programmer produces more good code and fewer bugs when well rested. We spend about an hour to enter working mode. The next few hours are usually the most productive. Later in the day, when we are already starting to get tired, productivity drops – it takes more time to fix a simple mistake or add a simple feature that we would have processed in a few minutes at the beginning of the day.

    But management sometimes doesn’t care about employees at all, or they are simply incompetent. During the development of Battle for Middle-earth, developers were forced to work 7 days a week. And if “you are not at work on your day off, then blame yourself – even if you are sick”.

    A study by the Institute of Management (Worral and Cooper, 1999) found that 68% of managers surveyed believed that their long working hours had a negative impact on their productivity. Similarly, a US survey found that 62% of US managers agreed that shorter work hours give workers greater incentive to be more productive (US News, 1997).

    5-day with 8-hour working day as standard

    At one time, after the publication of ea_spouse in LiveJournal, conversations about the quality of life in game development gained new life and relevance. Thousands of people online took part in the discussion.

    In response to that post, the Work Less Institute of Technology published an article “PSYCHOPHYSICS IN CYBERIA”, which referred to the research of Dr. Ernst Abbe.

    Ernst Abbe, the head of one of the largest German factories, wrote many years ago that a reduction from nine to eight hours (by more than 10 percent) does not entail a reduction in productivity. At the same time, with an increase in working hours, there is a decrease. This statement by Abbe seems to remain true after millions of experiments around the world.

    In Prosperity Covenant, Tom Walker writes that output does not rise or fall in direct proportion to the number of hours worked. In 1848, the English Parliament passed a ten-hour workday law, and total output per worker per day increased. In the 1890s, employers experimented widely with the eight-hour workday and repeatedly found that overall output per worker increased.

    In the first decades of the 20th century, Frederick W. Taylor, the founder of scientific labor organization and management, prescribed a reduction in working hours and achieved a significant increase in productivity per worker.

    In the 1920s, Henry Ford experimented with work schedules for several years and finally introduced a five-day, 40-hour workweek with six days’ pay in 1926. For what? Because his experiments showed that the workers in his factories could produce more in five days than in six.

    Increasing working hours only reduces productivity in the long run

    With a 60+ hour week, a small increase is actually noticeable. This works for a few weeks, after which the expected decline occurs.

    Intuitively, many people believe that a worker who produces 1 widget per hour during an 8-hour workday can create 8 to 16 widgets during a 16-hour workday. This is the basic logic behind crunches. But labor productivity largely depends on the past days. From the summary report "Scheduled Overtime Effect on Construction Projects" published by the Business Roundtable in 1980:

    If a work schedule of 60 or more hours per week continues for more than 2 months, the cumulative effect of decreased productivity will cause the project completion date to be delayed beyond what could have been achieved with the same team size in a 40-hour week.

    Productivity drops when working 60 hours a week compared to a 40 hour week. Initially, the extra 20 hours per week compensates for the loss of productivity, and overall output actually increases. But a Business Roundtable study says productivity starts to drop very quickly when moving to a 60-hour week. In about two months, the cumulative loss of productivity had decreased to the point that the project would actually go further if you just stuck to the 40 hour work week all the time.

    The same report cites studies that show overall productivity in an eight-hour workday is 16% or 20% higher than in a nine-hour workday.

    A 2017 study by Marion Collewet and Jan Sauermann on call center workers found that as the number of hours increases, the average call handling time increases, meaning agents become less productive. This result suggests that fatigue may play an important role even in predominantly part-time jobs.

    An impressive analysis on Gamasutra showed that crunch in no way improves the final result of a game project and does not in any way help the project get out of its predicament.

    Effect on the body

    People don’t get enough sleep during crunches; some people sleep right at work. During these periods, a sea of ​​coffee and energy drinks are consumed, which in themselves burden the body, and then there is also stress from overwork and lack of sleep.

    Brett Douville, who worked on Star Wars: Republic Commando and many other games at companies such as Bethesda and LucasArts, said that after a long period of overtime and 70-80 hour weeks, at some point he could not even get out of the car, because. To. he had no strength at all. He sat in the car for almost an hour, not really knowing what to do. At the same time, the only thoughts spinning in my head were that every minute was precious until they released the game. Yes, the first thing he thought about in his situation was the release of the upcoming game, and not a possible heart attack.

    Good sleep is the key to productive work

    Colonel Gregory Belenky, director of neuropsychiatry at the Walter Reed Army Institute of Research, conducts research for the Pentagon on improving the productivity and combat readiness of soldiers in combat environments. In his 1997 article "Sleep, Sleep Deprivation, and Human Performance in Continuous Operations," he writes that mental performance decreases by 25% for every 24 hours of continuous wakefulness. Sleep-deprived people can maintain accuracy on cognitive tasks, but speed decreases as time spent awake increases.

    In the study, FDC [Artillery Fire Control Center – ER] teams from the 82nd Airborne Division were tested in simulated continuous combat operations lasting 36 hours. For 36 hours, their ability to accurately determine range, azimuth, altitude and charge was unimpaired. However, after about 24 hours, they no longer understood where they were relative to friendly and enemy units. They couldn’t understand what they were shooting at. Earlier in the simulation, when there was a request to strike a hospital, the team assessed the situation, the nature of the target and rejected the request. Later in the simulation they begin to fire without hesitation, regardless of the nature of the target.

    Continuous work reduces cognitive function by 25% every 24 hours. Several nights in a row have a serious cumulative effect.

    Lack of sleep impairs complex cognitive abilities, including the ability to understand, adapt, and plan in rapidly changing circumstances. Various sleep deprivation studies indicate that mental operations involving the prefrontal cortex are particularly susceptible to degradation due to sleep deprivation. 36 hours of sleep deprivation resulted in consistent declines in cognitive tests including verbal fluency and nonverbal planning, both of which are tasks with significant involvement of the prefrontal cortex.

    Their model, based on empirical results from laboratory and field studies, suggests that 7-8 hours of sleep each night is needed to maintain high levels of performance over days and weeks. A consequence of sleep deprivation is a decrease in the mental abilities that support situational awareness and tactical acumen.

    Designer Clint Hawking, who worked 70-80 hours a week on Splinter Cell: Chaos Theory, wrote about memory loss as a result of the stress and anxiety associated with developing the game. As a result of stress and lack of sleep, at some point he realized that he had completely lost his memories of some events from the past. Even when his friend, who had visited him 6 months before the conversation, tried to discuss the last visit, Hawking not only did not remember any individual episodes, he had no memories of that trip at all.

    In a study of nearly 6,000 British civil servants followed for about ten years, working 3 or more hours of overtime per day was associated with a 60% increased risk of heart disease, including heart attack, angina and death from heart disease.

    More likely to make mistakes

    During crunch periods, the percentage of errors increases. While most of them will be easy to fix, some may be worth the entire rework. Longer hours and lack of sleep (just 1-2 hours less per night) seriously impair the ability to use the brain productively.

    It has long been known how closely fatigue and accidents at work are interconnected. It can be seen everywhere that in the first hours of work, when fatigue does not play a significant role, the number of accidents is small, and this number decreases again after long pauses.

    Employees suffering from burnout are more likely to make spontaneous and irrational decisions. An analysis by the British Psychological Society found that participants with signs of burnout showed more spontaneous and irrational decision making. They were also more likely to avoid making decisions.

    Moreover, according to a study from the British Medical Journal, employees who work more than 48 hours a week are more likely to drink heavily than those who work a standard week.

    In a study on the effects of sleep deprivation, researchers from the University of Pennsylvania found that subjects who slept 4 to 6 hours a night for 14 consecutive nights showed significant cognitive deficits equivalent to not sleeping for up to 3 days in a row.

    Intern studies have shown that staying awake for 21 hours is as harmful to drivers as having a blood alcohol concentration of 0.08, which is the legal limit for drivers in the United States.

    The report is the latest in a series of studies by researchers at Harvard Medical School and Women’s Hospital in Boston to quantify the dangers associated with long shifts with little rest. Researchers say working more than 24 hours causes trainees to make serious medical errors and poses a threat to public safety.

    Lack of sleep leads to disasters

    On the night of March 24, 1989, the giant oil tanker Exxon Valdez set sail from Valdez, Alaska, into the calm waters of Prince William Sound. In these clearest possible conditions, the ship made a planned turn out of the shipping channel and did not turn on time. A huge tanker ran aground, causing a million gallons of crude oil to spill. In its final report, the National Transportation Safety Board (NTSB) found that sleep deprivation was a direct cause of the crash. The immediate cause of America’s worst oil spill was that the third mate had slept only 6 hours in the previous 48 years.

    The final report of the Rogers Commission (on the Challenger accident) stated that the decision to launch during the critical teleconference was wrong. The Human Factors Analysis section suggests that lack of sleep "could have been a significant contributor".

