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You missed one (panel #7)

I'm assuming they're saying something about how small his penis is.

Wow, I didn't even see that one on panel #7.

Interesting interpretation of panel #6 btw.

sigmund-freud.jpg

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I made a fake Twitter. Kind of. There's a site called DidYouKnowGaming who posts a tonne of really awesome Video game trivia that EVEN I DON'T KNOW! and I'm a person who LIKES Video games!

So that inspired me to post my own that are 100% pure made-up bullshit

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  • In the game Metal Gear Solid 3: Snake Eater, if you shoot Revolver Ocelot in the head, the game will end as if you failed the mission. This glitch has never been fixed.
  • In Japan, the game Viewtiful Joe is named "Beautiful Joe". The error is assumed to be a mistranslation.
  • In the PS2 classic: Shadow of the Collossus, the secret 17th collossus is the horse.
  • If you play as the character "Ryu" in Street Fighter and rapidly enter the code DOWN+FORWARD+PUNCH on any stage, Ryu will perform a special fatality move.
  • The protagonist of the Rockstar game Bully has a shaved head. This implies that he is Niko Bellic.
  • No protagonist in any game on the Xbox 360 wears purple. This is a technical limitation in the console's hardware that was patched with the release of Saints Row 3.
  • If you pause Sonic the Hedgehog 2 while playing the Chemical Plant Zone, and swap out the cartridge for Revenge of Shinobi, Sonic the Hedgehog 2 will stop working.
  • If you look at the texture files for NES games, each pixel is a swastika.
  • In Fallout 3 there is a nuke-launching weapon named "Fat Man". This is a referrence to the Metal Gear Solid 2 boss of the same name. This weapon's name was adjusted to the "Nuka Launcher" in Japan, so as not to offend fans of Metal Gear Solid 2.

If you think I'm a funny boy, then follow it! You'll get the jokes more the more you know about ACTUAL game trivia.

I currently have zero followers, I don't know how to get the word out, really. I guess if I'm any good then people will notice.

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If you pause Sonic the Hedgehog 2 while playing the Chemical Plant Zone, and swap out the cartridge for Revenge of Shinobi, Sonic the Hedgehog 2 will stop working.

Oh man, this is my favorite one. Love these kinds of jokes.

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Been running the tumblr Zero Feedback for a few months. It's a gaming blog that only collects freeware games that were posted by the developer on any gaming forum, but didn't receive any comments from that forum.

Also made a micro shmup called Gratuitous Profanity for a laugh. The gimmick is that every sound effect has been replaced by the word "fuck," and you're scored based on how many "fucks" you hear. Warning: NSFW language.

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Oh man, this is my favorite one. Love these kinds of jokes.

Yea, totally, that was my favourite one too. :D Posted before and old and all that, but it cracks me up.

12.03.22-If-You-Lined-Up-All-The-Elephants.jpg

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You need to make a Tumblr! It's a brilliant statement on the kind of crap people half-read on the internet and then regurgitate. If it results in people having to question what they read, then all the better! There needs to be more!

Some more "facts" for the pile:

- In Italy "SUPER MARIO BROS. (1985)" was banned due to pressure from the Uomini italiani che Fix Cagone (the Plumber's Union of Italy). It was finally allowed for sale there in 2008.

- Shigeru Miyamoto's first game was a child-molester simulator called "FUNNY PEST MAN (1978)". Released exclusively in Japan by mail order, only a few copies are known to exist. It has been seen selling for upwards of $10,000 on eBay.

- The popular 80's Video game character DIZZY was named after drug slang of the time. The character's egg shape and boxing gloves were inspired by Andrew Oliver's wife's unique fashion sense.

- CodeMasters was originally founded as a money laundering operation for a pair of Columbian drug barons. The company only gained respectability when the Escobar brothers were forced out of their own country by a mounting police investigation. They supposedly assumed their "Darling" names after a shopkeeper in Warwickshire greeted them (allegedly, "ello, darlin's").

