Podcasts about dma design

We are joined by James (WhatHoSnorkers) to discuss a new video that shows how DMA Design reinvented the puzzle game, to remember the computerised Raleigh Vektar, and how it seems that 50 years have now passed since the very first type in game was released. Whether you remember the Amiga, BBC Micro, Apple II, ZX Spectrum, Amstrad CPC, Commodore 64, 16-bit consoles or DOS gaming; Pixel Addict shares your love of pioneering digital technology of the past. Visit https://www.addict.media/ You can see James having fun with type in programs at https://www.youtube.com/@WhatHoSnorkers 00:00 - Show Opening 03:10 - The Type-In Turns 50! Story Link: https://www.reddit.com/r/thisweekinretro/comments/1kmabnb/perhaps_the_first_type_in_game_is_50/ Additional Link: https://altairclone.com/downloads/killbits.pdf Learn About Checksums: https://atariprojects.org/2020/07/25/learn-about-checksum-programs-for-checking-type-in-programs-15-30-mins/ Thanks to Tom Halfhill: https://www.halfhill.com/ 16:28 - It's Not Street Hawk Story Link: https://www.reddit.com/r/thisweekinretro/comments/1knk7vy/raleigh_vektar_mid_80s/#lightbox_cuts  Additional Link: https://www.reddit.com/r/cassettefuturism/comments/rpyk7l/vektar_bike_raleigh_1985/ Another Link: https://radicallyretro.tumblr.com/post/675581185126219776/the-raleigh-vektar-1985-the-first-computerized 30:55 - Dave's Housekeeping - News links found below 36:56 - Oh No, More Lemmings! Story Link: https://www.youtube.com/watch?v=8FTOySSAPo8 47:03 - Community Question of the Week

Our guest Christian Cantamessa began in point and click adventures before becoming lead designer and writer for Red Dead Redemption. Now CEO of Night Studios he is also the writer and director of the film, Air. We discuss concern about GTA III, embracing the game and telling stories in games - this week![00:00:00] – From Donald Duck to GTA III: Career Whiplash Christian recalls the surreal leap from working on a Donald Duck GBA game to contributing to Grand Theft Auto III at Rockstar Games. [00:07:00] – Founding Day for Night Studios and Teaching at USC Christian shares updates on founding Day for Night Studios, collaborating with legendary composer Grant Kirkhope, and teaching screenwriting at USC. [00:15:00] – How Growing Up in Italy Shaped His Game Development Dreams Christian discusses his early life in Italy, making camcorder movies, discovering Monkey Island, and finding a love for storytelling through games. [00:27:00] – Early Struggles: Typing Code from Magazines and Hand-Me-Down Computers He shares the challenges of learning basic programming on a Commodore 16 and ZX Spectrum without formal training or abundant resources. [00:46:00] – Breaking Into Rockstar: Cold Email to Working on GTA III Christian tells the story of how a spontaneous email to DMA Design led to his move to Scotland to help finish GTA III—despite having no prior open-world experience. [00:53:00] – Designing Emergent Gameplay for GTA III He explains how Rockstar embraced unintended player behavior, turning it into a core design philosophy that shaped GTA III's legendary sandbox style. [00:56:00] – Leading Design on Manhunt and Red Dead Redemption After GTA III, Christian became the lead designer of Manhunt and helped shape the narrative and world-building of Red Dead Redemption. [01:00:00] – The Price of Creative Passion: Burnout and Sacrifice Christian reflects on the emotional and personal cost of spending five intense years building Red Dead Redemption, and whether true greatness requires full commitment. Thank you for listening to our podcast all about videogames and the amazing people who bring them to life!Hosted by Alexander Seropian and Aaron MarroquinFind us at www.thefourthcurtain.com Join our Patreon for early, ad-free episodes plus bonus content at https://patreon.com/FourthCurtain Come join the conversation at https://discord.gg/KWeGE4xHfeVideos available at https://www.youtube.com/@thefourthcurtainFollow us on twitter: @fourthcurtainEdited and mastered at https://noise-floor.com Audio Editor: Bryen HensleyVideo Editor: Sarkis GrigorianProducer: Shanglan (May) LiArt: Paul RusselCommunity Manager: Doug ZartmanFeaturing Liberation by 505

In this episode, we take a dive into the history of Rockstar North, the legendary studio behind Grand Theft Auto. From their early days as DMA Design in Dundee, Scotland, to becoming the powerhouse responsible for one of the most successful gaming franchises of all time, we cover it all. We'll explore their major milestones, the impact of GTA Online's massive success, and the long road to GTA VI. Tune in as we break down how Rockstar North shaped modern open-world gaming and what the future holds for the studio. For Part 2, go to: patreon.com/thegtapodcast

Tonight we play some GTA from 20 years ago.________________________________________________________________________Find Us on these platforms:https://twitter.com/_RetroRenegadeshttps://www.facebook.com/profile.php?id=100077718475122https://podcasters.spotify.com/pod/show/retro-renegadeshttps://www.tiktok.com/@retro.renegades________________________________________________________________________Join this channel to get access to perks:https://www.youtube.com/channel/UCcT8wcspekw5tSzbc3qWPCg/join________________________________________________________________________Grand Theft Auto (GTA) is an action-adventure video game series created by David Jones and Mike Dailly. Later titles were developed under the oversight of brothers Dan and Sam Houser, Leslie Benzies and Aaron Garbut. It is primarily developed by British development house Rockstar North (formerly DMA Design), and published by its American parent company, Rockstar Games. The name of the series is a term for motor vehicle theft in the United States.________________________________________________________________________Grab a beer, a slice of pizza and come hang out with us. We play the greatest games from yesterday while discussing today's gaming news and reminiscing on the past. A no topic, no fuks given eccentric cast. Come hang with us at 7:00PM EST | 6:00PM CST | 5:00PM MST | 4:00PM PST..________________________________________________________________________TRY DUBBYFROM GAMERS TO GYM JUNKIES TO ENTREPRENEURS, OUR PRODUCT IS FOR ANYONE WHO WANTS TO BE BETTER.SAVE 10% WITH THIS LINK.https://www.dubby.gg/discount/Renegade238?ref=NePXKdCFpypc8b________________________________________________________________________Listen to RetroRenegades on all major podcast platformshttps://anchor.fm/retro-renegades ________________________________________________________________________Like some merch?https://retro-renegades-shop.fourthwall.com/https://www.youtube.com/channel/UCcT8wcspekw5tSzbc3qWPCg/store &https://willijay.redbubble.com________________________________________________________________________THE RETRO RENEGADES ARE:Graphic GodTwitter: @Graphic_GodYoutube: https://Youtube.com/GraphicGod​​Twitch: https://twitch.tv/Graphic_God​​SUPERSONICSTATIONYoutube : https://youtube.com/user/SuperSonicSt...Twitch : https://twitch.tv/supersonicstation​​STINKINCORPSETwitter: @stinkincorpseYoutube: https://youtube.com/channel/UChhVxkV0...UK DazarusTwitter: @UKDazarusYoutube: https://youtube.com/channel/UCud_ef29...Jago KukenTwitter: @RetroRenegade_ Youtube: https://youtube.com/channel/UCqKT2pP9...CRISPYBOMBTwitter: @CrispybombEnFin3tTwitter: @EnFiN3tYoutube: https://www.youtube.com/c/RetroRenegadesJeepers VRTwitter: @Jeepers2uYoutube: https://www.youtube.com/channel/UCAHs-KAWDIYYN-cE5F-WiAQDragonHeartYobyTwitter: @DragonHeartYobyTwitch: https://www.twitch.tv/dragonheartyoby​Cerebral Paul | Living DifferentlyYoutube: https://www.youtube.com/c/CerebralPaulTwitter: https://twitter.com/CerebralPaul1DoggyDog420Twitter: @DoggyDog420XboxYoutube: https://www.youtube.com/user/Axle1324FlamishTwitter: @gregorygoyvaert________________________________________________________________________Music by: Judzilla MusicTitle: Sounds of the roomTitle: Closer To The StarsFind this and more at: https://www.youtube.com/channel/UCKlI...License: Creative Commons Attribution license (reuse allowed)

En 2001, Grand Theft Auto passe à la 3D avec le révolutionnaire GTA 3, mais il a été grandement remanié, jusqu'à 1 mois avant sa sortie. Découvrez la véritable histoire du développement de GTA 3. Bienvenue dans JV LEGENDS !GTA III, est un jeu vidéo d'action-aventure développé par DMA Design (devenu Rockstar North) et publié par Rockstar Games. Sorti en 2001, il a révolutionné le genre avec son monde ouvert en 3D, offrant aux joueurs une liberté sans précédent pour explorer Liberty City, une ville fictive inspirée de New York. Avec son ambiance immersive, ses missions variées et son style narratif audacieux, GTA 3 a marqué un tournant dans l'histoire du jeu vidéo, établissant de nouvelles normes pour les futurs titres de la franchise.Découvrez comment GTA 3 a transformé le paysage vidéoludique, cachant des secrets surprenants et des rebondissements inattendus.Retrouvez tous les JV LEGENDS sur Youtube ou sur JV ! Hébergé par Audion. Visitez https://www.audion.fm/fr/privacy-policy pour plus d'informations.