    Space Transportation System Number 6, Orbiter Challenger, lifts off from Pad 39A carrying astronauts.

    Many studies note that lack of sleep affects mental and physical performance differently. Unlike complex mental abilities, sleep deprivation does not affect simple psychomotor performance, physical strength and endurance. For example, a soldier can fire in just as tight a group at a fixed target after 90 hours without sleep as after a good rest. However, when shooting at targets that appear in random places on the shooting range, the effectiveness drops by 10% of the base level.

    If you are interested in learning how this works on a physiological level, I recommend watching the video from AsapSCIENCE.

    Recovery

    Working more than 40 hours a week, regardless of the breakdown, results in the need for recovery. And the recovery period is usually longer than the crunch period.

    Some people claim that during crunches they are actually more productive and that they get more done. But this is only an imaginary feeling, which for the most part has nothing to do with the real picture. The increase in productivity lasts only for the first time, after which it falls, but at the same time the feeling that a person is doing more does not go away as usual.

    In the midst of crunch, you may be working hard (see. also the sunk cost fallacy). And then you try to convince yourself that it was the right decision. At the end of Indie Game the Movie, reflecting on the past year of depression and isolation, Edmund McMillen, watching the sales of Super Meat Boy skyrocket, says that “it was worth it.”.

    It takes great courage to admit that there is a possibility that you have made a mistake that has cost you hundreds or thousands of hours for no benefit. Instead, especially after the emotional turmoil of launching the game, it’s much easier to believe that all this agony was worthwhile.

    Actual productivity turns out to be much lower than imagined, which neutralizes the whole overwork idea.

    The reason for this is that even if they do more real work, when people work more than 35 hours a week, they come at a cost in productivity. This is because there are too many hours:

    Costing you because of the wrong higher level decisions you make (i.e. what you decide to work on in the first place).

    It costs you a lot because of the opportunities you miss because you are too focused on your work and too stressed.

    Productivity isn’t just about the work you do; it’s the work you do minus the time and energy you spend cleaning up the consequences of your mistakes and bad decisions. Research has shown that after you work more than 35 hours a week, especially when you’re doing something creative, you tend to do more harm than good.

    Ford, after announcing the 5-day work week, gave an interview where he spoke in more detail about why at that moment it was the most favorable time for these changes. He thought about everything globally within the framework of the economy of the entire country.

    Business is the exchange of goods. Products are purchased only as needed. Needs are only satisfied when they are felt. They mostly make themselves known during leisure hours. A person who works 15-16 hours a day ultimately wants only a corner to sleep and a piece of bread. He doesn’t have time to develop new needs.

    People with a five-day work week will consume more goods.

    People with more free time have more clothes. They should have more variety of food. Naturally, they should have more services of various kinds.

    As a result, he notes that a five-day week is not the final solution, nor is an 8-hour workday. Ford assumed the next step would be to shorten the workday rather than the week.

    Fewer hours is better?

    Changes or differences in working hours do not result in the same changes or differences in work efficiency because people tend to work more efficiently during shorter hours.

    Denison (1962) suggested that at the level of working hours in 1929 (when weekly working hours averaged 49 hours over 52 weeks), the reduction in hours would have been fully offset by the increase, which would have left output unchanged. In 1957 (when the average workweek was 40 hours), Denison observed that a ten percent reduction in working hours would result in only a six percent reduction in output.

    La Jeunesse (1999) argues that shorter workweeks lead to higher productivity based on efficiency wage theory (Akerlof and Yellen, 1986), which argues that there are good reasons why higher wages can lead to greater productivity. This is due to the fact that higher wages lead to greater employee motivation, reduce staff turnover (if the offered wages are higher than competitors), and attract higher quality and highly qualified candidates. Reduced staff turnover, in turn, leads to reduced training costs. Evidence supporting this theory comes from Ford Motor Co. in 1914, which achieved increased productivity by significantly increasing wages and reducing working hours.

    La Jeunesse (1999) suggests that a shorter workweek will similarly lead to increased productivity. By working less, employees have more time to improve their health, invest in their training, are more rested and alert during work hours, and therefore make fewer mistakes.

    In 2017, a 23-month experiment in Sweden involved 68 nurses in two groups: one working a regular 40-hour workweek and the other working a 30-hour week. The goal was to determine what impact (if any) fewer hours would have on employee productivity and job quality. Like all research, it has its own criticisms, but the findings can nonetheless be used to inform employee wellbeing and engagement practices around the world.

    Researchers who followed nurses noticed that they worked more efficiently with two fewer hours in their daily schedule. They became more adept at time management and were even able to spend more time with their patients.

    Nurses were also more likely to go above and beyond to provide exceptional care. One researcher noted that "they had more time to sit and listen, read a book, watch the newspaper with them, or comfort those who were not feeling well". This increased standard of care is extremely beneficial for patients, especially the elderly and those suffering from mental illness.

    Shorter work hours not only produced better outcomes for patients, but also improved employee health. It found that nurses who worked six hours a day used 4.7% less sick leave and were absent less frequently than their colleagues who worked eight hours a day. In contrast, nurses working eight-hour shifts increased their use of sick days by more than 60% during the study.

    Stress levels were also significantly reduced during the trial, which contributed to improved mood and energy among staff.

    It is important to note that fewer hours of work did not affect nurses’ wages. Although this made the experiment more expensive in the short term, proponents argue that the reduction in work hours would actually reduce costs in the long term due to significant improvements in employee health, productivity and work quality.

    The study concluded that nurses working six-hour shifts were generally more active, less sick, less stressed, and had less back and neck pain than nurses working eight-hour shifts.

    In New Zealand, a company that tried a four-day work week claims people were more creative, more punctual and more energetic.

    For two months, 240 Perpetual Guardian employees worked 4 days a week (32 hours instead of 40) and received a salary of five.

    Jarrod Haar, professor of human resources at Auckland University of Technology, said employees reported an improved work-life balance.

    What to do?

    Among the current good examples, we can recall Supergiant Games, which recently released Hades. There are no crunches in the company and there are even forced holidays. The secret of the studio is the combination of personalities in the team. Many studios have problems with burnout, layoffs, or other equally detrimental factors. Supergiant – no. 10 years later, all 7 people from Bastion are still working for the company, along with 10 new employees who were hired during other projects. Greg Kasavin, the studio’s game designer, attributes this to a conscious focus on health and personal growth.

    Chad Grenier, game director for Apex Legends, opposes crunch and says Respawn refuses to force the team to do it in order to deliver content faster. Replying on Reddit, Grenier noted that they are against crunches. To keep up with adding content to the game, they expanded the team by 2 times from the launch of the game. However, before this summer, an anonymous employee complained about crunches in the company. At that time, Grenier explained this by quarantine and the difficulty of working remotely.

    Morgan Jaffit, creative director at Defiant Development, which developed Hand of Fate, says the company doesn’t practice crunch at all. The studio management believes that it is counterproductive to force employees to overwork.

    Employees are not our property. We ask them to work no more than 8 hours. It seems to me that if something doesn’t go according to plan, then management should sacrifice time, not ordinary employees. After all, it is precisely this that is to blame for the problems that arise during development.

    The reasons for crunches are usually always the same. Derek Paxton explains that, in general, the gaming industry places little emphasis on management. Many producers either don’t have the experience needed to handle these large and incredibly complex projects, or the company doesn’t give them the authority to do their job. Producers become communicators and assistants rather than team managers, and in some companies they are considered subordinate to game designers (because “the game comes first”!").

    He notes 4 key external forces that cause crunches:

    And instead of discussing problems with the publisher/investors, many studios prefer to remain silent and impose crunch on the team, because. To. otherwise they might lose the contract altogether.

    The industry needs to acknowledge that crunch is harmful. We need to stop taking them for granted and justifying them. It is important to maintain the right culture within the company.

  • Crossout: Video preview

    Flash on the right! Left! Ugh, the wheel fell off!
    This is roughly how carnage occurs in the post-apocalyptic Crossout, which goes into the open spaces of MBT. Thanks to the designer and the damage system, Crossout is not just another free session, but a session with ferocious rides and spare parts flying in all directions.

    Crossout

    Best comments

    This is, of course, meh. When half a review tells how cool it is to assemble your own cars, but in practice it’s quite a funny thing: I put more than two or three parts on a standard template? Insolent catcher, exceeding the maximum number of parts! I decided to rebuild everything from scratch? Why reassemble if the parts are the same??
    Apparently, without long hours of level grinding to increase parts and grinding on the parts themselves, you won’t be able to assemble anything.
    Hmmm.

    What do you mean by this earthling? My translator doesn’t understand

    Until they bring in a drum cascade and a wall of speakers with a guitarist tied to them in order to buff their comrades with music for healing and speed – I’m not interested (just kidding).