- Simpson's creator Matt Groening designed the "Kong" character in "DONKEY KONG (1981)" while interning at Nintendo as a teenager. He has been involved in a prolonged legal battle to regain control of the character since 1991.

- Tomohiro Nishikado, the creator of "SPACE INVADERS (1978)", finally revealed in a 1998 interview that the idea for the seminal Video game actually came to him while he was masturbating. Originally the "aliens" were going to be horny women, and the "space ship", was his penis. Early prototypes of this idea were made, but Taito persuaded him to changed the concept after STAR WARS became a huge success in Japan.

- Alexey Pajitnov, the creator of "TETRIS (1984)", inserted hidden jokes about the ugliness of Soviet leader, Yuri Andropov's, wife. When this was brought to Andropov's attention, he placed Pajitnov under house-arrest and then divorced his wife. Documents made public in 1996 revealed that Andropov had been dating Farrah Fawcett for several months at the time of his death. Rumours from his office suggest he was planning to release Pajitnov once he and Fawcett were married.

- American JOEY TOPPER holds the Guinness World Record for "Longest Paused Game". He's had "E.T. THE EXTRA-TERRESTRIAL (1982)" on pause for 30 years in his trailer! Topper has been quoted as saying, "I plan to finish my game one day".

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They're OK. I think a few of them are pretty funny, but I think they'd be funnier why they are dressed up to look "official", as it where. I was kind of hoping they might inspire others to join in, as I'm sure the community here could come up with some funny stuff.

Also... Tumblr!

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Been running the tumblr Zero Feedback for a few months. It's a gaming blog that only collects freeware games that were posted by the developer on any gaming forum, but didn't receive any comments from that forum.

This is great. I love it. It's the kind of thing I always want to do but never actually do. U:

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Also made a micro shmup called Gratuitous Profanity for a laugh. The gimmick is that every sound effect has been replaced by the word "fuck," and you're scored based on how many "fucks" you hear. Warning: NSFW language.

For all the fucks, it's aurally very pleasing. :tup:

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So, I've always wanted a blog, and somehow my blogs have become rather popular (Relatively speaking) over on Gamasutra: http://www.gamasutra.com/blogs/JohnathonSwift/20121030/180516/Games_are_about_Gameplay.php

Not sure how, though I suspect it's making bold claims. But I thought you guys might like this. It's basically about how games are defined by their gameplay first, foremost, and above all. Think of it this way: Thirty Flights of Loving could have radically changed gameplay, and the same story, and you'd call it a radically different game. But Thirty Flights of Loving could have a radically different story, and the same gameplay, and you'd have called it far more similar to the original.

Thus, games are gameplay first and foremost, even if it's a game all about a story.

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Stuff like your blog post seems really mired in the we're not really talking about games right stage, which the first comment on it points out. What is this "gameplay" you are talking about? I mean, if you asked me, I would say Thirty Flights had almost no gameplay, and what little there was ended up being largely inconsequential - the same story told via different gameplay would have been substantially the same game, whereas if you had changed the story it might not even be a Citizen Abel game anymore, let alone Thirty Flights of Loving.

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I still disagree vehemently.

For Thirty Flights of Loving, the closest comparisons story-wise are probably In the Mood for Love and other Wong Kar-Wai films, Last Year in Marienbad, Primer, Inland Empire + other Lynch films, and other movies that leave lots of things unsaid and force you to put the pieces together in real time as you deal with a narrative that is often nonlinear. The closest comparions game-wise are Dear Esther, a bit of Gravity Bone, the parts in Half-Life and Half-Life 2 where you don't have weapons/can't shoot and you're just exploring or listening to people talk, and The Stanley Parable (with the massive caveat that The Stanley Parable gives you freedom to choose the outcome).