Al and Kelly talk about the story of Dave the Diver Timings 00:00:00: Theme Tune 00:00:30: Intro 00:03:12: What Has Kelly Been Up To 00:04:19: Tangent 1 - The Scots Language 00:11:53: What Has Al Been Up To 00:21:22: News 00:35:50: Tangent 2 - Rockstar North 00:44:55: Dave The Diver Upcoming DLCs 00:53:45: Kelly’s Mechanics Thoughts 01:02:31: Dave The Diver Story 01:16:01: Tangent 3 - Game Hyperfocus 01:18:44: Dave Story Conclusion 01:29:12: Outro Links Research Story “0.9” Update Sprittea “Moving & Grooving” Update Loddlenaut “Goddles” Update Outlanders “Wandering Star” DLC Rune Factory: Guardians of Azuma Trailer Dave the Diver Upcoming DLCs Contact Al on Twitter: https://twitter.com/TheScotBot Al on Mastodon: https://mastodon.scot/@TheScotBot Email Us: https://harvestseason.club/contact/ Transcript (0:00:30) Al: Hello Divers, and welcome to another episode of The Harvest Season. (0:00:34) Al: My name is Al, and we are here today to talk about Cottagecore games. (0:00:36) Kelly: and my name is kelly (0:00:41) Kelly: whoo (0:00:42) Al: We’ve not come to a conclusion on whether David the Diver is a Cottagecore game or not. (0:00:45) Kelly: maybe it’s like a bungalow, like you know bungalows are the the the cottages of beach towns (0:00:50) Al: Well, the problem there, right, so if Cottagecore games are for lesbians, what are bungalow games (0:00:57) Al: for? (0:00:58) Al: games for them. (0:00:59) Kelly: non-binary people (0:01:01) Al: I’ll take it. (0:01:04) Al: All right, excellent. (0:01:04) Kelly: I don’t know! (0:01:07) Al: Fantastic. Well, OK, so I think it is a college school game, right? (0:01:11) Al: Because, yes, there are some, like, stakes and stuff, but there’s fewer stakes, I think, than, say, Stardew Valley. (0:01:18) Kelly: Yeah, and I would say also it’s like you still have like the mines in Stardew Valley? (0:01:23) Al: Exactly. Yeah, that’s what I’m meaning. The mines in Stardew Valley are definitely scarier (0:01:28) Al: than most in here. But you can’t ignore nighttime entirely if you want to. The only stuff that (0:01:28) Kelly: Yeah, I would say that the nighttime is the scary part. (0:01:39) Al: only spawns in the night are some fish, which you want if you want to collect the collection, (0:01:44) Al: and a few optional side quests. I don’t think any part of the story is required for you (0:01:49) Al: to go out at night? Or was there one, maybe? (0:01:50) Kelly: I think there was, unless I’m mistaken, I think there was one with the more eels. (0:01:53) Al: There was one. Yeah. (0:01:57) Kelly: It’s been a while. I played that part I think a year ago now so that’s (0:02:03) Kelly: been a while, but I think one part was required and then after that it was like (0:02:07) Kelly: you don’t have to do this again. (0:02:10) Al: So yeah, I think it counts. If Stardew counts this counts. (0:02:13) Kelly: Yeah, I think so. You have farms, you have little (0:02:18) Al: You do, you do. (0:02:18) Kelly: Fish tanks and chickens. (0:02:21) Al: Yeah, the chickens is the most un-feature-rich thing in the game. (0:02:27) Kelly: Yeah. (0:02:28) Al: Chickens exist and if you turn up you get an egg. Great, congrats. (0:02:32) Kelly: You can name them, but you can’t pet them. (0:02:36) Al: All right, cool. So we are here to talk about (0:02:40) Al: well, we’re here for the final episode of Dave the Diver Month. (0:02:44) Al: Two weeks late. (0:02:49) Al: And I’ve got Kelly along to talk about the story for Dave the Diver. (0:02:52) Kelly: Hey, um, I loved this game. I got it, I think the day it came out, and I played it until my fingers hurt. (0:03:01) Kelly: So, weirdo, oh, yeah, yeah. (0:03:03) Al: So hopefully we’ll have lots to talk about in the main topic then. (0:03:08) Al: Exciting. So before that, we obviously have some news. First of all, Kelly, what have you been (0:03:14) Kelly: I have been actually getting ready for a trip to Scotland. (0:03:21) Al: Woo! (0:03:21) Kelly: Woo! (0:03:22) Kelly: But besides that, I’ve been playing Day of the Diver to catch up on the DLCs, playing (0:03:29) Kelly: Solitaire because that is my brain-dead dissociation game, and I’ve actually started doing Dooling (0:03:38) Kelly: Go again, which has been interesting. (0:03:40) Al: In fact, what are you learning? (0:03:42) Kelly: I decided to try Japanese, ‘cause I– (0:03:44) Al: Okay. (0:03:44) Kelly: I’ve tried Spanish, I’ve done German, I’ve done Italian. (0:03:48) Al: So you’re not trying to learn any Scottish Gaelic, or I think Scots is on there as well. (0:03:52) Kelly: No. (0:03:56) Kelly: I didn’t even think about that, to be honest. (0:03:58) Kelly: Which would have been interesting, ‘cause I was just like, (0:04:00) Kelly: “Oh, let me try something that’s completely different than, you know, any of the, like, uh, Latin languages, or German language.” (0:04:09) Al: Germanic. No, it’s just Gallic. They don’t have Scots. I thought they had, I thought (0:04:10) Kelly: Yeah. (0:04:15) Al: I’d seen some where they have Scots, but they don’t. Is it? So, well, okay, so this is gonna (0:04:18) Kelly: Interesting. Can you speak, Scotts? (0:04:22) Al: be a whole tangent, but we’re going for it anyway. I’m just checking. Yeah, Google doesn’t (0:04:27) Al: have it either, it just has Gallic. They all call them Scots Gallic, which is technically (0:04:32) Al: not true, because Scots is a language and Gallic is a language. Gallic is a language (0:04:36) Kelly: Mm. (0:04:39) Al: longer than Scotland has existed. But anyway, that’s not neither here nor there. So I definitely (0:04:44) Al: can’t speak Gallic. I can speak some Scots, but a lot of the Scots that I know is not (0:04:51) Al: stuff that I knew was a different language. So when I was, a lot of people in Scotland (0:04:54) Kelly: Okay. (0:04:57) Al: grow up learning what some people refer to as Scottish English, which is like a weird (0:05:03) Al: amalgamation amalgamation of English and Scots. And so (0:05:08) Kelly: So kind of like Spanglish, like when people grow up in like, you know, like mixing Spanish and English words in the theme. (0:05:09) Al: Yeah, yeah, yeah, yeah. And it’s when you start to like encounter people outside, you (0:05:20) Al: realise, oh wait, this word that I’ve been using is a word that is not English, right? (0:05:26) Al: And to a lot of people, they would just think it’s, oh, it’s just a dialect word, right? (0:05:30) Al: But it’s from a different language. We just use it not in… So I would never use an entire (0:05:36) Al: sentence in Scots because that’s just not how I grew up. (0:05:39) Al: But a lot of the words that I would use, obviously not on the podcast, not when I’m (0:05:46) Al: working because I don’t work with many Scottish people, but like in my day-to-day life, there (0:05:51) Al: are a lot of words that I would use that would be Scots. Like for example, in the classic (0:05:56) Al: Scottish way, I’m going to use a weather word, a word about the weather. So the weather here (0:06:02) Al: today is drich, and that is a Scots word that means, it basically means overcast, right? (0:06:09) Al: Like it’s cloudy, it’s just not nice, it’s like it’s not sunny, but it’s not like pouring down (0:06:14) Al: with rain, it’s just, it’s drich. So that is an example of a Scots word that I would use (0:06:16) Kelly: okay (0:06:20) Al: most days because of the weather. It does, yeah, it’s a d, drich. (0:06:21) Kelly: is that does it start with a D or a B so so is it kind of like it almost reminds (0:06:28) Kelly: me of like dreary you know what I mean in this sense and I would kind of use (0:06:29) Al: Yeah, it’s, yeah, yeah, it’s kind of, it definitely, yeah, I would say, yeah, they’re almost synonyms. (0:06:33) Kelly: that word to (0:06:39) Al: I would say that drich, I think, can be used in other contexts, whereas drich entirely would be (0:06:42) Kelly: Outside of weather. Yeah. (0:06:45) Al: about the weather. So like you would talk about, oh, that’s a drichy meeting, or people were drich, (0:06:46) Kelly: No, that totally makes sense. Is- so he’s like… (0:06:51) Kelly: Mm-hmm. (0:06:52) Al: or whatever, but you couldn’t say something else with drich other than the weather. So yeah, that, (0:06:56) Kelly: Okay, that makes sense. That’s so interesting. Is… (0:06:59) Kelly: like, I’m gonna totally butcher this, but like, (0:07:03) Kelly: can I? Like, how do you say that? C-A-N-N-A-E? Is that considered Scots? (0:07:10) Al: Oh canny. Yeah, that would be another. So this is where we get into some technicalities of (0:07:10) Kelly: Yes. Yes. Yes. (0:07:17) Al: where English comes from. So modern English is itself, it comes from not just old English, (0:07:28) Al: but it also comes from old Scots, and old is, you know, auld lang syne, that’s A-U-L-D, (0:07:32) Kelly: Mm-hmm. Mm-hmm. (0:07:35) Al: that’s Scots for old. And so a lot of English words… (0:07:40) Al: Scots are, you know, very similar to Scots words because, you know, both languages come (0:07:45) Al: from both old languages, Old English and Old Scots. (0:07:47) Kelly: Okay (0:07:48) Kelly: So it’s kind of like it’s like Portuguese and Spanish and like German and like Dutch kind of where it’s like you can (0:07:49) Al: Yeah, yeah. A very… exactly. Yeah, and you wouldn’t know every word and these sorts of (0:07:55) Kelly: Understand them, but they’re not exactly the same (0:08:00) Al: things, but some words you could maybe guess at, like “old”. Most people would be able (0:08:05) Al: to guess what that means, stuff like that. Different words. (0:08:06) Kelly: Mm-hmm. Yeah, in the context. (0:08:10) Al: Clearly different language, but, you know, you can kind of guess what it means because (0:08:14) Al: they’re similar languages, absolutely. But, like, one example of the Old English/Old Scots (0:08:19) Al: thing is, so you’ve got fox, the animal, and you know what the female fox is called? So (0:08:26) Kelly: I feel like I do, but not right now. (0:08:28) Al: it’s a vixen. So fox with an F and vixen with a V. I can never remember which one it is, (0:08:36) Al: in one of Old Scots and Old English. It’s Fox and Fixing. (0:08:40) Al: They can, they can, they can. The other interesting thing is that there’s also a lost letter from (0:08:50) Kelly: and v and f kind of can sound the same too, you know, yeah. (0:08:59) Al: Scots that is not used anymore thanks to the anglification of keyboards. So when (0:09:10) Al: typewriters started becoming a thing, they were obviously, they used the standard QWERTY (0:09:14) Al: layout that we’re using now. And the letter is called a yod, and it kind of looks like (0:09:20) Al: a cross between a z and a y. And it has a sound like a y sound. It’s kind of like a (0:09:22) Kelly: Okay. (0:09:24) Kelly: Okay. (0:09:26) Kelly: Okay. (0:09:29) Al: y, but it’s not quite the same. And I can give you an example of a word that this would (0:09:33) Al: be used in. Do you know the company that does all the logistics at airports? (0:09:40) Al: And they’re called Menzies, do you know them? M-E-N-C-I-E-S. So they do a lot of, like they (0:09:47) Al: are a huge worldwide company that do logistics at airports. So if you’re at an airport and (0:09:52) Al: you look out on airside and you see, you know, people with their high vis on, in most airports (0:09:59) Al: in the West, they will be Menzies employees. Which is actually fun fact, that company started (0:10:07) Al: out as a paper shop in Scotland. (0:10:10) Al: But that zed is not actually originally a zed, it was actually a yod. (0:10:10) Kelly: Oh, that’s cool. (0:10:18) Kelly: Okay. (0:10:19) Al: And so the word ‘menzies’ shouldn’t actually be said menzies, it said ‘mingies’. (0:10:25) Al: Yeah, and so there’s a lot of words, a lot of places in Scotland that you might notice this (0:10:30) Al: when you’re over here, a lot of places in Scotland that have zeds in their name in the middle, (0:10:34) Al: and it’s not actually a zed, it’s a yod. So there’s a place in near Glasgow, (0:10:40) Al: that’s called Calane, and that’s C-U-L-Z-E-A-N, but of course that zed was a yod, (0:10:47) Al: which is why it’s Calane, not Cal-Zane. (0:10:50) Kelly: Okay, so you guys all just acknowledge that it should be pronounced (0:10:56) Al: We just ignore the fact that it’s a zed, because that’s what you learn. (0:10:59) Kelly: Yeah (0:10:59) Al: I didn’t know for a long time that it wasn’t originally a zed. (0:11:03) Kelly: Okay (0:11:04) Al: But yeah, we don’t pronounce it like that. (0:11:06) Kelly: Okay, sorry to derail (0:11:07) Al: But yeah, so you will. (0:11:10) Al: So it’s fine, I’ll put this in specifically as a section on the Scots (0:11:15) Al: language for some reason. But yeah, so you might hear some people, (0:11:18) Al: if you ever see the paper shop that still does exist, Menzies, (0:11:21) Al: some people will call it Menzies, and some people call it Menzies, (0:11:25) Kelly: Oh, very interesting, that’s pretty cool. (0:11:25) Al: because it depends on who you are. (0:11:28) Al: There used to be a politician in Scotland calls Menzies Campbell, (0:11:30) Al: and nobody would ever call him Menzies Campbell, (0:11:32) Al: despite the fact that it’s spelled the exact same way. (0:11:34) Kelly: That was a fun fact. (0:11:35) Al: But they still call the paper shop Menzies for some reason. (0:11:38) Al: So Ming is fun fact. (0:11:40) Al: There you go. That’s your Scott’s language history on the Cottagecore podcast, (0:11:46) Al: The Harvest Season. (0:11:48) Kelly: I’m just really good at derailing the podcast, what can I say. (0:11:52) Al: Nothing wrong with that. Nothing wrong with that. (0:11:55) Kelly: What have you been up to, Al, besides history lessons? (0:11:56) Al: What have I been up to? (0:12:00) Al: I have been playing, well kind of playing, Harvest Moon, Home Sweet Home, and Coraline 1.1. (0:12:10) Al: I quite often, if I’m like trying to play a game for a podcast and I’ve not quite got (0:12:14) Al: into it yet, I will feel guilty about that and not play any other games. (0:12:22) Al: So I have played about two in-game days of Harvest Moon Home Sweet Home. (0:12:28) Kelly: That’s it! (0:12:28) Al: That’s it. (0:12:29) Al: So we’ll see. (0:12:30) Al: Hopefully I’ll manage to play enough before the podcast that I’m recording in a week. (0:12:36) Kelly: It’s crunch time! (0:12:38) Al: - It’s crunch time. (0:12:40) Al: So we’ll see. (0:12:40) Al: The annoying thing I also found out is that, (0:12:42) Al: so it’s, I don’t know if you’re aware of this game, Kelly, (0:12:45) Al: but it is a mobile game. (0:12:48) Al: So it’s on Android and iOS. (0:12:50) Kelly: the harvest moon one (0:12:51) Al: The new Harvest Moon game, yeah. (0:12:53) Al: And they haven’t enabled cloud safe for it. (0:13:00) Al: So I installed and started playing it on my 13 inch iPad. (0:13:00) Kelly: Oh. (0:13:05) Al: And that is now the only device I can play this game on. (0:13:05) Kelly: Oh. (0:13:09) Kelly: That’s… that’s so… wrong. (0:13:10) Al: I just ate is bizarre, because a special. (0:13:16) Kelly: Especially on like a harv– like, I’m assuming the Harvest Moon game, you know, it has a lot going on. (0:13:21) Al: Yep, you should be here. (0:13:21) Kelly: You’re dedicating a good amount of time to playing it. (0:13:25) Kelly: Yeah, like, you have items, you have things that you’re building up, like, why would– (0:13:30) Kelly: Like, don’t most of these games have that built in by now? (0:13:34) Al: Yeah. Yeah. And it’s not even you don’t even need to do much. You just need to say yes, you can do it. (0:13:44) Kelly: Yeah, and especially with I feel like I’m sure they’re different games, but like just having like knowing that animal (0:13:52) Kelly: crossing (0:13:53) Kelly: Is whatever Pacicapia is like shutting down their app? (0:13:54) Al: Bocky camp (0:13:57) Al: Yeah (0:13:58) Kelly: Wouldn’t you kind of want to make sure that your app is there to like fill the void? (0:14:02) Kelly: - I enjoyed. (0:14:03) Al: Anyway, so that’s that that’s another reason why I’ve not played a lot of it yet is because I can only play it on one (0:14:08) Al: Device and it’s the 13 inch iPad which I like as a device, but it’s not the best for a mobile games, obviously (0:14:15) Kelly: Is it annoying to like, hold for… Is that what the issue is or is it? (0:14:19) Al: That’s part that’s part of the issue although I do have it on a (0:14:22) Al: I stand at my desk, so I (0:14:24) Kelly: Mm. (0:14:24) Al: don’t have to hold it when I’m at my desk, but that means that realistically the only (0:14:27) Al: time I’m playing this game is when I’m working. Which is not a great way to play a game, right? (0:14:29) Kelly: Yeah. (0:14:35) Al: But anyway, whatever. It’s especially annoying because they haven’t disabled playing it on (0:14:39) Al: Macs as well, so now you can play iPad and iPhone stuff on Macs, which is great. It’s (0:14:46) Al: a great feature, but it means that I’ve installed the game on my Mac, but I’d have to start (0:14:52) Al: and you saved to play it there. (0:14:54) Al: Like I was like, this is great because there are like so many ways for me to play this. (0:14:59) Al: I can play it on my iPad during work. (0:15:00) Al: I can play it on my Mac when I’m sitting in front of the TV. (0:15:04) Al: I can play it on my iPad mini when I’m in bed and I’m