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#ripping game disc cartridges apart
skoulsons · 1 year
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do u know how much it mean to me. to see this scene in live action.
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Idea: Modern AU where QuackerJack finds moderate success hosting a YouTube channel dedicated to reviewing just how much an impressive explosion and/or "light show" a video gaming product makes.
He doesn't play them at all, but he does find major catharsis in it.
Viewers begin sending him various games and consoles just to see how creative he can get about destroying them.
"Today, we're going to nuke this bundle of plug-in-plays in this microwave! Now, as you can see, I've taken extra precautions to ensure that I can get the coolest angle of the destruction, as well as you may have noticed that we're out in a deserted field with twenty miles of extention cord. That's because you absolutely should NOT try this at home. You might burn down the house and release toxic fumes in the neighborhood, so it's very important to be in a well ventilated location when performing dangerous experiments like this. Also, the blast shields are up to contain the explosion so we can get some really good footage. Aaaaand, safety goggles are on~!"
"Tune in next week, when I'll be turning these game discs into actually useful glitter!"
"And remember to send in all your unwanted gaming items to me, otherwise we'll end up with a landfill of non-biodegradable game cartridges like that one place that we can't speak of for monetization reasons!"
"In this video, we're going to see how well the plastic casing can withstand a blow from a hammer. Only we're not going to be using a puny ballpeen hammer, nope, we will in fact be using this old rubber mallet I found in this abandoned shed."
"- And with a few well placed cuts of the scissors here and here, you've successfully turned these boring discs into snowflakes to hang up as ornaments for the holidays. Or throwing stars, for all you cosplayers out there. I won't judge."
"Unfortunately, most cartridges won't be able to fit through most paper shredders, so this is a near impossible task. But, I thought ahead, and purchased this cinderblock in the event that this little bugger refuses to work."
"So, with the honey applied to the inside of the box, I'm going to set this camera up on that tree trunk and hope that we can catch some fantastic shots of the local bears in the woods ripping apart the case to get to the sweet liquid gold inside, and that should in turn destroy the machine."
"I tell ya, that thermite wasn't easy to obtain, but man does that make for a stellar visual... The air escaping the chassis as it melts through makes it sound like a boiling lobster. Which reminds me, today's video was sponsored by-!"
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daleisgreat · 4 years
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Angry Videogame Nerd: The BFG Collection (Seasons 11 & 12 Disc)
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It has been awhile since I have crafted an entry dedicated to the latest home video collection of Angry Videogame Nerd videos, but I am here today to resolve that with my ramblings for the BluRay disc containing seasons 11 and 12 off the AVGN BFG Collection. While most of the AVGN episodes on this disc do not disappoint, what I am disappointed with and have to address right away is one major detail of how this collection was released. The AVGN BFG Collection has all the prior past AVGN BluRays (X1-X3, Ready 4 Revenge) plus the aforementioned disc with the latest episodes from seasons 11 and 12 available on disc for the first time. Sounds nice and good on paper when visiting their store page and seeing all that available for $79.99. Problem is that is the only way to buy the disc with seasons 11 and 12. For people like myself that have already bought all the original collections as they were individually released on DVD, and then upgraded to the BluRay releases, that means we will now have to buy all the older video releases for a third time in order to get that disc with the latest seasons since there is not a standalone BluRay for seasons 11 and 12. I vividly recall when Cinemassacre tweeted out the announcement for this and was going to reply to them and ask about a standalone release, but saw countless others beat me to it asking them about why this is so and noticed that Cinemassacre was not responding to any of the inquiries to my dismay. Even odder is that James Rolfe released a video ranking the reasons why BluRay sucks in general, and at the end of it was where the BFG Collection was announced. I understand the irony of it, but something about it rubbed me the wrong way. It is perplexing why Cinemassacre went ahead with this, and despite getting gouged for an extra $50-60 more than I should have paid for, I still went ahead and purchased the AVGN BFG Collection because like I mentioned in my previous entries about them, I have always been a big fan of them and want to support that crew.
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As far as seasons 11 and 12 go, it is a return to form with more videos per season compared to the last few years of AVGN videos before them. They combine for nearly five hours of new videos and I will elucidate on a few of my favorites. Season 11 has an excellent montage of the awful 8 and 16-bit wrestling games, with a bulk of them coming from LJN. The Nerd character demonstrates some pro wrasslin’ theatrics which culminates with him pinning an oversized WCW SuperBrawl SNES cartridge. There is also some interesting Robocop cosplay tomfoolery when the nerd dissects the trilogy of NES Robocop titles. A big standout for season 11 is a redux of the 2006 Sonic the Hedgehog with a thorough recap of the Nerd’s trials and tribulations experiencing one of the most panned Sonic games ever. Season 12 has a ton of superb material. It kicks off with a 39 minute video dedicated to Earthbound where he gives an in-depth review of his many highs and lows with the highly collectible SNES RPG. I dug how the Nerd creates his own version of Magicant with cameos from infamous characters in past AVGN videos and ties it all together with an homage to Earthbound’s climactic final battle. If there is one video that usurps the rest it is easily this one. I will give props to his Resident Evil: Survivor video where he also recreates some of the clunky battles and menu mechanics seen in that PSone gem. I always am a fan of whenever the AVGN dedicates a video to an obscure console, and he does that with a video for the European and Canada exclusive system, the Amiga CD32 and its unique line of underperforming titles. Finally, Cinemassacre scored a surprise get when they had Macaulay Culkin guest on an episode posing as an unassuming pizza delivery boy on a Christmas themed episode where he helps the Nerd tolerate a heaping pile of abysmal Home Alone games. I remember how awful these games were as a child who loved the films, and it was a delight watching Culkin and the Nerd rip them apart.