Now, if gameplay were the big thing here, then Thirty Flights of Loving should feel a lot like the later things I mentioned and nothing at all like the movies I mentioned. You don't play the movies at all, whereas running around, looking at things, jumping like a bozo, and hitting your "use" button sometimes is exactly what's required of you from the games I mentioned (except Gravity Bone, which asks a bit more from you). Except Thirty Flights of Loving to me feels FAR MORE like the movies I mentioned and in fact feels NOTHING like the games I mentioned, with the exception of Gravity Bone, which is the game that plays the least like Thirty Flights of all the ones I listed and which really only feels like Thirty Flights because of the obvious stuff (set in the same universe, same graphics, same musical style, etc, plus a bit of nonlinearity near the end).

In fact, I get the Thirty Flights of Loving experience in an only mildly attenuated form by watching "Let's Plays" on YouTube of it, which is one of my hobbies (it's amazing to see how other people experience the game [and horrendously depressing to see how little anyone understand - many people miss even the basic interactions you can do with Borges and Anita, for instance]). That's ZERO gameplay and 100% watching something happen, and yet it feels much more like Thirty Flights of Loving than playing Dear Esther does, even though Dear Esther's gameplay is whatever Thirty Flights of Loving's gameplay is (wander around and let the game show you stuff).

Now let's move on to the other examples in the blog post:

Spec Ops: The Line was about as different a type of story from Battlefield 3 as you could get. One game concentrated on multiplayer, one on singleplayer. But Battlefield 3 had a bigger PR campaign, and better gameplay at its core, and so it sold far more copies. Because the gameplay was exactly the same thing, and people chose the better one.

This isn't even clear about what gameplay is! Because BF3's gameplay was much WORSE than Spec Ops if we're talking about single player. That single player was a fucking travesty. If you made it more than 5 minutes into BF3's single player campaign then DICE should send you $5 as a thank you gift or something. BF3's multiplayer gameplay was much better, I guess, but that's because even the lead designer called it "cancerous" and said it's "bullshit" that "shouldn't exist" so to suggest that people bought BF3 over Spec Ops because they care about gameplay more than story is patently ridiculous: if you care about multiplayer gameplay you will buy BF3, because it is an amazing game, and if you care about single player "gameplay" (gameplay being here a horrific word that means nothing, as I've been sort of arguing) then you simultaneously care about the story and thus you'll buy Spec Ops not just because the shooty bits are better but because the story's also good.

As weak sales of games like Spec Ops and Sleeping Dogs and Max Payne 3 and etc. have shown, it honestly doesn't matter how else you dress up your game. A cover based shooter is still a cover based shooter, a GTA clone is still a GTA clone. If you are not doing it bigger and better than the next GTA-type or cover based shooter, just don't bother. Go create something that ISN'T out there. You won't have any competition, instead of facing competition you've no intention of beating.

Sleeping Dogs' weak sales show that doing gameplay worse than the competitor is a surefire route to failure even if you dress it up in nice clothes? From what I've been hearing people say, Sleeping Dogs is at least as much fun, or more fun, than any other GTA clone, including GTA IV, at least when it comes to whatever "gameplay" is. Spec Ops, as I've already noted, blows BF3 way the fuck out of the water when it comes to single player, so clearly it hasn't failed because its "gameplay" is worse. And Max Payne 3 is failing because it's a worse cover based shooter than... what? Gears of War? Is it really? Says who? If your thesis is "gameplay is the only thing that matters and people will not buy a game if it has inferior gameplay" you need to give me some reason to think that whatever "gameplay" is, Max Payne 3's is worse. Most of the criticism I've heard about Max Payne 3 falls into two categories: the multiplayer is dumb, and there's massive ludonarrative dissonance, something which I would guess you're unconcerned with "because gameplay is what you are doing in a game" and it's what "commands your attention" and thus any dissonance between it and the narrative is moot - nobody is paying attention to the narrative.

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Max Payne 3 was too repetitive and limited. That's the general consensus.

Gameplay is the thing you get from a game that watching a film can't give you. Or reading a book can't give you. Or listening to music can't give you.

To be more precise, it's the satisfaction you get from overcoming a challenge.