like, nope, you get one of those. (0:15:09) Kelly: Yeah jokes on you. That’s annoying. (0:15:10) Al: One of those. (0:15:11) Al: Yeah, I should have just gone with the Android version, but the problem is the Android version (0:15:16) Al: crashed when it first came out. (0:15:18) Al: So I couldn’t play it for, in fact, I don’t think it’s, I think it’s still not working (0:15:18) Kelly: So they kind of, they, they dug you into a little corner. (0:15:29) Al: So, I’ve done a little bit of Carlisle in 1.1 as well, because I hadn’t been playing (0:15:34) Al: that yet, so that’s that, and I have gotten very much back into Marvel Snap. (0:15:40) Kelly: Whoa, I haven’t heard that name in a while. (0:15:42) Al: Yeah, so it was, oh they make, they make loads of real decisions, but they’re quite good (0:15:46) Kelly: Did they, like, fix the game? (0:15:47) Kelly: Because I know they were having… they made some kind of weird decisions last winter. (0:15:54) Kelly: Okay. (0:15:54) Al: at fixing these things quickly, like you get multiple changes a week. (0:15:56) Kelly: Okay. (0:15:58) Kelly: Okay. (0:15:59) Al: So, if there’s something that’s completely killing the game, they kill that really quickly. (0:16:04) Al: They’re pretty good at that. (0:16:06) Al: No, we’re at the end of a season, and the next season has like a new type of ability, (0:16:12) Al: which is the first time they’ve done that since launch, so that’s exciting. (0:16:15) Al: And a lot of new Spider People cards, which is also cool. (0:16:21) Al: I do like some Spider People. (0:16:23) Kelly: when did they release marvel snap? was it like around this time last year? (0:16:24) Al: But it’s only a year, I don’t know. (0:16:29) Kelly: right? is it older than that? (0:16:29) Al: It can’t only be a year, really. (0:16:32) Al: No, two years, October 22. (0:16:33) Kelly: okay okay. I didn’t think it was only a year old but I was like I don’t I don’t keep up with that (0:16:39) Al: Yeah, yeah. (0:16:40) Kelly: game so there’s also that. there just happened to be a streamer I was watching who was like obsessed (0:16:46) Kelly: with it for a while. (0:16:47) Al: I really love it, because it’s, I like card games, but one, they’re so hard to keep up (0:16:55) Al: with all the cards, right? (0:16:57) Al: And the good thing about Marvel Snap is so many. (0:17:00) Al: There’s many different types of playing are viable. (0:17:02) Kelly: So it’s not like you get one or two meta that are like (0:17:06) Al: Exactly, exactly. (0:17:06) Al: There’s like, you know, Destroy decks are really good just now. (0:17:10) Al: Move decks are pretty good just now. (0:17:12) Al: There’s also like a couple of other types of decks that you can use based on multiple cards. (0:17:18) Al: Like I have played four different decks and won with them over the last two days. (0:17:23) Al: So it’s, yeah, it’s pretty good. (0:17:25) Al: Discard decks are still quite good as well. (0:17:27) Al: Like there’s lots that’s working just now. (0:17:30) Al: And yet there are a few cards that if you don’t get them, you’re unlikely to get up to like (0:17:35) Al: level 100, rank 100. But I’m unlikely to get there anyway. And it’s still fun. Like it takes a long (0:17:41) Al: time to build up the ranks anyway. So, you know, it takes it only now are my rank 60 now. (0:17:49) Al: And, you know, granted it’s only been, I’ve only been playing for two weeks of this season, (0:17:57) Al: which is about half of it, but… (0:18:00) Al: It’s like, I… Yeah, I think it would have been unlikely for me to get to 100 anyway, but… (0:18:06) Al: So yeah, and also the actual matches are simpler than most card games. (0:18:11) Kelly: Okay. (0:18:12) Al: So you’ve only got a few things to think about while still having a lot of different strategies. (0:18:17) Al: And obviously they’re fast. (0:18:20) Al: You know, you can get a match and done in a cut in, you know, the longest matches take five. (0:18:20) Kelly: Yeah, no, it seems like, you know, I I’m not a big Marvel person, but it seems like a fun game with a lot of creativity and like options. (0:18:34) Kelly: And the fact that they’re still actively updating it, I think says a lot. (0:18:34) Al: Yeah. Yeah. It’s obviously making money. Um, so yeah, I mean, basically the reason why (0:18:42) Kelly: Yeah, that too. (0:18:46) Al: I’m back into it is because, um, Hannah, uh, from the ISE slack, um, she walk got, she (0:18:54) Al: came over and was like, Oh, I’m interested in this because I hear that it’s quite similar (0:18:58) Al: to what the new Pokemon trading card app will be like. So I want to see how this works before (0:19:02) Kelly: Oh interesting, smart of Pokemon. (0:19:04) Al: to see how similar it is and compare it to that. And so when she said that, well, yeah, (0:19:12) Al: exactly. It will be interesting to see how much it actually is because we don’t know much details (0:19:16) Al: about how the battles will work. Um, but it will be very clever if, if it is, if it works out well. (0:19:22) Al: Um, but because she came through and did that, I was like, Oh, now I really want to play (0:19:28) Kelly: Mm-hmm. (0:19:28) Al: and I haven’t stopped playing since. So that was two weeks ago. (0:19:33) Kelly: I… I trust me. I understand. I understand. (0:19:37) Kelly: I’m sure you’ll get out eventually. (0:19:39) Al: Yeah, this is my problem, is I don’t play games casually, I play games until I stop (0:19:40) Kelly: You’ll be free. (0:19:46) Al: playing them, and it is my life until I stop playing them, and then I never think about (0:19:52) Kelly: Yeah, literally, I completely understand. (0:19:55) Kelly: That’s why I’m not allowed to play stuff like Cafe Mix anymore. (0:20:01) Kelly: I like… it was a phone game, you know? (0:20:05) Kelly: But it was a phone game that, uh… (0:20:07) Kelly: Once I started playing events, I got really hooked, (0:20:10) Kelly: and I was good at the events, and I kept winning events, (0:20:12) Kelly: and then I would get money out of it. (0:20:12) Al: Yeah, yeah, my (0:20:14) Kelly: And it was just like, it was like, you know, daily. (0:20:16) Kelly: It was a daily thing where I’d go in, I’d play five games, I’d do this, (0:20:20) Kelly: and then the events. (0:20:22) Kelly: were like, “You have to play all weekend, otherwise you won’t win,” and I’d be like, “Well, I have to win.” (0:20:27) Kelly: Um… (0:20:28) Kelly: So now I’m just not allowed to play that game. (0:20:30) Kelly: But I do that with all games, that’s why I played Day of the Diver until my fingers hurt, you know? (0:20:33) Kelly: That’s, uh… (0:20:34) Al: Yeah, yeah, I just I never got into cafe mix because I just didn’t like the gameplay like it felt too imprecise (0:20:35) Kelly: That’s what I do. (0:20:39) Kelly: Yeah. (0:20:41) Kelly: It’s… it is. (0:20:43) Kelly: It’s very sloppy. (0:20:44) Kelly: Which I think can work in your favor if you know how to use it correctly. (0:20:50) Al: Yeah, probably, but I didn’t want to. I didn’t want to learn. You know, it’s like, I loved like (0:20:52) Kelly: Yeah, no, that’s fair, that’s fair. (0:20:56) Al: shuffle, Pokemon shuffle, which is not, I know it’s not the same game, but it’s, it’s like similar (0:21:01) Kelly: It’s very similar, yeah. (0:21:01) Al: ideas in some ways. But I much preferred that because it was very clear, like, it’s precise, (0:21:07) Al: right? This place goes to that piece and that’s it. Whereas with Cafe May, it’s like, oh, you’re (0:21:11) Al: kind of like circling. And it’s like, I didn’t. (0:21:14) Kelly: Yeah, no, it’s it’s definitely very different in actual gameplay (0:21:20) Al: Cool. So that’s what we’ve been up to and a (0:21:22) Kelly: Yeah (0:21:24) Al: tangent on the Scottish language. (0:21:27) Al: Now we’re going to talk about some news, some game news. (0:21:30) Al: First of all, we have the zero point nine update of Research Story is out now. (0:21:35) Al: So this includes a new NPC, (0:21:39) Al: lots of extra content for the NPCs, a cooking system and your classic on a daily (0:21:47) Al: Cottagecore game, the daily summary, when you (0:21:50) Al: go to sleep, gives you everything that you’ve done in that game. (0:21:50) Kelly: I laugh, but honestly I need things like those. (0:21:55) Al: Well, that’s the thing. And it’s like you have, like, especially in farming games where (0:21:56) Kelly: Like when games don’t have that, sometimes I’m like, “hmm, what was I doing? (0:22:05) Al: you are selling a bunch of stuff on a daily basis, it’s good to know one, how much you (0:22:06) Kelly: Mmhmm. (0:22:09) Al: actually sold, and two, how that break broke down. You know, that was a key point of Stardew (0:22:11) Kelly: Yeah. (0:22:17) Al: is trying to figure out what was the most efficient stuff. (0:22:20) Al: This is really nice in that it’s building up into other things as well, so it’s like, (0:22:26) Al: “Oh, here are the people you talk to, and here’s the XP you gained,” and that sort of stuff. (0:22:32) Kelly: Yeah, no, it definitely does help, and I think also with farming games it’s so easy to get sidetracked on things. (0:22:38) Kelly: So it’s, like, good to see at the end of the day, like, “Oh, I actually did not sell as much stuff that I wanted to,” (0:22:44) Kelly: or “Didn’t talk to the right amount of people,” or, you know, “It’s two days until I have to buy something that’s really expensive, I better start selling a bunch.” (0:22:53) Al: They have also released their roadmap to 1.0, so they’re getting close. They have two more updates (0:22:59) Al: before the 1.0. That is 0.10 should be coming out at the end of September. That is player (0:23:06) Al: customization. 0.11 should be coming out at the end of the year, and that is orange hearts and (0:23:14) Al: shimmers. The orange heart events that will be for NPCs. And I don’t know what shimmers means. (0:23:20) Al: Oh, shiny creatures right in front of me. (0:23:23) Al: I always got to translate into Pokemon. (0:23:27) Kelly: Translate, yeah. (0:23:31) Al: And then the 1.0 will be coming out in Q1 next year. (0:23:36) Al: So if you’ve been looking for 1.0 to finally get into this game, (0:23:40) Al: it’ll be next year, be warned. (0:23:41) Kelly: Have you played the, um, is there an Early Access? (0:23:45) Al: Yeah, that’s what this is. (0:23:46) Al: I haven’t played it. (0:23:47) Al: I know that Cody has played it, and I think Bev played it as well. (0:23:50) Al: and they had a chat about it on one of the episodes. (0:23:53) Al: And they both really liked it. So, I don’t know. (0:23:55) Kelly: It looks cute. I like the note about married life events because I feel like a lot of these games kind of end events once you marry your characters of choice. So that’s nice. (0:24:02) Al: Yes. Yeah. Yeah, not looking at anyone in particular, Coral Island. (0:24:11) Al: Uh, Spirity have also got an update out now. The moving and grooving update, um, was animations. (0:24:20) Al: Hahaha. Hmm. Yeah, did you play it? (0:24:22) Kelly: This game is so upsetting to me because I really wanted to like it so bad. (0:24:27) Kelly: So like, seeing this update, it’s like, these look so funny, and like, they look so silly but it’s like, I’m not gonna go back to play like this. (0:24:34) Al: This is the problem is like you can like everything about a game, but if you don’t actually enjoy the core loop of the game (0:24:40) Al: It doesn’t really matter (0:24:40) Kelly: Mm-hmm (0:24:42) Kelly: Yeah, and I gave it I think I put like 30 hours in or something so I like I gave it a good (0:24:45) Al: Oh, wow, that’s more than I put in I may be I may be put in ten hours (0:24:48) Kelly: Try (0:24:51) Kelly: I wanted to like it so bad, but what can you do? (0:24:53) Al: Yeah (0:24:54) Al: Yeah, I wonder how much of it is just like a personal preference thing, right? Like some people just don’t like certain times of games (0:25:00) Kelly: Yeah (0:25:02) Kelly: I (0:25:03) Kelly: Mean, I don’t know cuz I love games like this. Typically. I wish I could I play this like back in (0:25:10) Kelly: fall so I can’t remember exactly what it was, but I know some things were just like (0:25:15) Kelly: kind of really repetitive in like a (0:25:19) Al: I think that the repetitive bit is probably my problem, is that the bathhouse you did upgrade, (0:25:27) Al: but it didn’t really feel like you were progressing. Whereas with farming games, (0:25:33) Al: you go from like a two by two square that you’ve made of turnips to thousands of crops over your (0:25:41) Al: farm, and tens of animals giving you millions every season. And it didn’t feel like there was (0:25:49) Al: level of progression to aim for. And that was what I think really lost me about it. (0:25:56) Kelly: Yeah, I agree because I updated like I think as much as I possibly could in the bath house, too (0:26:03) Al: but it’s like oh now I have three baths it’s like oh is there right okay (0:26:06) Kelly: Yeah, there’s actually a second floor yeah, but it doesn’t add that much (0:26:15) Al: yeah anyway but if you’ve if you enjoyed the game there’s more updates to it and you know (0:26:17) Kelly: But yeah (0:26:21) Al: as you say these animations are pretty goofy and fun and add some more (0:26:24) Kelly: Yeah, they look so silly and cute, you know. (0:26:26) Al: they add some more character to the npc’s next we have a new update for (0:26:33) Al: Laudelnot coming out on the 19th of September and oh boy do I hate the names (0:26:38) Al: that they give these updates this one is the Goddles update what’s a Goddle you might say (0:26:45) Al: that’s a good question this includes a new secret cave biome that houses three mysterious Goddles (0:26:52) Al: was this cavern forgotten by guppy what ancient abilities do these Goddles have (0:26:59) Al: I’m still not quite sure what I got all this is it the little (0:27:03) Al: like tree looking thing in this image, maybe. (0:27:06) Kelly: I don’t know. I think it’s cute that it’s like, oh, plant these to prevent pollination, uh, pollution, but you know, still it’s like, yeah, to your point, like, what is this made-up word? (0:27:20) Al: Yeah, I think this might be one of those updates that if you have played the game, which I (0:27:26) Al: haven’t yet, that you might be more interested in it. Yeah, I want to play this game at some (0:27:34) Kelly: It looks cute. I like whatever this aesthetic is called. I can’t think right now. (0:27:42) Al: Yes, I can’t remember either. They’ve all got fancy names. (0:27:44) Kelly: Yeah, but I like this game design. I think that (0:27:48) Kelly: style of animation is very cute and very fun for a little underwater game. Yeah. (0:27:51) Al: It works, it works, yeah it works well especially when all your creatures are axolotls, which (0:27:58) Kelly: Yes. (0:28:00) Al: the goofier an axolotl is, the cuter it is. (0:28:04) Kelly: That is true. That is, it is unbeatably cute looking. (0:28:10) Al: Next we have a new DLC for Outlanders, this is the Wandering Stars DLC, and I mean if (0:28:18) Al: you’ve played Outlanders you can look at it, I don’t really think we need to go into the (0:28:21) Al: details of this. (0:28:24) Al: Outlanders is a city builder game, so I’ll probably not play it, because every time I (0:28:29) Al: try and enjoy a city builder I just get frustrated with them, it’s not my kind of game. (0:28:34) Kelly: I get too into city builder kind of games and then it’s also really not enjoyable for me and like actually just stressful, so yeah. (0:28:42) Al: I think part of my problem, so I used to love City Builders, I was obsessed with SimCity2 (0:28:49) Al: so much, but I think part of the problem is that they never work well with controllers. (0:28:58) Al: They’re just not fun to play unless you have a mouse and keyboard, and that’s not how I (0:29:03) Al: game anymore in my life. (0:29:04) Kelly: It’s so funny because I’ve (0:29:04) Al: I am past the point. (0:29:07) Kelly: I’ve flipped from like being a controller only person to (0:29:13) Kelly: playing a lot of games mouse and keyboard now with like an occasional controller and (0:29:18) Kelly: It’s true a lot of these games are so different when you have the option to mouse and keyboard them (0:29:24) Kelly: Like there’s some games where it just makes such a big difference (0:29:26) Al: Yeah. Yeah. I just like, the way that I game nowadays is sitting on my sofa, watching TV (0:29:33) Al: with Rona, because that’s the time we get together and that’s how we like to spend our (0:29:34) Kelly: Mm-hmm. (0:29:38) Al: time together. So I’m not going to go, Oh, sorry, Rona. I’m going to go into the office (0:29:41) Al: and play games on my computer. Like, I’m just not going to do that. So, um, but I used to (0:29:47) Al: like when I was a student or whatever, I would, you know, be up till two, three. (0:29:56) Kelly: It’s tough (0:29:57) Al: Yeah. Finally, we have an update on what was called Runefactory Project Dragon and is now (0:29:59) Kelly: The sacrifices (0:30:10) Al: called Runefactory Guardians of Azuma. (0:30:14) Kelly: that’s a kind of oh wait so i’m sorry to cut you off but was it called rune factory project dragon (0:30:21) Al: Yes. So I don’t know if that was ever meant to be the title, because when you see project you (0:30:21) Kelly: and they changed that’s interesting (0:30:28) Al: quite often