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Of the five hours worth of new videos in seasons 11 and 12, almost none miss the landing. I was looking forward to taking in a hearty amount of bonus features the past video collections have all had, but for whatever reason there are a complete lack of extras for the new seasons. If you have been collecting past seasons individually it is difficult to recommend the latest season because of the $80 asking price, but if you have not been purchasing them at all yet, then in that case The AVGN BFG is a hell of a value and well worth the investment.
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The Nerd's version of Magicant is quite fitting, and so is his take on his optimal items in Resident Evil-esque menu screen! Past TV/Web Series Blogs 2013-14 TV Season Recap 2014-15 TV Season Recap 2015-16 TV Season Recap 2016-17 TV Season Recap 2017-18 TV Season Recap 2018-19 TV Season Recap 2019-20 TV Season Recap Adventures of Briscoe County Jr: The Complete Series Baseball: A Ken Burns series Angry Videogame Nerd Home Video Collections Cobra Kai – Seasons 1-2 Mortal Kombat: Legacy - Season 1 | Season 2 OJ: Made in America: 30 for 30 RedvsBlue - Seasons 1-13 Roseanne – Seasons 1-9 Seinfeld - Final Season Star Trek: Next Generation – Seasons 1-7 Superheroes: A Never-Ending Battle Superheroes: Pioneers of Television The Vietnam War: A Ken Burns series X-Men – The Animated Series: Volumes 4-5
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jmsebastian · 7 years
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Demonstrating Confidence
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One of the trends that’s started to come back in a big way is the video game demo. Once the CD era of console gaming really took off, demos of upcoming games started to become a bit of a genre unto themselves. Since the physical medium of the compact disc made large storage capacity both easy and fairly inexpensive to reproduce at high volumes, developers and publishers saw a golden opportunity to get players excited for games still in development. What better way to get hyped on a title by your favorite publisher than to sit down and play the next big thing for an action packed thirty minutes?
For consoles, CDs were the necessary piece of the technological puzzle to make demos a viable option. Outside of the data storage and relative ease of printing, discs were also cheaper to package. They weighed considerably less than the plastic housing and circuit board that comprised cartridges. Plus, they were flat. The physical dimensions of the disc made them perfect for wrapping in plastic and taping to a magazine cover, making purchasing one of the several publications that shipped with one more enticing. Their robustness of the platform also made for a reliable product. So long as the disc wasn’t significantly bent, there was little worry that they would be damaged after packaging.
It was common practice for multiple game demos to be placed onto a single disc, meaning players could get a taste of a wide range of genres and developers in one go. Alongside demos were often promo videos or behind the scenes type interviews geared toward making the games presented look as appealing as possible. They were pretty effective. So effective, in fact, that demos had the power to sell copies of games that might not have had much of an audience without them. Capcom used a bonus demo disc of Resident Evil 3: Nemesis to push sales of its new sister survival horror series, Dino Crisis. They even doubled down on this strategy by including a demo of Dino Crisis with copies of Resident Evil 3 (the games were released just two months apart in 1999).
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The convenience and efficiency of demos was already well known among PC gamers. Shareware, the practice of giving away a chunk of a game for free with an option to pay for registration of the full release, had built up many of the early giants of the industry, such as id Software. This method was well suited to smaller developers who couldn’t afford to spend a lot of money on traditional marketing. Instead they relied on the quality of their game and the praise of that quality being spread by word of mouth. The theory was that the game would essentially be good enough to sell itself. If players could get a little taste of the experience, they’d be so hooked they’d have no choice but to cough up the dough to keep their high going.
What the console demos and shareware culture of the 1990s shared was confidence: confidence in the games that were being made, and confidence that players were going to like, and thus, buy those games once they’d had the chance to play. This confidence, of course, didn’t come from nowhere. Gaming was becoming a larger and larger business. Likewise, technology was changing the very foundation of what made games appealing. Where before players were excited by the idea of being able to play games at home like they had in the arcade previous, as the medium matured, so did the players. Creating exciting new games meant pushing boundaries, showing players things they’d never seen before, aiming for a more complete representation of what the imagined game was. New graphical displaying techniques and modeling methods meant that the virtual space could more accurately depict our own. Game makers had a lot to be confident about as they promised to deliver on these lofty ideals.