    It looks interesting, but I would still like more texture, more raider flavor or something, so that together with the Half-Life brothers we would go out on the road of fury and rush towards Valhalla.

    After this video I wanted to play https://cosmicslot.co.uk/games/ even more. But in WoT promotions, Painkiller was not completed, in CS GO there was an operation, in Gvint MBT the Northern Kingdom was shoveled again, and factorio did not let go for a minute.
    It seems like a session, but still there’s not enough time.

    Welcome to the galactic junk league or robocraft, the number of penis-shaped vehicles is at a high level =)

    So the other day I was fascinated when under the news about this game it was written “press release”. Apparently, this is a rare case when the game is not bad anyway, but it can also be advertised. In principle, I liked the idea with the constructor from the very beginning. Of course, it’s a pity that you have to grind a lot, but maybe everything is not so bad and in cooperation with friends it will be fun and useful, which means time will also fly by unnoticed.

    The parts themselves for the car designer do not take long to assemble. Know and raise the level, for each they will give you a pack. But it takes longer to assemble the equipment.

    P.S. It was different before. The equipment was inexpensive, but had durability, and for each defeat the strength was taken away, and then reassembled.

    They could have stocked up on footage from the CBT. Pressing the LMB with a machine gun is, of course, the main type of gameplay in Crossout, but hitting someone from behind with a two-meter pike with a warhead from invisibility, or taking out enemies with a sniper minigun while going out onto a hill like the heroine of one song is also fun. Yes, and on the harp there you can cut quite quickly. And it’s true that you can extinguish huge leviathans, most often they are you).

    But, to tell the truth, those who played tanks will not discover much new for themselves. The game is a team game, and therefore you will SUFFER regardless of your skill, car and position of the stars in the sky.
    And yes, machine guns are our everything at the moment. The rest is a lot to show off

    I look at the footage and remember Tostya at Igromir 2016, when he stared at the Intel stand, attaching a gun to the cab of a Kamaz and couldn’t help but hit anyone.

    For me, the plus is that Crossout has the main module – the cockpit, if it is destroyed, the whole car explodes, so you think about how you can armor it. Robocraft also used to have a seat with a pilot, but when it was removed, some charm was lost. The setting is post-apocalyptic, there are “native” parts, like the cab of a Kamaz or Gazelle, but the games are similar, you need to grind in both.

    The developers responded to me on Youtube with a project trailer. As it turned out, my instincts did not let me down – Crossout is being developed by the same people who made Ex Machina and the events of the game take place in the same universe as the original project.
    Thus my previous statement

    Although I’ve walked a little further now – it seems to have gotten a little better, but just a little. The limit of parts for a full-fledged gazelle is still not enough, and I also discovered a completely idiotic limit on the number of saved cars.
    Damn, nothing stops me from assembling the car I need every time, but this, damn it, is a waste of my time, what the hell?

  • If you criticize, suggest. I suggest.

    Comments like these lead me into heavy thoughts about the eternal. I would like to fall into the state of a philosopher right now and spend your time thinking about why people love to criticize so much, but don’t like being criticized so much. I’d like to, but I’d rather spend my time apologizing.

    If you thought this was just another blog from someone offended by StopGame blogging and have already stocked up on popcorn and cons, then I apologize for the clickbait. This blog is not about criticism StopGame, and about what appeared thanks to him and the local blogers.

    Long story short (as someone said Andrey Artamokhin): I didn’t like the last part of my favorite series, so I decided to make it myself and show it to you, because I need your opinion (not criticism). Why opinion and not criticism?? I’ll try to explain below.

    BACKGROUND AND PSYCHOLOGICAL TRAUMA

    Criticism can either help or quite the opposite. I gave an example of the latter in a blog about a collapsed community of artists, when, criticizing with good intentions, we all unnoticed turned into toxic cretins.

    Yes, too much criticism allowed us to become perhaps the best representatives of the program in which we worked, but at what cost?? We don’t communicate with each other, and some talented guys have stopped doing it altogether. Could we be better without this very criticism?? "Absolutely"™, it would just take longer.

    For me, this became a kind of psychological block (and maybe even a trauma), which cemented an obsessive thought in my head: “Destroying someone’s creation is much easier (even with the help of words) than doing something yourself, so it’s better not to resort to such a difficult matter from a moral point of view”.

    This idea applies to almost any creative activity, including blogs on StopGame. It seems to me that the approach to writing blogs directly depends on which magazine a person began his journey into the world with "video game journalism".

    For some, they became a guide to the world of video games Game.exe, Gambling addiction, Maybe Great Dragon, and someone was lucky to stumble upon Spire! — a text version of SG before SG himself delved into the gameplay.

    Only in Spiele!, while reading a review of some Devil May Cry 4, you could simultaneously learn about “how the author neutralized an anime fan’s friend with a stack of blanks with the latest releases and how he tried to beat the game in a tent by the sea, but so annoyed his neighbors with loud complaints about the controls that they eventually slipped a gamepad under his mattress (and at the same time a bear from Danganronpa)”.

    IN Spiele! there was no term "bad game", but there was a regular column "Atstoy" which games these games were in. They also showed how to get rid of "Atsoe-bearers" (discs with bad games), sending them flying in a balloon, for example. The authors there were simple players, but they managed to produce such gems that they are remembered ten years later.

    It’s a paradox, but in such a booth the guys managed to talk about games much better than their colleagues – serious gamers from the magazine Gameplay in which, by the way, the chief editor was Sergey Galyonkin.

    However, everything has changed "when I came https://31bets.co.uk/games/ people fireanother different editor-in-chief" and tried to play serious games. This approach sucked out all the fun and creativity, and the magazine itself gradually went into the sunset, changing its slogan along the way "You and I are of the same blood" on "What if we no longer have blood?».

    The magazine was left without blood, but its soul managed to move into StopGame, and judging by the comments on the blog by Beowulf (where there were references to the magazine), I wasn’t the only one who rushed after her and ended up here. Both the site’s authors and blogging members have shown that materials on video games can still entertain, amuse and be educational, and most importantly, you don’t have to pretend to be a critic with the objectivity mode turned on.

    But times, like morals, change..

    WHAT WE FIGHTED FOR, IS WHAT WE FOUND FOR

    I understand why Spire! And StopGame once upon a time they chose such an entertaining format – because previously the games themselves were considered nothing more than entertainment and the lot of nerds and children (in the CIS countries, of course).

    The eSports tournaments that we now have are not lagging behind the world ones (not the one where they wasted a lot of money), used to fit in a small computer club, and the eSports players themselves looked like those guys from the back desk who laughed at jokes about Pythagorean pants. And the prizes were appropriate: gaming peripherals, a certificate and vague prospects of going somewhere to Europe to lose there (of course, exceptions in the form of the same A-Gaming were).

    And it was infuriating. It was infuriating that games were not perceived on an equal basis with books, films, music, cartoons in the end. But time passed, the ice broke, and now we are on par with the rest of the world in terms of perception of video games. Almost everyone plays now. Games have become not only a part of our lives, but also an important part of the entertainment industry, which means they have begun to bring in serious money.

    And where there is serious money there will always be scandals, intrigues and investigations. It’s already 2019 outside the window and the igrozhur has noticeably turned yellow. War on YouTubers, "fight for the rights of the oppressed" (link to every second article Kotaku), standing up for the offended and searching for developers’ dirty laundry have pushed aside a key element of the entertainment industry – entertainment itself. And it will reach us, albeit belatedly. Perhaps there is something wrong with the gamers? But the players themselves are no better.

    It’s enough just to wander through blogs, news and comments to understand that we deserve everything that happens to us. Is it good when a person, after sharing his positive feelings about the game, receives accusations of being a shit eater or lack of critical thinking?? Is it good when developers who released a bad patch receive thousands of threats and insults from disgruntled players (obviously this patch ruined their lives, so now they are threatening the lives of the developers themselves)?

    For example, you publish a blog about visual novels and help Pauli with a choice of novels to stream and even Celebro comes under your blog. Bloggers actively upvote and everything is fine, and then your text is copied to Pikabu and now it turns out that StopGame"strange guys", and the author himself "some kind of stupid" because I didn’t mention a particular user’s favorite novel.

    But the author simply would not have been able to adequately criticize this novel (without descending into throwing poop) and thereby prove that it has no place on the blog, so he chose not to mention it. Is this really worse than if the author "insulted" fans of some novel with their inept criticism?

    The situation is also aggravated by the unequal position of the author and the commentator. The first one spent a lot of time and effort creating a blog, and the second one only spent a small part of his time reading and commenting. BUT, if the second one had not spent his time, then the works of the first one would have no meaning at all. This is an ironic symbiosis without which both cannot exist.

    Sooner or later, reinforced concrete arguments in the form of two folk wisdom begin to come into play: “You don’t have to be a chef to appreciate a dish” And "Peaseranting is not moving bags". Regardless of the attitude towards them, it is foolish to deny that both phrases appeared for a reason and have sufficient reasons for their existence.