think that’s not the final title. So I suspect it was like we haven’t thought up a name, (0:30:30) Kelly: Yeah. (0:30:32) Kelly: Yeah. (0:30:35) Al: it’s about dragons, call it project dragon. But anyway, now they’ve got given an actual name, (0:30:43) Al: and they’ve said it’s coming out spring next year, and we have a trailer. So the interesting, (0:30:50) Al: Have you ever have you played (0:30:51) Al: any Renfactory games? (0:30:52) Kelly: No. I never got onto that bandwagon. I don’t know how I missed it. I think I was (0:30:53) Al: Okay, so (0:30:58) Kelly: just too dedicated to The Sims at that point in my life. (0:31:02) Al: fair enough. I mean, we’ve all been through our Sims phase. Again, interestingly, spent (0:31:09) Al: a lot of time playing Sims and Sims 2 specifically, and then not really since then. Probably for (0:31:14) Kelly: That’s fair. (0:31:15) Al: the same reason that they don’t really work very well with controllers. (0:31:17) Kelly: Oh no, they’re awful. Those games are the games that made me realize that not all games can be played the same way. (0:31:24) Al: Yeah, yeah. Like, I think it’s good that they add support for it because some people (0:31:29) Al: will have no other option and they would rather go through the pain and do it anyway. But (0:31:36) Al: anyway, so the interesting thing about this game is it says that it is a boldly reimagined (0:31:44) Al: gameplay. And the interesting thing is I watch this trailer and I’m not sure what the (0:31:49) Al: boldly reimagined gameplay is because previous Rune Factories are at a (0:31:54) Al: level. It’s basically Harvest Moon, but also combat. And this is Harvest Moon, but also combat. (0:32:04) Al: So, you know, you still have all the exact same farming stuff and then you go off and you fight (0:32:13) Al: creatures. Now granted, it does seem to be that some of the combat is dance-based rather than (0:32:21) Al: with a sword, but I… (0:32:22) Kelly: Interesting. So it’s like a rhythm? (0:32:24) Al: I don’t think it is rhythm-based, so this is the thing. I think it is just you press a button (0:32:31) Al: and you do a dance move, which isn’t fundamentally different than you press a button and you hit (0:32:37) Al: something with a sword. So… I don’t know. I don’t know the specifics of that. Well, this is the thing, (0:32:38) Kelly: So it’s still tur- like, it’s still… (0:32:43) Kelly: Are you gonna, like, start breakdancing at enemies? (0:32:47) Al: because the dancing… this is the weird bit. The dancing just seems to give you weapons that you (0:32:51) Al: you hit the enemies with. (0:32:54) Kelly: Are you dancing to the gods to, like, ask for a weapon? (0:32:54) Al: I just, Kelly, I have no idea. (0:33:00) Al: They’ve not shown any real gameplay. (0:33:03) Al: I guess my point is, I don’t know what the new part of this is. (0:33:07) Al: It just looks to me like the next Rune Factory. (0:33:10) Al: And there are some changes to it, and it’s a different story. (0:33:13) Al: And that’s all great, and people will love that. (0:33:15) Al: But like, why are you pretending that it’s something fundamentally different when it’s clearly not? (0:33:21) Kelly: Have there there’s been like a quite a few ruin factories, right? (0:33:24) Al: We’ve had five so far. (0:33:25) Kelly: And maybe they’re just lying to forget it I don’t know (0:33:31) Al: I mean, one person’s boldly reimagined is another one’s iterative change, right? (0:33:36) Kelly: Yeah, this seems like a pretty far reach though based on what you’ve said (0:33:42) Al: It does. (0:33:43) Al: This just, it feels like Rune Factory 5, but with some advances, which is fine. (0:33:48) Kelly: Maybe they’re… maybe they’re hiding it. (0:33:49) Al: I’m not saying that’s a bad thing, but why would you do that? (0:33:50) Kelly: Maybe they’re hiding the… (0:33:54) Al: It even says, “Restore your lost memories.” (0:33:56) Al: You still have Amnesia, like in every single Rune Factory game. (0:33:59) Kelly: Oh it’s one of those games, okay I see. (0:34:05) Al: This game. (0:34:06) Al: I don’t know if I can, I don’t know if I can go through playing another Rune Factory game. (0:34:06) Kelly: I don’t know. (0:34:10) Kelly: Have you played all of them? (0:34:11) Al: No, I have not. (0:34:12) Al: I have played just four and five, but I feel like that’s enough for me. (0:34:20) Al: I’m not a fan of the combat in these games. (0:34:23) Kelly: Okay, is it turn-based or is it like? (0:34:24) Al: No, it’s action based. (0:34:27) Al: Like real-time, whatever you want to call it, real-time combat. (0:34:31) Al: It’s just, I never feel like it’s responsive enough for me to feel like it’s enjoyable. (0:34:34) Kelly: Okay. (0:34:38) Al: It feels more like hack and slash rather than something like, I don’t know, Breath of the Wild, (0:34:45) Al: where you can have like precise combat with dodging and what’s the other one where you (0:34:52) Al: hit at the right parry, that’s the right one. (0:34:54) Al: So, I don’t know. I say that I don’t want to play it, but I’ll probably play it. We’ll (0:35:00) Al: see. We now have a trailer for it, so if you’re interested, go watch it. We’ve not heard anything (0:35:08) Al: else about Rune Factory 6, which fun fact Kelly, they announced at the exact same time (0:35:12) Al: they announced this game. No, this isn’t 6. This is… Yeah, but this is the thing. It’s (0:35:13) Kelly: Oh, this isn’t six. This is a side project. (0:35:20) Al: It’s not though. (0:35:21) Al: It’s not. (0:35:22) Al: It’s just the next. (0:35:24) Al: It will be interesting to see how long our Silkkox song is, and we can (0:35:26) Kelly: So, when does six come out? (0:35:30) Kelly: That’s… that’s… (0:35:35) Kelly: But this one seems to be coming out pretty quick. (0:35:40) Kelly: That’s… that’s not too bad when your other ones take five years. (0:35:46) Kelly: Yeah, that’s my… that’s my gauge for everything. (0:35:55) Al: to this is half a Silkkox song or whatever. (0:35:58) Kelly: » Well, I think the psychos have run out of other games, or (0:36:02) Kelly: they’re starting to run out of other games to compare it to. (0:36:06) Al: Yeah, I think GTA6 is the only other one that feels like that has been longer. (0:36:08) Kelly: Yeah, [LAUGH] yeah, and that’s just a meme in itself. (0:36:12) Al: Yeah. Yeah. Yes, GTA6 is not coming out next year, no matter how much they say it is, it’s (0:36:13) Kelly: So the two meme games, we’re just [BLANK_AUDIO] (0:36:21) Al: not coming out next year. It is a, like, because I don’t know if they actually announced that (0:36:26) Al: it was coming out in 2025 or something, but be- (0:36:29) Kelly: No, ‘cause there was that whole meme just going around of like, “We got this before (0:36:34) Kelly: GTA VI.” (0:36:35) Kelly: Oh, so end of next year. (0:36:35) Al: Yeah, so the announcement it was going to come out in Q4 2025, which late 20… Yeah, (0:36:42) Kelly: That’s never gonna happen. (0:36:43) Al: that means it’s coming out 2026. It was hilarious because they announced it in December last (0:36:44) Kelly: Yeah. (0:36:50) Al: year. So it was like, “Oh, they’re going to announce the new game. Great.” And then it (0:36:53) Al: came out and it was like, “Oh, wow, that’s exciting.” And then at the end it was like, (0:36:56) Al: late 2025. You’re like, “Really? You’re announcing it two years before you’re currently planning (0:37:02) Al: on it coming out. (0:37:04) Kelly: It’s just I went into a little bit of a spiral recently because of GTA 6 and that whole timeline (0:37:11) Kelly: because I was like, wow, it has been, I lived at my parents house when GTA 5 came out. (0:37:12) Al: Yeah. It’s, it’s basically my entire career. So I, so (0:37:19) Kelly: I was in college. (0:37:24) Kelly: Literally I was so excited because the weekend it dropped, my parents were away and I set (0:37:29) Kelly: up the big screen TV in the living room, and moved like the comfy (0:37:32) Al: Yeah. (0:37:32) Al: Thank you so much for watching. (0:37:34) Kelly: you know armchair to the center of the living room and sat there, and played GTA 5 on the big screen TV and (0:37:34) Al: If you enjoyed this video, please like and subscribe. (0:37:36) Al: If you want to see more videos like this, please like and subscribe. (0:37:42) Kelly: That’s how long it’s been (0:37:44) Al: It’s funny, so it came out on the 17th of September 2013, I got my first job outside (0:37:48) Kelly: No literally like so literally this is (0:37:53) Al: of uni on the 8th of August 2013. So just over a month before GTA 5 came out, I started (0:38:01) Al: my career. Since then, I’ve changed job like five times. I have had two children, I have (0:38:07) Al: bought two different houses, not at the same time, I’m not a crazy person. (0:38:14) Al: I was technically married before that, but only by two months. So like my entire career. (0:38:21) Al: I remember explicitly that it came out around that time because my first job, their office (0:38:28) Al: was right next to the Rockstar offices in Edinburgh. And so they had this massive, four-storey (0:38:30) Kelly: Uh, okay. (0:38:35) Al: poster on the office building that I walked past every single day for like a month before (0:38:42) Kelly: it’s it’s crazy it’s it’s it’s so funny like it’s yeah like you said like my whole life (0:38:50) Kelly: like I was still in college still living at my parents still working you know some like college (0:38:56) Kelly: level job (0:38:58) Al: I have a nine-year-old who was born a year and a half after it came out. (0:39:04) Kelly: you know I gotta say they really um milked gta live for all it’s worth (0:39:11) Kelly: because the fact that that kept (0:39:11) Al: - Yeah, they really did. (0:39:12) Kelly: that game so relevant is absolutely insane. (0:39:16) Al: Yeah, I mean, I’m never, I’m not really a GTA person, (0:39:21) Al: so I never played GTA Live. (0:39:22) Kelly: Well, I was. I was, you know, for literally most of my childhood (0:39:28) Kelly: and then they didn’t release a new game for half my life. (0:39:34) Kelly: Like, that’s crazy. One of my first- I used to rent (0:39:37) Kelly: GTA Miami Vice and GTA 3 from Blockbuster. (0:39:42) Al: I think it’s a very good example of how modern games have become too big. So from 1997, when (0:39:53) Al: the first GTA came out, there were 16 years between that and GTA 5. 16 years. It depends (0:40:00) Kelly: And what did they put out like 12 games? (0:40:03) Al: which one you’re counting, which ones you’re counting, because there’s like… so if you’re (0:40:05) Kelly: I’m counting the mini like the the side like the PSP games and stuff like that too. Yeah (0:40:12) Kelly: I could hear I could hear the little tapping (0:40:12) Al: going to be 15. 15 games. So an average of one a year. And since GTA 5… or let’s just (0:40:16) Kelly: Okay, so I wasn’t too far off (0:40:21) Al: shoot… so between GTA 5 and GTA 6 releasing, and this is just GTA games by the way, it’s (0:40:26) Al: not all Rockstar games. I’m just talking GTA stuff. So between GTA 5 and GTA 6 releasing, (0:40:31) Al: there will be at least 12 years. So 12 years between… and in that time, what have they (0:40:33) Kelly: That’s absurd. (0:40:38) Al: they had GTA Live and well, ignoring (0:40:38) Kelly: Red Dead Redemption? (0:40:42) Al: the other so GTA stuff specifically GTA Live or online or whatever you call it and their remastered (0:40:42) Kelly: Yeah, yeah. (0:40:48) Al: trilogy. No, exactly. And I was counting for the record like I wasn’t I wasn’t even counting like (0:40:49) Kelly: Oh, right, okay. Which, that doesn’t count. (0:40:56) Al: they had a double pack and a trilogy re-release. I wasn’t counting those before so literally and (0:41:04) Al: GTA online came out at the same time as 5 came in 2013 was like two weeks after 5. So (0:41:08) Kelly: Yeah, yeah. (0:41:12) Al: yeah Rockstar have done other games of course since then but it just… (0:41:16) Kelly: But they literally had such a, like they are who they are because of GTA. (0:41:22) Al: yeah, uh-huh. Also well also also also Lemmings but yeah. (0:41:24) Kelly: Like again, that was my childhood. I could tell you the craziest cheats for those games. (0:41:30) Al: We can’t forget Lemmings come on. (0:41:32) Kelly: What is, is that a Rockstar game? (0:41:35) Al: Did you never? So okay right this is where we get into the history of Rockstar North. (0:41:40) Al: Not Rockstar, Rockstar North. (0:41:41) Kelly: Is that the Scotland office? (0:41:42) Al: So, well, let me get to that. Let me get to that. So, GTA was originally developed (0:41:50) Al: by a company called DMA Design. This was a company based in Dundee, in Scotland, which (0:41:52) Kelly: Mm-hm. (0:42:00) Al: it’s actually the heart of games design in Scotland. The university there, people come (0:42:07) Al: from all over the world to study games design. It’s like well known for that. (0:42:13) Al: DMA Design, after GTA 3, were bought by Rockstar and renamed Rockstar North. But before that, (0:42:23) Al: they also released many games. GTA is the one that obviously most people know of, (0:42:29) Al: but they also released Lemmings, which was a big game. Did you never play Lemmings? (0:42:37) Al: So, this was a game, the game play for this was you have… (0:42:42) Al: Obviously, this is based on the false idea of Lemmings walking off cliffs, (0:42:46) Al: which is obviously nonsense, but it was a fun game. (0:42:50) Al: So, you know about the creatures Lemmings, right? (0:42:52) Kelly: Yes, yes. (0:42:53) Al: And you know about the Disney’s terrible thing where they pretended that Lemmings (0:42:58) Al: walked off cliffs, but actually they just basically pushed them off a cliff for a documentary. (0:43:02) Kelly: Yes, I do know about that. (0:43:03) Al: Yeah, OK, cool. (0:43:06) Al: So, DMA Design made a game called Lemmings that was based off this idea. (0:43:10) Al: Um, you have a lot of little (0:43:12) Al: lemmings and you have to guide them through a 2D world, get them from the start to the end using (0:43:20) Al: different things like you can, you know, you can tell a lemming to mine through this thing, (0:43:24) Al: you can tell one to build a stair, you can, you know, loads of things. It was a really fun game. (0:43:28) Kelly: They’re so cute looking, honestly. Like, I’m looking at it now, it looks adorable. (0:43:30) Al: Yeah. So I don’t think they made a single lemmings game after they became Rockstar North, (0:43:36) Al: which I’m very sad about, but it’d be amazing. They basically- (0:43:39) Kelly: Ugh, could you imagine? (0:43:42) Al: became the GTA place, even though they did so many other games before that. (0:43:47) Kelly: Yeah, that’s crazy. I never would have guessed that, to be honest. (0:43:50) Kelly: But yeah, GTA. What is life? (0:43:53) Al: Yes, there we go. So many tangents in this episode. (0:43:56) Kelly: Derailment 2. (0:43:57) Kelly: - What? (laughs) (0:43:59) Al: Um, but hey, I mean, GTA 6 probably come out before Elder Scrolls 6. (0:44:04) Kelly: I’ll probably get it before a silk song, you know, that’s (0:44:07) Al: Well, I don’t know… I don’t know… (0:44:10) Al: Bye. (0:44:10) Kelly: Al I have to say these things to jinx it so (0:44:12) Al: Yeah, okay, sorry, sorry. Right, I think we’re done with our tangents for now, (0:44:18) Kelly: Yes (0:44:19) Al: and that’s definitely the news finished. I think the news was finished 20 minutes ago. (0:44:25) Kelly: We had to have another history lesson, okay (0:44:25) Al: So now, yeah, yeah, we’ve got two Scottish history license, one about the language, (0:44:31) Al: and one about the only games company that has actually been successful. (0:44:38) Kelly: You have to say we’re consistently on theme, at least, somehow. (0:44:42) Al: I’m just getting you ready. I’m getting you ready for coming. You can have a look at the (0:44:47) Al: Rockstar North offices in Edinburgh when you’re there. I don’t know where their current offices (0:44:52) Al: are because I think they moved since I worked in Edinburgh. Anyway, we’re going to talk (0:44:57) Al: about Dave the Diver. Specifically, we’re going to talk about the story aspect of it, (0:45:02) Al: but there are two things we need to discuss beforehand. First of all, they have, for some (0:45:09) Al: reason I know it’s new DLCs since the last day of the day. (0:45:12) Al: So we need to talk about them. (0:45:14) Al: So the first one is Bilateral. (0:45:17) Al: This is the card game, the like ridiculous rogue-lite card game where you have to like (0:45:24) Al: build up a hand and make, like you’ve probably seen people with trying to break it by having (0:45:31) Al: numbers so large that the game crashes and stuff like that. (0:45:38) Al: I don’t think we know for certain what’s happening here, but it looks like they’re (0:45:41) Al: putting (0:45:42) Al: the game as a minigame inside, but I also noticed on the Nintendo Direct this week that (0:45:42) Kelly: It’s like a minigame, right? (0:45:50) Al: also Dave the Diver themed decks are going in bilateral as well. (0:45:56) Kelly: that’s cute I think that’s a nice like I feel like Dave does such a good job of (0:46:02) Kelly: these cute little like you know they’re they remind me like back in the day when (0:46:07) Kelly: you do like follow for follow or like photo like my photo and I’ll