If the challenge is to simple (e.g. click here to win), it's boring. If it's too difficult (e.g. Paint a perfect copy of the Sistine Chapel with your mouse in 60 seconds), it's frustrating. If it's somewhere in between (e.g. Click the mouse to the beat of this song), it can start becoming enjoyable.

(We get a rush from achieving something.)

A game can offer an enjoyable challenge to begin with, but then just ask the player to repeat the same action, over and over, and then it becomes boring again.

Anything outside of the satisfaction of overcoming a challenge is an enhancer or a inhibitor. For example, I love the story! Or, there's too much of a disconnect between the cutscenes and what the game asks you to do. Or, Oh God, I hate CliffyB! Or Tim Schafer is God! Or, the graphics are terrible. Or, the graphics are amazing! Etc, etc.

You can play a game for its story, but you're not really playing it... You're just trying to get to the next bit of a compelling story. The game is a hindrance in this scenario, and people will often use cheats or turn the difficulty down, just to find out what happens.

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Well I just had to purchase and playthrough the game in order to answer your question. To answer your first question, the only challenges I overcame was figuring out what the "game" wanted me to do next. When I did that, I got a bit more of the story. These challenges were extremely simple, however, and so as a game, I don't think it was much fun. However the story-telling was very well done. It focused on giving an immediate experience in the shortest time possible. I also enjoyed the art style and the music. There is also the fact that it was unique and original.

There are three things here that it's important not to confuse: The game (go here and click this), the storytelling (fast, short, exciting scenes), and the story itself (three criminals get together for a crime).

As Mr Pony quite rightly points out, it is not the story that makes it unique. The story could be changed to an equally immediate tale, with a different plot, and different characters. Similarly, graphic style could be altered. But if a new game offered similar "gameplay" -- i.e. do simple tasks to unlock a story -- then I think people would make the connection that it was derivative of Thirty Flights.

This is not a criticism of Thirty Flights! It's unique and interesting experience, and I'm just deconstructing it, not criticizing it.

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If the story isn't what makes it unique, then Thirty Flights is basically interchangeable with Dear Esther, The Stanley Parable, and the first parts of Half-Life and Half-Life 2 then, right? Because they all have the same gameplay? And people made the connection that Thirty Flights was derivative of Dear Esther, The Stanley Parable, Half-Life, and Half-Life 2 because it came out after them, right?

No! Not at all. I'm just going to link to this article again because it says most of what I would want to say, but it's already written. "Gameplay" is one of those silly words we're using because we haven't figured out how to talk about games yet.

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"Gameplay" isn't a 'silly word' that only exist because the vocabulary of the field is poor. Gameplay is very useful term for games whose experience is defined by the actions available to the player and how the simulated world react to them.

However, I agree that it is sometimes useless in describing new experiences like Dear Esther or 30 Flight of Loving (still applicable to Gravity Bone I feel) which, even though they uses Video game technology and "grammar' (mainly controls), aren't really games anymore: there are no 'rules', no failure or winning conditions, no opposing force.... they are just 'something else'. I'm not that good at taxonomy, so I couldn't pinpoint what this something else is but I feel that trying to use existing game classification won't help that much.

Anyway, I agree with Thunderpeel: the chief characteristic of Brandon Chung's short Video game stories is their structure (or storytelling as Thunderpeel says) rather than the story content. Both appear inseparable, but I would argue that one

could restructure HL² and Dear Esther and make them feel like Blendo Games (albeit derivative, uninspired ones). but telling the story of Gravity Bone using Dear Esther style and you'll loose most of what makes the experience what it is..

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Gravity Bone is almost exactly told in the Dear Esther style if you're talking about "gameplay" rather than aesthetics. Gravity Bone is does have some interactivity but it's all quite perfunctory - exploration is 90% of what you do, and it's 100% of what you do in Dear Esther.

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Fun: Ask a dozen different game designers to define "gameplay". Some will say it's a word with no defined meaning. The rest will each have a different and highly personal definition, probably inherently bound to a genre or two of videogame.

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