    I am more inclined towards the second one and before you hit me with a minus on the head, I ask you to wait until the next section. After all, not only the phrase itself is important, but also the context, yes?

    AND CRITICIZE THE DISH AND ROTATE THE BAGS

    There are people who can fit in two chairs without any problems: they can both criticize well and be able to do what they criticize themselves. These are cool people. I don’t know about you, but, unfortunately, I’m not one of them. The reason is simple – I have a sad experience of criticism and, moreover, I have a sad experience of developing games.

    Having taken part in the development of the game, a person radically changes his attitude towards this sometimes hellish work. It seems to me that 90% of amateur games do not survive to release precisely because of illusions about game development. “Quacked, spat and taped together” according to the behests of the Madagascar penguins, you can’t achieve a good result here, at least Greenlight/Direct sometimes we were not proven otherwise.

    Let’s take for example one of the futuristic Call of Duty (let’s escalate the situation) Infinite Warfare or Black Ops III. For the average player, the changes are practically invisible, for a true fan of the series they are already tangible (regardless of the attitude towards them), but only for the developer they will be what they essentially are – many days of work by dozens of different specialists.

    Even such minor (according to the average player) changes as jetpacks and running along walls radically change the approach to working on the game, and ultimately the game itself. Level designers need to adjust levels to these mechanics, animators need to rework and synchronize a bunch of animations, and programmers also need to make it all work organically. Any mistake in such a connection will lead to a chain reaction.

    Let’s say someone has already done this (Titanfall, for example), but is it so easy to copy other people’s work?? If so, then the poor guys from today Bioware it would have been a worthy answer to Destiny, not Anthem, which is just another confirmation of the phrase “F**k – don’t move bags” (you can read about their relationship to Destiny here)

    This shows how thoughts about games begin to change as soon as you get at least some experience working on them. Especially if he’s sad.

    Like many, for me it all started with map editors in strategies and smoothly flowed into more specific things – RPG Maker‘s on Playstation 2. But over time, the delight from the new opportunities gave way to sadness from numerous artificial restrictions. I had to look for new tools.

    I am infinitely far from the exact sciences, so serious tools were immediately dismissed, but I came to the rescue Java. And so, about 9 years ago, we managed to create the first semblance of our game in the language Action Script. By some miracle I managed to save the swf file, so we have the opportunity now, according to the behests Tonstantin Prokrastenyuk, catch together "a couple of cakes".

    IN Time waits for no ONE (matches with Queen random) the main character woke up in a world without people. Because of this, even places well known from childhood are now perceived differently. The player does not have any global task. He simply moves around places familiar to the hero, studies them and puts together a picture of what happened.

  • Cossacks 3: Video Review

    No matter how wonderful the feeling of nostalgia for games is, let it remain only in your head. Otherwise, it’s hard to look at some new projects made according to verified canons without pain. Either there are bugs up to the neck, or the balance is lame on both legs and arms. So what happened to the Cossacks?? Now we’ll find out.

    Cossacks 3

    Best comments

    I agree with the verdict, it was necessary to call something like Cossacks: HD or Cossacks: Return of the Legend, but not Cossacks 3

    In this case, as Comrade Jozheg said, there was no need to add the number 3 in the title. It seems to me that there is some miscalculation in the field of marketing. This damn figure immediately positions the game in people’s heads as a continuation. And people, accordingly, are waiting for the development of the concept, and not just repetition. And the words spoken by the developers in interviews will not change anything, at least because not all of these interviews have been seen.

    Well, in the game this is the Zaporozhye Sich/Hetmanate, “Ukraine” conditionally. In the 17th century it was just a force to be reckoned with. Its own court, army, church – what is not a country?

    And no, before the partition of Poland it was not completely. And are you generally aware of the UPR??

    What difference does it make to https://rainbow-spins.uk/bonus/ me as a consumer what they said somewhere?? The game is called Cossacks 3, I buy Cossacks 3 and what do I see?

    They want a discount because Grigorovich and a former cleaning lady from GSC work for them – let them give a discount on their buggy remastered. They sell for the price of The Witcher 3, with bugs to the hilt, and even without 18th century ships, half the countries, map sizes, balance and a million other things – they get well-deserved ratings.

    If I’m not mistaken, the game is about the period when the Zaporozhye Cossacks, led by Bohdan Khmelnytsky, rebelled against the Polish-Lithuanian Commonwealth (roughly Poland) and formed their own state, the Hetmanate. Later, Khmelnitsky accepted Russian citizenship. As a result, after a fairly long war between Russia and Poland (1654 – 1667), during which a split occurred within the Getmashchyna, Left Bank Ukraine found itself as part of Russia, and Right Bank Ukraine became part of the Polish-Lithuanian Commonwealth. And for a long time (until 1764) the Hetmanate retained fairly broad autonomy, although it was part of Russia.

    In this case, it seems to me, there was no need to put the number 3. In order, firstly, not to create the illusion of continuation and development, and secondly, to distance ourselves from the second part. In my opinion, it was necessary to emphasize in the title that this is a return to the roots of the original game, just in an improved wrapper.

    Is it really necessary to know that there is a whole series?? I just see it this way: a person sees the number three in the title and starts looking for information about the first two parts in order to get an idea of ​​the series. And what does he find?? The second part is very different from the first. In such a situation, it is logical to assume that the third, especially taking into account the passage of time, will contain some kind of development and change in ideas. Moreover, most likely it will build on its development from the second part. To me, this is more than logical. And in this context, the player’s expectations really are not met. Let me emphasize once again, in my opinion, this is simply not entirely correct positioning, a purely marketing miscalculation.

    The balance was the same in the first one -_- but still not so critical
    It’s a shame that even though it’s a remake, some of the features weren’t carried over (map size, desert)

    The most important thing. Drummers don’t drum constantly as they move =(

    I personally didn’t catch the Cossacks at the time of their exit. At that time I was playing other strategies) Tzar (we have Fire and Sword) and War and Peace (and the sequel The Second Crown). Damn it, I still play them calmly) But having tried these Cossacks, I unfortunately don’t see anything special in them ((I probably should have done this on time. But on the other hand, it’s good that RTS come to life a little bit)

    It’s a shame that because of the number 3 in the title, everyone thinks that this is a continuation of the series, they are waiting for development and give ratings based on this. It’s just that from the very first day the developers said that it would be a remake on a new engine and never promised anything else. And in the end the rating was lowered for something that, in principle, was not worth waiting for, because no one promised such a thing.

    Come on? The deluxe edition costs the same as the mentioned Witcher 3 – $20. True, the regular edition costs less – $12.5. But still, there’s no need to talk about it here. Remake for the price of the full game – Ubisoft-level marketing (Heroes 3 HD).

  • Cosplay is an innovative form of leisure for young people

    The actualization of issues of organizing youth leisure is due to the fact that, in accordance with their sociocultural needs, the younger generation devotes their leisure time mainly to such factors as: entertainment, communication, self-education, etc. In youth companies and peer groups, a special youth subculture is formed, influencing the development of the personality of young people. Leisure is the most important means of developing a young person’s personality, communication, knowledge of the world, self-improvement, acts as a means of developing new forms of personal creative self-expression.

    According to a number of researchers, young people, as a specific socio-age group that is in the process of active professional and social development, due to age and psychological characteristics, adapt more effectively to the trends of the constantly changing surrounding reality. Many modern scientists believe that the boundaries of young age are very arbitrary. This entire interval can be roughly divided into three subsections: adolescents – up to 18 years old, youth – from 18 to 24 years old, young adults – from 24 to 30 years old.

    Modern cultural studies determines leisure as a process of creating conditions for a person’s motivational choice of objective activity. This process is determined by the needs and interests of the individual. As noted by Belarusian researcher I.L. Smargovich, leisure innovations are understood as phenomena in this sphere of activity that did not exist at previous stages of the development of society and which found their manifestation either in completely new forms of leisure activities, or in transformations of pre-existing forms, as well as in the conditions and consequences of these changes.

    In his book “Fundamentals of cultural and leisure activities” Smargovich I.L. notes the most popular forms of youth leisure, and also divides them into traditional and innovative. Traditional forms include:festivals, competitions (dance, vocal, etc.).), participation in amateur groups (music groups, theater groups, dance groups, etc.), competition and game programs, intellectual games ("What? Where? When?", "Brain-ring", "Smart Men and Women" etc.),intellectual and educational programs, summer recreation and sports camps, holidays, concerts, youth themed events, tourism, discos.

    Innovative forms of youth leisure include: role-playing and role-playing games (“Fight”, “Photo Hunt”, role-playing games for fans of fantasy, the Middle Ages, knightly tournaments), KVN, informal youth associations, extreme sports (paintball tournaments, extreme driving courses), extreme tourism, performance, Internet technologies (Internet projects, online role-playing games, communication, etc.).