Can you believe we're 90 episodes into this show and still haven't looked at Lemmings? Lemmings! What a classic! When Lemmings (by DMA Design, published by Psygnosis) arrived on the scene in the early 90s it was an instant hit. Everyone's played this game, apparently over 15 million copies were sold over the span of […]

Welcome back to a new episode of Off Center. In this episode Scott Rettberg is joined by Kristine Jørgensen, professor of media studies and PI at the Center for Digital Narrative. They talk about male gaming culture, transgressive games, and understanding male gamers.  Sign up for ⁠⁠⁠⁠⁠the CDN newsletter⁠⁠⁠⁠⁠ here.   References (in order of appearance) Espen, Aarseth. 1997. Cybertext: Perspectives on Ergodic Literature. Johns Hopkins University Press.  Smith, Paul, & Howard, Steve. 1987. Bride of Frankenstein. 39 Steps.   US Army. 2015. America's Army: Proving Grounds. US Army. https://store.steampowered.com/app/203290/Americas_Army_Proving_Grounds/.  11 Bit Studios. 2014. This war of mine. 11 Bit Studios.  https://store.steampowered.com/app/282070/This_War_of_Mine/.  Destructive Creations. 2015. Hatred. Destructive Creations.  https://store.steampowered.com/app/341940/Hatred/.  DMA Design. 1997. Grand Theft Auto. BMG Interactive.   Mortensen, Torill Elvira & Jørgensen, Kristine. 2020. “The Carnivalesque Aesthetics of Games” In The Paradox of Transgression in Games. Routledge.   Den Norske Forfatterforening. February 8, 2024. “Enighet om KI-appendiks" Den Norske Forfatterforening, retrieved on April 3, 2024, from https://www.forfatterforeningen.no/artikkel/enighet-om-ki-appendiks/.  Bjørkelo, Kristian, A. 2020. “Elves are Jews with Pointy Ears and Gay Magic”: White Nationalist Readings of The Elder Scrolls V: Skyrim. The International Journal of Computer Game Research, 20(3). https://gamestudies.org/2003/articles/bjorkelo.   Bethesda Game Studios. 2011. The Elder Scrolls V: Skyrim. Bethesda Softworks.  Blizzard Entertainment. 2004. World of Warcraft. Blizzard Entertainment. https://worldofwarcraft.blizzard.com/en-us/.  Black Isle Studios. 1999. Planescape: Torment. Beamdog. https://planescape.com/. 