That confidence, naturally, turned into complacency. Once players could no longer be wowed by how many polygons a computer or console could render on screen, and once the characters made up of those polygons crept toward the uncanny valley, many game developers kind of lost sight of what had gotten them to such great heights in the first place. The promise of “the next big thing” was still being lofted up to maintain interest, but it was no longer being delivered on. As games failed to be innovative simply by being pretty and 3D, the response to bold claims about new experiences became less enthusiastic, more skeptical.
In that climate, game demos started to fall away. They never disappeared completely, of course, but they weren’t the standard marketing method anymore. In their place stood TV (and online video ads), press conferences, video game industry events, a more traditional media circus. Companies didn’t need to ship out tens or hundreds of thousands of demos to regular consumer players, or include them with other retail releases. Instead, companies could just have some journalists play a very tailored and guided segment of a build at a private event, or show off some footage that may or may not actually represent the game during a press conference. Companies wanted more control over what information was available, and the removal of demos was a way to curb bad word of mouth. For those of us who relied on the demo to help slightly bolster our game libraries, and used them to shape our buying decisions, having demos disappear felt like game developers lost connection with players and no longer considered them when making their games.
It has been a genuine surprise and delight to see demos on consoles returning with such gusto. Part of that return is driven by another leap in technology. Like PCs before them, consoles now live largely on the internet. Where CDs were a relatively cheap way to create more game copies for less money than had been the industry standard previously, delivering games digitally lowered those costs even more significantly. This shift relied heavily on the speed of internet increasing for the average consumer. It’s all well and good to have your Playstation 4 hooked up to the internet, but if your download speed is in the single megabytes a second, downloading a four gig demo sure is going to take a while, nevermind a full Blu-ray capacity game.
With the technological hurdles largely being stepped over, an attitude change was likewise needed to return to the demo model of the ‘90s and early 2000s Why is it that Dragon Quest: Builders, Nier: Automata, Resident Evil 7¸ Gravity Rush 2, and Nioh all had exciting, impactful demos? P.T. certainly seems to have had something to do with it. Despite being a demo for a game that never materialized, P.T. struck a chord with players. It had a lot going for it. Hideo Kojima, one of the most auteurist game developers, pairing with acclaimed film director Guillermo Del Toro, was enough to get people talking on its own. That talk would have amounted to little had the demo itself been unspectacular, but the creative team delivered in a big way. It felt new despite being a first person horror exploration game, not exactly a genre lacking in titles. It felt exciting, partly because it portrayed a beloved game series in a way players hadn’t seen before, but also simply because the production quality and attention to detail spoke to its ambitions. It was confident.
Kojima and Del Toro have had incredible careers in their respective industries. Though P.T. was a bit of a meeting in the middle for the two creators, it was obvious that they felt good about what they were doing. They knew what they wanted to make and excited to let players get a taste for themselves. The eventual fallout with Konami may have doomed the game, ultimately, but it did manage to drum up a ton of coverage and a lot of player interest. P.T. proved that the demo was still a valuable piece of marketing. The name, an abbreviation of Playable Trailer, obscured its ties to the storied Silent Hill series, providing some evidence that an interactive teaser like P.T. could carry weight and marketability all on its own. Given the success of that demo, it’s no surprise that Capcom ripped the page right out of Kojima’s book with the demo for Resident Evil 7 that took the form of the first person horror adventure.
That confidence, the one that had helped foster interest and sell mega hits like Final Fantasy VII, has started to make its way back to more developers and studios, especially those in Japan. Square Enix knew it was making a great game when it released the demo for Dragon Quest: Builders, just like Platinum Games knew it was making a great game when it put out the demo for Nier: Automata. Even with the Resident Evil 7 example, Capcom is showing some swagger, whether justified or not. That confidence is at odds with simultaneous trends of game developers refusing to put out release copies of games for fear of bad reviews eating into their sales. At a time where video game sales are good, yet many developers are still struggling to stay open, the existence of demos has the larger impact of showing players and the industry at large that these developers are proud of what they are working on.
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(Capcom was a little less subtle with their teaser than Kojima.)
That counts for a lot. Perhaps some of the innovation is still missing in games (though virtual reality might be the remedy for that lull), and maybe the foundation shaking switch from 2D to 3D can never be replicated, but there’s something different about some of the companies making games right now. They don’t seem so afraid to be making them. They know that if they focus on quality, that if they try to do something a bit different, and if they let players actually get a chance to try it out, people will want to play them. Hopefully that strategy pays off and that confidence will be rewarded so that developers can go on to make the next game.
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beulahdelee411-blog · 6 years
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Advise Me An Excellent Audiobook.
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