    Among the most popular innovative leisure forms we can confidently highlight cosplay, which has similar features of a role-playing game, allows the individual realize your creative potential.

    Term "cosplay" comes from English "costume play", which translates to costume play. Cosplay implies complete transformation into a character (anime, manga, computer game, etc.).d.), dressing up, putting on makeup, role-playing. Cosplayer’s challenge (cosplay participant) – maximum correspondence to the selected character. The cosplayer strives to fully reveal his character, copy his behavior, manner of speaking, phrases and gestures, show his character.

    Cosplay has similar features to role-playing games, but it is worth noting that this is not entirely true. A role-playing game is a game for educational and entertaining purposes, a type of dramatic action, the participants of which act within the framework of their chosen roles, guided by the nature of their role and the internal logic of the action environment; together they create or follow an already created plot. The actions of the game participants are considered successful or not in accordance with pre-adopted and agreed rules. Players are free to improvise within the chosen rules, determining the direction and outcome of the game.

    Also one of the distinguishing features cosplay from role play is a costume. Modeling costumes in historical restoration clubs (for example, knight clubs) aims to restore historical events of a particular country or a specific general historical event. As part of the events implemented by historical restoration clubs, historical costumes are modeled and role-playing games are held, as well as various costume parades, balls and tournaments on specific historical topics.

    Cosplay, unlike a role-playing game, it does not adhere to certain rules and represents a whole creative process from the creation and embodiment of an image to its direct display. Main prototypes cosplay are characters from cartoons, anime, video games, films, comics, legends and myths. It is worth noting that real-life characters can also act as prototypes – for example, musical performers and groups.

    In the process of becoming cosplay was a phenomenon of Japanese culture (initially divided only into cosplay on computer games, anime and manga). Over the last decade cosplay gaining popularity in the USA, Europe, Russia and Belarus (cosplay based on American Disney cartoons, films, literary works). In many European countries cosplay began to form on the basis of clubs and societies for lovers of Tolkien’s work and science fiction. However, in Japan cosplay has long been part of the national culture. Under the influence of the current, thematic exhibitions and festivals began to be organized in Japan, and maid cafes were opened (themed cafes in which, depending on the “theme of the week,” the staff transforms into heroes of anime, manga or computer games).

    Currently, there are quite a few trends in Japanese fashion, which are often classified as cosplay. These include such trends as: lolitas, gothic, fruits, visual kei, koguro, gyaru, ganguro and other types of street fashion that are widespread in Japan.

    For example, lolitas wear dresses stylized as costumes from the Victorian England and Rococo eras, hats, bows, etc.d., and the image of Lolita itself is the image of a sweet girl close to a princess.

    Cosplayers demonstrate their costumes either at themed festivals (both group and solo work is possible), or in a series of photographs (photocosplay) or on video (videocosplay).

    On the current interest of young people in cosplay indicates widespread cosplay festivals. Among the most famous: “San Diego Comic-Con International” (San Diego), “Star Con” (St. Petersburg), “Manifest” (St. Petersburg), “Hinode” (Moscow), “Animatrix” (Moscow), “Comic Con Russia” (Moscow), “UniCon” (Moscow), “Animania” (Nizhny Novgorod), “Imagiro” (Lipetsk), “AsiaBreeze” (Ekaterinburg), “Anime Festival” (Voronezh), “OTOBE” (Kyiv), “White Foxes Are Coming”!"(Dnepropetrovsk), "Anicon" (Lviv) and others.

    The cosplay festival was held in Minsk https://spinpanda-casino.co.uk/bonus/ for the first time in 2006. The following thematic cosplay festivals are held annually: “Higan” (since 2012, the Annual Belarusian Festival of Contemporary Youth East Asian Culture “Higan”), the festival of science fiction lovers “Universe Convention”, the festival of youth subcultures “Hansen” (the last festival was organized in 2011).

    Among the reasons for the widespread development and spread cosplay the main one can be identified: high cost, which is a significant barrier to wider reach of potential audiences. To create a high-quality image, a cosplayer has to invest a significant amount of money to order or sew a costume. If in the West there are companies that produce and sell special costumes and paraphernalia for cosplay participants and fans, then, for example, in our country, in order to purchase a high-quality costume, you need to order it from abroad or contact individual entrepreneurs for a special order. An alternative to purchasing a costume is to sew the necessary costume by the cosplayer himself, which also requires him to have the necessary knowledge and skills.

    Phenomenon cosplay becomes an important qualitatively new element in revealing a person’s personal creative potential. Taking into account and considering the uniqueness cosplay as both a theatrical and playful phenomenon, we can conclude that its dissemination among young people can enrich creativity and expand leisure space.

    In conclusion, I would like to note an incident that occurred at the beginning of September 2015 at the Dragon Con convention (festival), which took place in the state of Georgia (USA). Ben Carpenter, an engineering student from Florida, wowed not only festival-goers, but the entire Internet with his cosplay costume of the character from the movie of the same name and the Mad Max series of computer games.

    The thing is that Ben was born with a congenital back disease called muscular atrophy (SMA) and is forced to move in a wheelchair. Especially for the image, the guy himself was involved in the reconstruction of the wheelchair and the welding work necessary to create the image. The chains and mask of the image very well reflect Ben’s situation – confined to a wheelchair, but in the image this chair has turned into an addition to an ornate car in the style of the recently released film.

    1. Smargovich, I.L. Innovative forms of leisure activities of modern youth in Belarus / I.L. Smargovich // Increased role of club institutions in the social cultural life of the region: materials of the Republican Scientific and Practical Conference (22-23 of the fall of 2006., G. Minsk) / Belarusian State University of Cultural Problems. — Minsk, 2006. – WITH. 73-76.
    2. Smargovich, I.L. Fundamentals of cultural and leisure activities: textbook.-method. allowance / I.L. Smargovich. – Minsk: BGUKI, 2013. – 174 s.
    3. Introduction to Cosplay [Electronic resource] / Thematic Internet portal “Serjetto”. – Moscow, 2001. – Access mode: serjetto.do.am/publ/5-1-0-47. – Access date: 31.07.2015.
    4. Kulagina, N.IN. Motivation of cosplay players with different experience in role-playing games / N.IN. Kulagina, M.A. Ovchinnikova // Scientific and methodological electronic journal “Concept”. – 2014. – No. 05. — URL: e-concept.ru/2014/14115.htm.
    5. A disabled guy himself created an image for cosplay of the latest Mad Max movie [Electronic resource] / Internet magazine “Culturology”.Ru". – Moscow, 2015. – Access mode: www.kulturologia.ru/blogs/120915/26245/. – Access date: 10.09.2015.

    Thank you Daur for moral support!

    Best comments

    While I was reading the introduction, I had the feeling that this was a scientific work or an abstract, but then things got easier.
    A good, informative article, a plus for the author and a question whether she herself is a cosplayer?

    ..
    I got to the list of references and realized that this is something from this area and there is C: Blog entries are characterized by a slightly simpler language after all, however, it was not without pleasure to read.

    The post is good, although it is written in scientific language, which looks quite strange on blogs.
    But I still have something to cling to in fact and not only.

    In the process of its formation, cosplay was a phenomenon of Japanese culture (initially it was divided only into cosplay based on computer games, anime and manga). Over the past decade, cosplay has been gaining popularity in the USA and Europe,

    It is believed that it all started in the USA and actively developed there.

    It is believed that the word “cosplay” was coined by the Japanese journalist Takahashi in 1983, and the subculture of dressing up as movie and comic book characters allegedly also arose in Japan in the late 1970s. However, American researcher Ron Miller proves that cosplay took shape in the United States already in the 1960s – in the Sci-Fi genre. And the very first “cosplay”, in the modern sense of the word, dates back to 1939. At the first World Science Fiction Convention, a certain Forrest J. Ackerman dressed up in a futuristic suit. This is what gave rise to a wave of imitations in the future. Already by 1956, the tradition of boka nameless “cosplay” was relatively established and still the same Forrest J. Ackerman noted in the Fantastic Universe report: “Monsters, Mutants, scientists, astronauts, aliens, and other creatures rule the roost today.”. He also noted that Olga Lay, the wife of writer Willie Lay, won in the “Best Costume” nomination and was the first highly professional costume designer. The first Comic-Con was held in 1970 at the US Grant Hotel in San Diego. Everything was modest – there were just over 300 visitors, and there were almost no costumed visitors at all. By 1974 there were already about 1000 visitors. And the number of cosplayers has grown slightly to approximately 10% of all visitors. Moved to the El Cortez Hotel, Comic-Con 1979 already welcomed 6,000 people.