The Amigos EVERYTHING Amiga Podcast is back with a CLASSIC...maybe the NUMBER ONE AMIGA GAME OF ALL TIME! That's right, it's LEMMINGS from the brilliant minds at DMA Design and Psygnosis! We'll kill a TON of Lemmings and see if this sucker holds up!

The Amigos EVERYTHING Amiga Podcast is back with a CLASSIC...maybe the NUMBER ONE AMIGA GAME OF ALL TIME! That's right, it's LEMMINGS from the brilliant minds at DMA Design and Psygnosis! We'll kill a TON of Lemmings and see if this sucker holds up!

January 16th, 2024Talking GTA with Hugo OneEpisode 30: DMA Design in GTA III TopicsIntro 00:00GTA News 00:50Last Episode Comments 09:00Listener Emails 19:47Listener Calls 39:34Outro 46:45Sourceshttps://www.cbsnews.com/news/grand-theft-auto-leak-teen-hacker-hospitalized/https://twitter.com/ned_luke/status/1746559971695763562https://www.youtube.com/watch?v=8zbRw8bRwcIShare your thoughts!Leave a voicemail - 1-818-691-5807Send an Email - TalkingGTA69@Gmail.comFollow me for more GTA contenthttps://www.youtube.com/hugoonehttps://www.twitch.tv/hugo_onehttps://www.tiktok.com/@hugo_one_mang

Dive into a spectacular nostalgia trip with us as we revisit the standout moments of 2023! It's been a year brimming with amazing stories, fascinating insights, and unforgettable interviews with some of the most influential figures from the golden age of gaming and technology. From groundbreaking developments in retro tech to deep dives into classic video game history, join us for an exhilarating journey as we celebrate the best of The Retro Hour from 2023. Please visit our amazing sponsors and help to support the show: Bitmap Books https://www.bitmapbooks.com/ Check out PCBWay at https://pcbway.com for all your PCB needs Take your business to the next level today and enjoy 3 months of Shopify for £1/month: https://shopify.co.uk/retrohour We need your help to ensure the future of the podcast, if you'd like to help us with running costs, equipment and hosting, please consider supporting us on Patreon: https://theretrohour.com/support/ https://www.patreon.com/retrohour Get your Retro Hour merchandise: https://bit.ly/33OWBKd Join our Discord channel: https://discord.gg/GQw8qp8 Website: http://theretrohour.com Facebook: https://www.facebook.com/theretrohour/ Twitter: https://twitter.com/retrohouruk Instagram: https://www.instagram.com/retrohouruk/ Twitch: https://www.twitch.tv/theretrohour Show notes: Cyberia: Revisiting The Cyber Cafe with Eva Pascoe: http://tinyurl.com/4jsdrdas Homeworld Co-Creator Rob Cunningham - The Retro Hour EP371: http://tinyurl.com/2fcawuzw Age of Empires II and Xbox Live with Mark Terrano - The Retro Hour EP383: http://tinyurl.com/4xejvcch Swordquest and Atari's Pac-Man with Tod Frye - The Retro Hour EP384: http://tinyurl.com/mppajh7z From Dark Seed to True Crime: The Artistic Journey of Joby Otero - The Retro Hour EP391: http://tinyurl.com/2zrvz82t From Commodore 64 to BAFTA Nominee: The Sonic Boom of Ross Tregenza - The Retro Hour EP399: http://tinyurl.com/2s3ckvvt Back To The BBS with Al's Geek Lab - The Retro Hour EP382: http://tinyurl.com/27hv4jh5 Core Design, Psygnosis & Disney Studios with Rolf Mohr - The Retro Hour EP369: http://tinyurl.com/42zeyb45 Bringing Konami Games To The West - The Retro Hour EP386: http://tinyurl.com/bdcmy62b Controversial Retro Games with Kirk Ewing - The Retro Hour EP365: http://tinyurl.com/55dpbp2r Shaping the Sounds of Fallout and Star Trek: Starfleet Academy - The Retro Hour EP405: http://tinyurl.com/f7jyt7s2     South Park Games, DMA Design and Acclaim with Neill Glancy - The Retro Hour EP375: http://tinyurl.com/y443zxj3 Microsoft Memories with Dave Plummer - The Retro Hour EP373: http://tinyurl.com/3rvkcxdt Retro Edutainment: Unpacking the Classic Arthur Games with Marc Brown - The Retro Hour EP379: http://tinyurl.com/y48mtcbp The Dreamcast Junkyard - The Retro Hour EP377: http://tinyurl.com/mtncem7f 

Rockstar North was on a real high. They were coming off of the both the biggest game of 2001, Grand Theft Auto 3, AND the biggest game of 2002, Grand That Auto: Vice City. The series that saw you stealing cars and driving dangerously through pedestrian-filled streets had propelled them into video game superstardom. Then they decided to do something quite different. We're going back to 2003 to take a look at one of the most controversial video games of all time. We're talking about Manhunt.On this episode of Stealth Boom Boom, we look at how DMA Design became the biggest developer in the world (while also swearing loads in interviews like absolute mad lads). We also discuss New Zealand's history with the game, as well as how Manhunt was briefly connected to a murder story.In our review, you'll hear some chat on how the stealth is dependable to some and boring to others, James Earl Cash and his Splinter Cell love of shadows, battering walls with your fists to attract the attention of guards, the SOCOM PS2 headset, the comfort of the stealth loop, urban horror, the gruesome kill animations and their effect 20 years on, John Wick pencils, Red Dead Redemption 2 train tracks, swinging baseball bats like swords in Skyrim, a weightless protagonist, the power guns have when they're introduced, the bullet-fuelled carnage of the second half, David Fincher's bipigal Piggsy, an attempt at deconstructing violent video games, Brian Cox delivering dialogue with gusto, the shared GTA universe, Detroit, 00s edginess, The Warriors, John Carpenter, "hide you shit," and an ever-present beating heart.After all that, the lads take you through what some of the critics were saying about the game around the time it came out, and then they give their final verdicts on whether Manhunt is a Pass, a Play, or an Espionage Explosion.For those who would like to play along at home, we'll be discussing, reviewing and dissecting XIII on the next episode of Stealth Boom Boom.IMPORTANT LINKS TO THINGS

La storia dello sviluppo di GTA continua in questo secondo episodio: con Grand Theft Auto 3 Rockstar e DMA Design si sono date il difficile obiettivo di entrare nelle tre dimensioni, e arrivarci si rivelerà una vera e propria montagna da scalare. Ma è solo l'inizio delle difficoltà: anche portato a termine il non facile compito di dar vita a una Liberty City tridimensionale, Rockstar comincia a confrontarsi con due complesse realtà. Da una parte, paga il prezzo di una cultura aziendale basata sulla competizione interna e su un totale disprezzo per gli orari e il bilanciamento tra vita e lavoro. Dall'altra, quegli stessi clamori della stampa che erano stati utilizzati come trampolino di lancio per il primo GTA si ritorcono contro lo sviluppatore, rendendo la saga talmente famigerata da metterne a repentaglio il futuro. Tutto questo e molto altro nella seconda di tre puntate dedicate alla storia dello sviluppo di Grand Theft Auto. Se desiderate supportarmi: ko-fi.com/storiedivideogame  Telegram @storiedivideogame Instagram @storiedivideogame  email: storiedivideogamepodcast@gmail.com Learn more about your ad choices. Visit megaphone.fm/adchoices

Quando si pensa a Grand Theft Auto a venire in mente sono solitamente due nomi: quello dei fratelli Houser e quello di Rockstar Games. Tuttavia, le origini di una delle saghe di videogame in assoluto più impattanti sul modo di concepire l'intrattenimento moderno sono da rintracciare ben prima del loro contributo. La storia dello sviluppo di GTA è più complessa di quanto si possa immaginare e inaspettatamente ha le sue origini in Scozia, dove un piccolo sviluppatore cresciuto forse troppo in fretta si trova tra le mani un potenziale che inizialmente stenta a riconoscere. Solo successivamente entrano in scena Sam Houser e Dan Houser, i due fratelli che oggi tutti riconoscono come i padri fondatori della saga. Con un modo per il tempo rivoluzionario di concepire l'intrattenimento digitale e un ricco background musicale, vedono in un piccolo e problematico prototipo di DMA Design un'occasione unica per raccontare storie che finora nessuno ha avuto il coraggio di affrontare nell'ambito del videogame. Scopriamo insieme come ci sono riusciti, portando nel giro di pochi anni GTA (Grand Theft Auto) a dominare le classifiche di tutto il mondo. Se desiderate supportarmi: ko-fi.com/storiedivideogame  Telegram @storiedivideogame Instagram @storiedivideogame  email: storiedivideogamepodcast@gmail.com Learn more about your ad choices. Visit megaphone.fm/adchoices

Check out the captivating journey of Neill Glancy, from pixel artist to lead designer. We explore his work at DMA Design, Iguana Entertainment, and more, touching on classics like Walker, the ill-fated Walker 2 and the troubled development of the first South Park games.  Please visit our amazing sponsors and help to support the show: Bitmap Books https://www.bitmapbooks.com/ We need your help to ensure the future of the podcast, if you'd like to help us with running costs, equipment and hosting, please consider supporting us on Patreon: https://theretrohour.com/support/ https://www.patreon.com/retrohour Get your Retro Hour merchandise: https://bit.ly/33OWBKd Join our Discord channel: https://discord.gg/GQw8qp8 Website: http://theretrohour.com Facebook: https://www.facebook.com/theretrohour/ Twitter: https://twitter.com/retrohouruk Instagram: https://www.instagram.com/retrohouruk/ Twitch: https://www.twitch.tv/theretrohour Upcoming events we'll be at: Kickstart UK: https://www.amigashow.com/  Pixel Heaven - Warsaw, Poland: https://pixelheavenfest.com/en/ Format - The Ultimate Gaming Social: https://bit.ly/4233upC  Show notes: Atari buy over 100 retro IPs:https://bit.ly/44m61fY 'Go For It' new Mega Drive game: https://bit.ly/3VtpU0F C64 comic book reader: https://bit.ly/3Nf9hUe Moon of Darsalon new retro pc platformer game: https://bit.ly/40TSNUQ CDi ODE interest check: https://bit.ly/3n4pJw1

Today, we're going to tell you the story of the puzzle-strategy game, Lemmings, released for the Amiga on Valentine's Day of 1991. As part of its story, we'll learn about the moment in which the team at DMA Design conceived the Lemming itself. We'll also learn the history of its publishing studio, Psygnosis. As an added bonus, we'll teach you all about where the modern misconception about Lemmings being suicidal comes from. Come and Follow the Leader for today's trip down Memory Card Lane.

Dopo una settimana di pausa, tornano Alessandro e Francesco con una nuova puntata del Weekly. Apriamo con una non programmata chiacchierata sugli imminenti Game Awards, che si svolgeranno nella notte del 9 dicembre tra l'1:30 e le 4:30, ora italiana (00:56). Poi celebriamo i settant'anni di Shigeru Miyamoto (16:40). Segue un aggiornamento sull'acquisizione di Activision-Blizzard da parte di Microsoft (30:29). Poi discutiamo del problema dell'assenza dei nomi degli addetti alla localizzazione nei riconoscimenti dei giochi. Dopo di che ci dedichiamo alla complicata faccenda dell'annullamento dei mondiali di Super Smash Bros (36:40). Seguono due chiacchierate su altrettanti pezzi di storia dei videogiochi. Prima parliamo di Body Harvest, gioco sviluppato da DMA Design per Nintendo 64 e uscito a ottobre del 1998 (46:24). Poi ricordiamo i LAN party grazie a un libro fotografico dedicato all'argomento (01:10:27). “L'angolo della gente demmerda” contiene due argomenti. Parliamo di un esperimento che dimostra come vengano trattate le donne nei giochi multiplayer online. SPOILER: male (01:23:10). Poi passiamo al crunch e i salari di From Software (01:32:10). “Baci e abbracci” è interamente dedicato a una discussione sui movimenti sindacali che stanno nascendo nell'industria dei videogiochi negli Stati Uniti (01:41:12). Buon ascolto! Soundtraccia: Outcast Weekly - Alessandro Mucchi Le fonti per i vari argomenti trattati nel podcast: Chiacchiera a braccio sugli imminenti Game Awards The Game Awards I 70 anni di Shigeru Miyamoto Nintendo's Shigeru Miyamoto: What we owe the world's most influential game designer Microsoft pronta a fare concessioni nell'affare Activision? Exclusive: Microsoft likely to offer EU concessions soon in Activision deal -sources | Reuters Il problema della localizzazione nei riconoscimenti dei giochi Game Developers, Publishers Begin to Respond to ‘Translator in the Credits' Movement - Slator La storiaccia dei tornei di Super Smash Bros Nintendo Says It 'Cares' About Smash Bros. Fans As Tournament Dispute Continues [Update] Un po' di storia dei videogiochi: Body Harvest How GTA3's predecessor fell out of favour with Nintendo | Eurogamer.net L'angolo dei ricordi: i LAN party These incredible LAN party photos remind us how much work it used to be to play games together | PC Gamer The story behind the 1999 Spurs championship StarCraft photo - The Washington Post Come sono trattate le donne nei giochi multigiocatore? This is how women are really treated in competitive multiplayer games | Eurogamer.net La faccenda del crunch di FromSoftware How much does From Software crunch? | GamesIndustry.biz Un secondo sindacato in Activision-Blizzard Blizzard Albany QA workers under Activision Blizzard win union vote - Polygon Una lunga guida alla sindacalizzazione nell'industria dei videogiochi How and why video game studios unionize - Polygon