    Thus, cosplay researcher and photographer Ron Miller believes that this subculture arose in the USA in the 1960s. And the Japanese (including the above-mentioned Nobuyuki Takahashi, who often visited high-tech forums in America) simply copied it. So it all didn’t start in Japan at all, it’s just that it was there that large corporations, before others, figured out collecting all the cosplayers to advertise their products, the pioneer among which was Nintendo.

    To create a high-quality image, a cosplayer has to invest a significant amount of money to order or sew a costume. If companies have appeared in the West that produce and sell special costumes and paraphernalia for participants and cosplay lovers

    I’m not sure about Russia, but in the USA there is a very clear distinction between models who dress up in costumes and real cosplayers. Top cosplayers make their own costumes, or at least that’s how they started.

    The hardest thing about cosplay (surprise) is creating the costume. Some may take many months. For example, it took Alyson Tabbitha more than a month to make Lightning’s armor alone. After all, it’s one thing to make a suit and quite another to put it on, and so that it remains comfortable. On average, work in the workshop takes about three working weeks per month.

    The whole point of cosplay is a unique costume.

    Among the reasons for the widespread development and spread of cosplay, the main one can be identified: high cost, which is a significant barrier to wider reach of a potential audience.

    This is exactly the reason Not widespread development and spread of cosplay. Or I didn’t understand something? Maybe I’m stupid, but the train of thought looks strange.

    Here’s more about everything I wrote. stopgame.ru/blogs/topic/64384

    Thanks for your feedback!
    The article was written aimed at an international scientific conference (I am a master’s student at the Belarusian State University of Culture and Arts).
    Unfortunately, I haven’t tried myself in cosplay (Perhaps you have suggestions on who I could try?) The link to VK is in the profile.

    Quinn looks cooler than in the movie! More like a gloomy mental patient than just a head-butted laughing woman from a Hollywood movie vysera creations.

    I also looked at the photos on VK and the list of favorite games on SG. Try the version with Julia Kidman from Evil Within. It’s easy to make a cosplay for her, since you don’t need to craft a separate costume like for Tracer. Cosplay of this character is not done often. And there is an external resemblance.

    Thanks for your feedback! At the time of writing this article I was not yet familiar with your article. I’m just starting to work on this topic. When preparing new material, I will definitely refer to your article (with your permission, of course). My article is not perfect, so I always welcome constructive criticism ^___^.
    I hope it will be possible to prepare a new material better taking into account your comments.
    Thank you for taking the time and effort to study this work.

    Interesting and good post! I would especially like to note the way the author presented the material – excellent!

    But let me correct you a little. Not historical-restoration clubs, but military-historical reconstruction clubs (VIR Clubs). In fact, I think that it is not entirely correct to classify reconstruction as cosplay and role-playing. Now I’ll explain why.

    It cannot be denied that there is always a certain competitive element in cosplay. As an example – various cosplay competitions and cosplay fashion shows. Also, quite often cosplayers can be seen at various gaming-themed events and geek festivals. I don’t think that cosplayers can go to any events in order to live in the atmosphere and surroundings that correspond to the character. Also, in cosplay and role-playing games there is always a large element of creativity and fantasy.

    But in reconstruction there is no such free choice. If your club is engaged in the reconstruction of a specific infantry regiment of the Red Army, Wehrmacht, US Army… then you don’t have much choice. Uniform, equipment and weapons – strictly according to the regulations, no imagination and no creativity. Still, it will all be more serious. After all, the reenactor not only collects uniforms and equipment, but also a carload of other things – camping equipment, bedding, “soap and soap cases”,..

    The most striking example is military history festivals (by the way, since the author lives in Minsk, I highly recommend visiting the Brest Fortress festival). Here you will find historically accurate camps with a bunch of household and bivouac junk, and reconstructions of battles involving equipment and a large number of soldiers.
    https://youtu.be/h5GH0zZyq7M https://www.youtube.com/watch?v=2dls8XznfMc

    Men and women of all ages not only try on 1940s uniforms, but also live for 2-3 days in conditions very close to military field camps, with all the pros and cons.

    I would also like to say a few words about festivals and events dedicated to the early and developed Middle Ages. At such events, participants also live in absolutely historically correct camps, eat from authentic dishes and are dressed in absolutely correctly made clothes and armor.
    https://youtu.be/pDCOj2oNJHY

    In fact, I was probably carried away into the jungle of various reconstructions. I apologize if I gave too many unnecessary facts and examples.

  • Creepy crap in games

    Playing the well-known staircase SCP-087 for the first time, listening to the eerie sounds crammed into the game, I thought, what if suddenly some single gamer or small company gets the idea to cram into the game photographs from real terrible crime scenes or sounds similar to the Electronic Voice Phenomenon (someone considers these to be the voices of the dead or voices from a parallel universe, with a 90% probability this is all nonsense, of course, but still quite a few bricks are being deposited. For those who have never heard anything about this, here is a link to the lurk. Advice – don’t listen to examples, save your nerves and imagination).

    Remembering all the nonsense in the style of LEGLESS, the film Eraserhead by David Lynch, the film The Fourth Kind (it scared me in just one moment and solely because it was supposedly based on documentary recordings and footage) and other nonsense, suddenly there is still crap that can really affect consciousness, drive a person crazy, or, in extreme cases, make you depressed for a couple of weeks (like that same David Lynch film). And then they’ll think of inserting such a thing into a game or into a movie, it will spread around the world, appear in topics on SG and… it will be just right for creating a real scp.

    What do you think about this and how could you protect yourself from such a thing?? (otherwise in the case of stairs it’s usually scary and awkward to play with, but it’s terribly interesting to watch).

    Best comments

    Well, at least this isn’t a review of Vagina.

    Me too. My grandmother died https://new-king-casino.co.uk/games/ this way. And grandfather Pantyusha, who spent more time with me than my parents.

    Under the spoiler NEX from Eraserhead, this crap didn’t let me sleep peacefully for a couple of nights. It doesn’t seem to be a big deal, strangers are much less pleasant and dangerous, but..

    Dude, you (based on your profile) are already 24. Does this really scare you??, there are worse things in real life.

    Well, the fact that something like this might appear in the game doesn’t scare me, but the question itself is just interesting. And films like those that I have listed may not frighten you, but they can put you in a certain state, because they make you think about things that happen in real life.

    And the worst thing: my grandfather fought on the side of the Third Reich. Not Pantyusha, but the other one who died there… Well, we all made mistakes.

    I’m half Romanian, half German.

    Many not bad people fought on the side of the Third Reich, they either had nowhere to go, or were so brainwashed by the authorities, or for some other reason.

    www.youtube.com/watch?v=xm6PGh2fvTg
    On the one hand, it’s not scary, but if you think that this is in reality… Lord, then you will be afraid.

    Read about Unit 731 and watch a couple of documentaries. it was real. The most terrible things are always done by people and in many cases they also consider themselves heroes

    Read about the Waffen SS. It was real. But they say they don’t remember this. But that French village… Lord, thank God I wasn’t there.

  • Creation of Hideo Kojima’s game Snatcher. Part 1

    Having successfully completed work on Project N313, better known as Metal Gear, Hideo Kojima took a week off to relieve pent-up stress and restore his creative energy. It was standard practice at Konami to send employees on vacation when they finished working on a difficult project. And Metal Gear turned out to be very difficult.

    Firstly, Kojima’s authority was greatly undermined by the cancellation of Lost Warld, a game he was planning for before Metal Gear. Secondly, it was not at all easy for Hideo to convince his superiors to allocate resources to the project, which at that time had no analogues on the video game market. Thirdly, although he already had experience overseeing Lost Warld, in fact, Metal Gear was the first full-fledged project that Kojima was able to turn into reality, starting from the first sketches of gameplay mechanics based on the technical limitations of the MSX2 platform, and ending with release in Japan and then Europe in the summer of 1987.

    We can say that working on this game was Hideo Kojima’s baptism of fire at Konami, so the vacation was well deserved.

    Together with a friend, he decided to visit Awaji, an exotic island located in the eastern part of the Inland Sea of ​​Japan. Having thoroughly enjoyed the swim, sunbathed in the sun, and, most importantly, gained strength for new grandiose achievements, Kojima returned to Kobe and began planning his next game.

    First we needed to decide on a genre. And here two very significant factors had an influence. Firstly, Hideo remembered the game Portopia Serial Murder Case, which he loved to while away his evenings during his student years.

    This project, developed by designer Yuji Horii and published by Enix, told the dramatic story of a mysterious murder investigation in the port suburb of Kobe. Taking on the role of a nameless detective, players had to investigate this complex and intricate case – by exploring locations, collecting evidence and interrogating suspects. By 1983 standards, the game world was open and nonlinear. For a young student of the Faculty of Economics, Hideo Kojima, who dreamed of being a director since childhood and devoted his free time to writing stories, the game Portopia Serial Murder Case had a strong inspiring effect.

    He realized that video games, just like films, can tell exciting dramatic stories, make people empathize with certain characters, encourage them to be sad during tragic episodes, and enjoy happy endings. This discovery prompted Kojima to abandon his career as an economist and choose the riskier path of a game designer.

    Therefore, in a couple of years, when he has more or less mastered this area and is planning his next project, Hideo will decide that his new game must certainly have the same genre as the bestseller from Enix, namely Graphic Adventure, i.e. e. graphic adventure game.

    Just like Yujii Horii in Portopia, Kojima wanted to make the most of cinematic techniques in his next project, and the chosen genre was perfect for realizing these goals.

    The second factor that prompted Hideo to make a choice in favor of Graphic Adventure was some misunderstanding when working with programmers, which caused a lot of trouble for the young glider. The fact is that while working on Metal Gear, he often noticed that certain elements of the design document he developed, when transferred to the game, were either somehow distorted or completely thrown out as unnecessary: ​​“I explained to the programmers what I would like to see on the screen, when the dialogue should start or under what conditions the sound signal would sound. But sometimes they did it their own way – they made various small changes and said that thanks to them the game would supposedly become better. Considering that Konami valued the point of view of programmers over the point of view of gliders, Kojima could only put up with the changes made to his game by other people.

    Hideo really wanted to avoid such situations on his next project, and the Graphic Adventure genre would give him just such an opportunity. And all because graphic adventure games were direct descendants of text adventure games and, accordingly, borrowed key gameplay mechanics from there – interaction with interactive elements through text commands. For example: “Open the door”, “Look at the table”, “Pick up the phone”, “Dial a number”, etc. d. All these interactive elements and ways to interact with them were written in the script. And if the programmers decided to change something or throw something out of the game plan, they would have to get directly into the script and rewrite its individual parts. Hideo understood that no programmer would do such a thing, and therefore the young glider would receive much more creative freedom than he had on the previous project.

    Having sketched out a brief description of the future game, Kojima went to the management to make a presentation. At that time, the Konami company specialized mainly in the development of shoot-em-ups and platformers, so Kojima’s adventure project was received with a fair amount of skepticism. However, Hideo was no longer a simple newcomer from the street – he had a very worthy original project behind him, which, despite its experimentalism, was very positively received by the players, and therefore Kojima’s ideas could no longer just be taken and thrown into the trash. The project was given the green light and thus Konami initiated the development of its first game in the Graphic Adventure genre.

    To find inspiration, Kojima decided to familiarize https://nadcascasino.co.uk/games/ himself with a large variety of literature and began to spend quite a lot of time in the library. The company, however, did not welcome this approach. The management believed that it was not rational to spend a lot of working hours on writing a script for a video game. It was not uncommon for an employee to be given only one day to prepare the backstory of the game world. At that time, games for arcade machines were in great demand, and such projects attracted the attention of gamers with exciting gameplay, and not at all with a deep, intricate plot.

    One day, on his way to the Library, Kojima ran into some big boss who directly told him: “Kojima, why do you spend so much of your working time sitting in the library – go make a game!». Hideo had no choice but to shorten his time in the library and formulate a scenario based on the knowledge he already had. Fortunately, his horizons were very developed. Since childhood, his parents instilled in him a love of cinema and literature, therefore, by the age of 24, the young glider had already read a huge number of books, leafed through countless manga works and, most importantly, watched an incredible number of feature films in a variety of genres.

    So, drawing inspiration from the works of Ridley Scott and James Cameron, Katsuhiro Otomo and Yoshiaki Kawajiri, Agatha Christie, Michael Crichton and many others, Hideo Kojima began writing the script for his new game.

    At the initial stages, the project was developed by a team of only 2 people. The first, of course, was Kojima himself, as a screenwriter and game designer, and the second was the artist Tomiharu Kinoshita. I mentioned earlier that many Konami employees chose the gaming industry due to failures in some other endeavors.

    Tomiharu Kinoshita apparently had plans to become a successful mangaka and publish in popular publications. For a while, things were even going quite well – his manga “Mad Soldier” was published in the popular magazine Fresh Jump. However, in the end, a career in this area somehow did not work out, and Kinoshita got a job at Konami, where he could use his talent as an artist to create video games. When developing Kojima’s new adventure game, Kinoshita’s key responsibilities were: character design, as well as the creation of storyboards, which then formed the basis for all in-game graphics. In total, based on the script written by Kojima, Tomiharu Kinoshita drew about 300 storyboards.

    The game plan itself, which included illustrations, game design, and a script, divided into as many as 6 acts, took up a total of about nine hundred sheets!

    The plotline was as follows: 1991. Moscow. Soviet Union. In the secret research center Chernoton, a powerful explosion occurs, as a result of which a terrible biological virus enters the atmosphere, which very quickly covers the planet and destroys 50% of the world’s population. This incident was called the Catastrophe.

    However, the rest of humanity managed to recover from the disaster. People lived, developed and, despite all the adversities, were able to achieve considerable scientific and technological progress. However, in 2039, the world is faced with a new threat – mysterious artificially created mechanisms, the purpose of which is to kill people, copy their appearance, character traits, and then assimilate into society. Officially, they were called bioroids, i.e. e. humanoid organisms created for the purpose of enslaving humanity. However, their unofficial name has become more common – Snatcher, which translates as kidnapper.

    The peak activity of these bloodthirsty creatures was recorded in the Japanese metropolis of Neo-Kobe, so the local government is forming a specialized police squad whose goal is to identify and destroy Snatchers. This organization was named Junker – Judgment Uninfected Naked Kind & Execute Ranger. Literally, this name can be translated as Justice Uninfected Nude and Execution Ranger, however, through a simple brainstorming, I chose a more understandable and, I think, quite suitable name – “Executioner Rangers Bringing Justice”.

    Around the same time that bioroids first made themselves known, in Siberia, a research team discovered two unconscious people – a man and a woman. All that researchers can find out are the names of the people found – Gillian and Jamie Seed, as well as facts indicating that they are spouses. They are evacuated to Neo-Kobe, where they soon regain consciousness. However, it is not possible to find out the secret identity of these mysterious people even after they awaken, due to the fact that both suffer from complete amnesia and cannot remember anything about the events preceding their discovery on Russian territory.

    However, deep down, Gillian feels some inexplicable connection with the mysterious bioroids. He does not remember where and under what circumstances, but he knows for sure that he has already encountered creatures known as Snatchers. Therefore, the government sends Gillian to undergo a long course of special military training in order to enroll him in the ranks of the Junkers. Hunting the Snatchers could help Gillian recover information that would shed light on the origins of these ruthless creatures. Actually, from Gillian Sid’s first working day as a Junker, the events of the game itself began.

    When it came time to choose a name, Kojima christened the project Junker, in honor of the profession of the main character, by analogy with the film Blade Runner, where the name also meant the profession of the main character. However, when registering a trademark, it turned out that there is a mahjong simulator on MSX called Janka. Therefore, to avoid confusion, I had to look for a different name.

    For some time, Kojima thought about christening the game New Order, which translates to “New Order.”. I dare say that this name was chosen in honor of the popular British rock band. Alas, this name also did not catch on, however, we will talk about the group itself later.

    Ultimately, the game received the most obvious name, which, however, Kojima did not want to call the project until recently – Snatcher. In honor of those very robots that steal human bodies. This name was ignored for such a long time due to the fact that Hideo had already titled one game in honor of the main antagonist, and he did not want to repeat himself.

    As for the platform on which Snatcher was supposed to be released, a rather interesting situation has arisen here. All previous projects that Hideo worked on were developed primarily for the MSX platform, and it would be logical to assume that Snatcher would follow the same path, but circumstances turned out a little differently.

    While planning his new project, Kojima at some point became familiar with another interesting adventure game from Enix called Jesus. This bright representative of the Graphic Adventure genre described the events of a very distant, at that time, future, in which scientific progress had reached such a level at which interplanetary flights began to be carried out in a matter of days, and landing on a comet moving at great speed became common practice. In the role of an employee of a space research station with the non-trivial name Jesus, the player went in search of a crew whose ship stopped communicating shortly after the team discovered some unknown life form. The main character named Hayao must explore the spaceship, find survivors and understand the reasons for what is happening. To help with this difficult task, a very original device was introduced into the game – the portable robot assistant Foji. He often came to the rescue in difficult situations, helped in solving various puzzles, and also did not let players get bored.

    Kojima was impressed by the atmosphere of the distant high-tech future, comfortable gameplay and interface, a very original concept of a portable robot assistant and, most importantly, the fairly high quality of graphics.

    The young designer decided to take a closer look at the platform on which the game was released, namely the NEC PC8801. PC88 is a family of eight-bit personal computers manufactured by Nippon Electronic Corporation. The family’s computers were among the most popular in Japan due to their balanced price-performance ratio. Initially, these computers were positioned as an effective tool for business, but later the 88 series began to be promoted as an entertainment device.

    The PC-8801 mk IISR model, seriously improved in terms of graphics and sound, finally consolidated this direction. A large number of different exciting games were released on the platform, many of which belonged to the Graphic Adventure genre.

    In addition to adventure games, the PC8801 also released many products in such a genre as “Visual Novel”. At first glance, this genre has many similarities with graphic adventure games, but one must understand that visual novels give users a slightly different gaming experience. If adventure games pose complex tasks for players, the solution of which sometimes takes a lot of time and effort, then visual novels rather provide the opportunity to read an original work, which, in addition to colorful animated illustrations and sound, also adds a certain minimal degree of interactivity. Such games require readers to make some specific choices, in particular, to choose an answer in the dialogue, but very rarely such actions have any effect on the course of the story.

    As I said, a lot of adventure games and visual novels were released on the PC8801. As you can see, this platform was very popular among the target audience for which Kojima was developing his new project. Therefore, due to its genre, Snatcher had a good chance of becoming commercially successful if Konami’s management had allowed it to be released on personal computers from NEC.

    However, for Konami, developing a game for this platform would be a risky undertaking – the developers did not have the experience and software necessary to work with the platform, and the sales department did not have established sales channels. Despite all these nuances, Kojima still received approval to create a game for NEC computers. At the same time, in order to minimize risks, management also demanded that the game be released on the company’s familiar MSX platform. Although this made things difficult, Hideo was still very grateful for the opportunity.

    Step by step, new people began to join the project. These were specialists from the so-called Third Production Department – a division of Konami that specializes in creating products for MSX. These talented people developed such once-famous titles as Vampire Killer, Penguin Adventure, Nemesis, Hinotori and many, many others.

    With a complete team, the production of Hideo Kojima’s new project was finally able to enter the full development stage!

  • History of cosplay

    I’ve had the idea to write about cosplay for a long time. Initially, I wanted to write about him as part of the history of the gaming industry, but in the end I limited myself to a couple of paragraphs and the same number of pictures. Then it was not possible to fit this organically and comprehensively into the main text, so I decided to deal with the issue in a separate article.

    It is believed that the word “cosplay” was coined by the Japanese journalist Takahashi in 1983, and the subculture of dressing up as movie and comic book characters allegedly also arose in Japan in the late 1970s. However, American researcher Ron Miller proves that cosplay took shape in the United States already in the 1960s – in the Sci-Fi genre. And the very first “cosplay”, in the modern sense of the word, dates back to 1939. At the first World Science Fiction Convention, a certain Forrest J. Ackerman dressed up in a futuristic suit. This is what gave rise to a wave of imitations in the future. Already by 1956, the tradition of the as yet unnamed “cosplay” was relatively established and still the same Forrest J. Ackerman noted in the Fantastic Universe report: “Monsters, Mutants, scientists, astronauts, aliens, and other creatures rule the roost today.”. He also noted that Olga Lay, the wife of writer Willie Lay, won in the “Best Costume” nomination and was the first highly professional costume designer.

    First suit in 1939

    Now it’s 1956

    And this is already the https://casinobetblast.co.uk/bonus/ 1960s

    For the USA, the 1960s were a very significant period. It was then that universal education reached its highest quality. The extensive knowledge that was put into the heads of young people at school stimulated them to express themselves and demonstrate their view of the world. Many subcultures and social movements emerged (the Hippies alone are worth it). It is not surprising that a simple passion for comics and fan fiction films has grown into a dense fan community. This coincided with a rapid increase in living standards and, accordingly, consumption levels.

    The first Comic-Con was held in 1970 at the US Grant Hotel in San Diego. Everything was modest – there were just over 300 visitors, and there were almost no costumed visitors at all. By 1974 there were already about 1000 visitors. And the number of cosplayers has grown slightly to approximately 10% of all visitors. Moved to the El Cortez Hotel, Comic-Con 1979 already welcomed 6,000 people.

    By 1983, all major comic book publishers united within its framework and “Art Centers” were organized. In 1991, he moved again, but to the San Diego Convention Center and already hosted 15.000 people. The name was changed to match the essence of Comic-Con International. At the same time, their signature logo with an “eye” appeared. During the 1990s, Hollywood took an active part in promoting Comic-Con. This greatly affected the direction of cosplay. If in the 1980s it was comics, then in the 1990s it was cinema. It was the focus on cinema that did the trick. Francis Ford Coppola himself and many others took part in the conference. By 2007, attendance had grown to 125.000.

    As I already said, the person who invented and introduced this word into use is the journalist Nobuyuki Takahashi. The word kosupure first appeared in an article that Takahashi wrote in 1983 for the June issue of My Anime. However, other celebrity-gathering resources indicate that Takahashi began using it in 1984, after returning from the Los Angeles World Science Fiction Convention, and was subsequently picked up by several Japanese magazines.

    At the same time, gaming became a national phenomenon. The Japanese were able to bring a piece of themselves into new projects of both individual companies and small teams, not to mention such giants as Nintendo. By the second half of the 1980s, such a phenomenon as the “Japanese gaming industry” had taken shape. The games of that time formed a cultural mix of specialists coming from all branches of the media. Programmers alone were no longer enough, and manga authors, anime creators and others began to join the industry. There was an unprecedented rapprochement and interaction of media, which meant that fans united under one roof.

    If Americans invented cosplay, the Japanese played a decisive role in popularizing it.

    Thus, cosplay researcher and photographer Ron Miller believes that this subculture arose in the USA in the 1960s. And the Japanese (including the above-mentioned Nobuyuki Takahashi, who often visited high-tech forums in America) simply copied it.

    In the 1990s, this subcultural phenomenon began to gain popularity outside Japan, primarily in the United States among all segments of the population. Not least because of the fact that throughout the post-war period they were economically and politically inseparable from each other; cultural interpenetration was also inevitable. Over time, the meaning of the word “cosplay” expanded and began to mean dressing up in other costumes. For example, in China, the cosplay subculture has incorporated both the costumes of traditional characters from Chinese drama and Peking opera, as well as the costumes of movie characters that have nothing to do with Japanese science fiction (from films such as “The Matrix”, “The Lord of the Rings”, “Harry Potter”).

    In both the USA and Japan, cosplayers were united by themed events. At first they were clearly divided into amateurs and professionals hired by companies. After all, they were decoration, not the main characters. San Diego Comic Con, Dragon Con, Anime Revolution, E3 are just the most famous of them and only in the USA. There are dozens of them in total and they differ in both the number of visitors and the theme.

  • Crosscode

    So, what is Crosscode?? This is a magnificent fusion of action-RPG and puzzle components, while not forgetting about the plot. Although the game is not finished yet, there is already something to do and see. Let’s go through the points:

    1. Graphics. Pixelated, but quite nice to look at, a bit similar to RPG maker games. But at the same time all movements are smooth and dynamic. The portraits of the characters are especially pleasing. Considering the almost complete muteness of the main character, her emotions in conversations are conveyed by this very portrait, and I tell you they are conveyed perfectly! Sometimes it just bursts with laughter from some faces. I want to shake the artist’s hand.

    2. Gameplay. The RPG component is done https://ninbetcasino.uk/games/ very, very well. Equipment, leveling, builds – all this is in place, and quite varied. I would like to dig a little deeper, since it’s very inconvenient to craft new gear (or rather, exchange it from merchants for the appropriate materials), you can see what exactly you need for crafting only in the city, from the corresponding merchant. So, personally, I gave up on this matter; I must say, it didn’t bother me to play.

    3. Boevka. This is probably one of the most important and attractive things in Crosscode. Dynamic and hurricane combat is sharply contrary to what you expect to see from such a game. To win you have to dodge and quickly attack before the “attack window” closes. And the variety of builds only adds variety to the battle strategy.

    4. Puzzles. I won’t write much about them. The puzzles here can be compared to the Portal. Not to say that they are easy, but not so complicated that you would have to go online to find a solution. You just need to put your head down a little. There are also containers with a variety of goodies hidden throughout the map: from consumables to legendary weapons; Some of which are more difficult to obtain than solving many of the mandatory puzzles, but unlike them, this is not so necessary (unless of course you are a munchkin)

    5. Plot and characters. Last but not least. The plot of the game is quite good and somewhat original. The main character, Leia, has lost her memory, and now must go to an MMORPG in the real world, in which people play as special avatars. Sounds a little confusing, but it’s actually simple. The characters are good as a selection. I have already spoken about the main character, who is forced to portray emotions almost without words. The secondary characters, as well as our first friend Eliminator, also evoke mostly positive emotions.

    Let’s summarize: The game is very, very good, it is already in early access and can captivate you for many hours of play. I don’t regret buying it at all. And also on the official website of the game, as well as on Steam, you can try the demo – completely free.
    9/10