This interview features Taehoon (TK) Kim, Co-Founder and CEO of nWay. We discuss going to arcades with his mom in South Korea, why he wasn't allowed to play console games as a kid in Canada, what he learned from Samsung's work culture, why it's hard for VCs to invest in gaming, finding passion at the intersection of technology and art, the best type of IP for game partnerships, how he ended up selling nWay to Animoca Brands, and how player ownership in games creates attachment and meaning, and prevents gamer exploitation.Subscribe to our newsletter. We explore the intersection of media, technology, and commerce: sign-up linkLearn more about our market research and executive advisory: RockWater websiteFollow us on LinkedIn: RockWater LinkedInEmail us: tcupod@wearerockwater.comInterview TranscriptThe interview was lightly edited for clarity.Chris Erwin:Hi, I'm Chris Erwin. Welcome to The Come Up, a podcast that interviews entrepreneurs and leaders.Taehoon Kim:So I was really upset when Lightspeed thing fell through. I went out drinking with my friends and I got hammered that night. I had another VC pitch the next morning. I was so hungover that during the presentation I threw up three times. During the pitch, I would say, "Excuse me, I'd run to the bathroom." I would throw up, come back, continue the pitch. And I did that three times., And I did the presentation 9:00 AM I came home and I was, "Oh, my God, I totally screwed that up." I fell asleep. I woke up at 4:00 PM, got a call at 5:00 PM saying that he was in. Usually it doesn't happen that way, but it was a really weird period of time in my life.Chris Erwin:This week's episode features TK Kim, CEO of nWay and a serial gaming entrepreneur. So TK was born in Seoul, South Korea to a mom who was a gamer and a lover of arcades. After studying at Cornell, TK started his career at Samsung, where he helped launch their smartphone and next gen mobile gaming businesses. TK then went on to co-found three gaming companies, and raised over $90 million in venture capital. Today he's the CEO of nWay, which is a developer, publisher, and tech platform for competitive multiplayer games across mobile, PC, and consoles. nWay was sold to Animoca in 2020.Some highlights of our chat include why he wasn't allowed to play console games as a kid in Canada, why it's hard for VCs to invest in gaming, finding passion at the intersection of technology and art, why he doesn't mind getting rejected by investors, the best type of IP for game partnerships, and how player ownership in games creates attachment and meaning and prevents gamer exploitation. All right, let's get to it.TK, thanks for being on The Come Up podcast.Taehoon Kim:Hey, thanks for having me. Super excited to be here.Chris Erwin:We have a pretty amazing story to tell about your career, but as always, we're going to rewind a bit and kind of go to the origin story. So it'd be awesome to hear about where you grew up and what your parents and what your household was like.Taehoon Kim:I was born in Seoul, Korea, and then I moved to Vancouver, Canada when I was in fourth grade. I think I was 10 or 11. At the time, growing up in Seoul, a little bit more strict environment. One funny thing is that my mom was a gamer and she would take me to the arcade, I think when I was super young, five or six years old. That's when I got really into gaming and how fun could that could be. But when I moved to Canada, however, she didn't really let me have any consoles, when that switch from the arcade era to the console era happened.I think she was a little bit influenced from the Asian culture and didn't want me to be getting too loose on academics. But when I got the computer, that's when I started really getting back to gaming. She didn't know I was playing games, but I was really into that. And then when Doom came out, that's when I really also started getting into online gaming, which is a big part of the reason why I'm so into PVP and competitive gaming.Chris Erwin:So your mom was a gamer and she would take you to the arcades in Seoul. What were the types of games that you guys liked to play together? And was this just something special that you and your mom did? Or was it a whole family outing that you did with your mom and dad and your siblings?Taehoon Kim:My dad didn't really like games, so it was just me and my mom. And she was really into Galaga and getting on the top of the leaderboard there. Oftentimes, I would watch her play and I would also try, but I wasn't as good as her. So I mean, I would mostly try to beat a record, but I couldn't. That's how I got into it early on.Chris Erwin:Did you also go to the arcade with a lot of your peers growing up when you were in Korea? And did any of your peers parents play? Or was it kind of like, I have the cool mom, she's into gaming, and we'd go do that on the weekends?Taehoon Kim:Oh, later on when I got older and I got in elementary school, yes, I definitely did go to the arcade with my friends. And then later on, in Seoul, arcades turned into PC bang. I'm not sure if you heard of it, but it's like the room full of PCs and it would play PC games there. I mean, I got in earlier than my friends, because of my mom.Chris Erwin:Remind me, what was the reason that you guys came to Vancouver from Korea?Taehoon Kim:I'm not a 100% sure if this is the real reason, but my parents would always tell me it's because I wasn't really fitting well with the type of education in Korea, where it was more, much more strict and less creative. They wanted us, me and my brother, to get a Western education. I think it turned out to be good for me, I guess.Chris Erwin:Do you remember when you were kind of joined the academic and the school system in Vancouver, I know it was at a young age, you were about 10 years old, you said, did you feel that that was like, "Hey, this is immediately different and I really like it and enjoy it"? Or was it nerve-wracking for you to make such a big change in your life to be uprooted at such a young age? What were you feeling at that time?Taehoon Kim:It was immediately different, lot less grinding. Even at third or fourth grade, back in Seoul, it was pretty tough. After school was over at 5:00 PM, I still had to go to all these after school programs until 9:00 PM or something like that. And I didn't do the homework afterwards and everybody was doing it. So there was a lot of peer pressure for parents to also put their kids to the same kind of rigorous program. And when I was in Vancouver, I didn't have to do any of that. So it felt more free and math was a lot easier.Chris Erwin:Math was a lot easier in Vancouver.Taehoon Kim:You know how crazy it is for Asian countries with math early on.Chris Erwin:So you're probably the top of your class. You were such a standout, and I bet at a young age that was pretty fun because it was easy to you too.Taehoon Kim:People thought I was super smart. I wasn't, it was just that I started earlier doing more hard stuff in math. It wasn't necessarily that was smarter. But again, on the other subject, because my English was suffering, I had to get a lot of help. So I would help them in math and they would help me with the other subjects.Chris Erwin:And you mentioned that in Western education there's also probably more emphasis on using the creative part of your brain as well, and balancing that out with the math or the quantitative side. What did that look like to you as you were going through middle school and high school before you went to college? Any specific applications or stories stand out?Taehoon Kim:Yeah, one thing that stood out to me was how a lot of the homeworks and assignments were project based and group based. Where teamwork mattered, and I would have to work with two or three other students to do a project, where we had a lot of freedom to create what we wanted. And the fact that there's no right answers. And it was really weird for me at the beginning, but I got used to it later on. But I think that's kind of a key difference. And at least at that time.Chris Erwin:During your teenage years and coming of age, before you go to Cornell, what was the gaming culture in Vancouver? And what was your role in it?Taehoon Kim:Early '90s when the console wars were happening with Nintendo and Sega, and there was a lot of cool things happening there, but I didn't get to really partake in that. My parents didn't allow me to have consoles. But same things were happening in the PC gaming, especially without modems and the early stage of internet happened. Me and my friends, we got started with Wolfenstein, which was mind blowing.Chris Erwin:Oh, I remember Wolfenstein, it was one of the earliest first person shooters on a PC.Taehoon Kim:It was mind blowing. It was the first game to really utilize 3D spaces in the way it did. But then the real game changer was Doom because you can... Even with the slow modem, I think it was an amazing feat, think about it now, with limited technology and networking, I could dial into, using my modem, and then connect with my friends, and I could play PVP. And that was when the gaming was the most fun for me, actually, playing with friends live. And I would play it late until night early in the morning, over and over again, the same map.Chris Erwin:I remember playing Wolfenstein at my friend's place, shout out, Adam Sachs. And then I also remember playing Doom, and I remember having the cheat codes where I can go into God mode.Taehoon Kim:Oh, right.Chris Erwin:And I was invincible and I could play with five different types of guns, including the rocket launcher. I can specifically remember from my youth some of the different levels. And sitting at my PC station kind of right next to my family's common room. Those are very fun memories. I don't think I was ever doing... I was never live playing with friends. Were you able to do that within the Doom platform? Or were you using a third party application on top of that?Taehoon Kim:I think it was within the Doom platform. It's pretty amazing. Doom was a fast game, so the fact that it worked, it was amazing. When Quake came out, afterwards, that's when I think e-sports was really ended up becoming more serious and people were going to playing at a more higher tier. But that's when I got out of FPS and dove into fighting games.Chris Erwin:Got it. You moved to Vancouver, you're a standout in school, on the math side just because of all your training in Korea. And you're learning about work in these more kind of project based environments or team based work, where there's also a lot of freedom for collaboration. You end up going to Cornell. When you were applying to school, what was your intention? Did you have a very clear focus of, "This is what I want my career to look like, so this is what I'm going to study in undergrad"? Or was it a bit more free flowing?Taehoon Kim:I really wanted to go into a top engineering school. I knew that was what I wanted to do. I wanted to study electrical engineering or computer science, and I was looking at Cornell, MIT, Stanford, they had really good engineering programs. And I knew that the playing online games and doing a lot of mods and all that stuff in the computer, and looking at kind of the early stage of internet, I knew that was going to be a big thing later on. My goal was to kind of get into that sector by studying engineering or information technology.Chris Erwin:Was there any certain moments when you were at Cornell that to help to point you in kind of this gaming leadership, gaming entrepreneurship career path that you've now been on for the last couple decades?Taehoon Kim:Well, a couple things happened. I was good at math. I was good at engineering, and internet was happening. And then one thing I didn't talk about was that I was also really good at art. At one point, I even thought about going to art school. I think it was because of my mom's side of the family, a lot of artists. And I think it was the DNA from my mom's side. What I love about gaming was the fact that you can kind of combine technology and my love for technology and also my love for art.And when I graduated, Cornell, started work at Samsung and there was an opportunity to go into a new gaming. That's when it clicked for me. I was like, "Wow, I really want to get into this industry. It's as both of what I love." But at Cornell, because we had super fast ethernet, a lot of people were playing StarCraft at that time. And that's how I saw the world in terms of, "Wow, these type of massively play online games. I mean, RPGs or games where you can play competitively is going to be a big thing."Chris Erwin:I don't want to date you TK, if that's uncomfortable, but around what time period was this? What year was this around?Taehoon Kim:College was from 1997 to 2002.Chris Erwin:I have to ask, too, when you say that you almost went to art school, and that you had a passion for arts, since it's very early on, what type of art applications? Was it painting? Was it drawing? Was it sculpture? Was it something completely different? What did that look like?Taehoon Kim:Sculpture, I was good, but I didn't excel at it. I was mainly good at sketching, painting, and doing just a lot of creative art, concept art, which is a big part of game development, actually.Chris Erwin:Your first role, what you did for work right after Cornell was you went to Samsung, and there you were a product manager where you helped start Samsung's smartphone business, and you're also a product manager for next-gen mobile gaming. And as you said, this was exciting to you, because you saw gaming as the intersection of technology and art. Tell us how that first role came to be and kind of what you focused on there.Taehoon Kim:I was part of a team called new business development team. Group of 13 people, and our job was to create next-gen businesses. Three businesses that we isolated as something that we should work on was telematics, which is using the map data to help people and navigations and bring new technologies to the car. Second one was smartphone business, taking some of the operating systems from PDAs at the time and then moving that over to the phone. And then third one was gaming, because Nokia was going big with gaming at that time. And Samsung was second to Nokia in market share and someone wanted to do whatever Nokia was doing at that time.So those were three main things. And I got into the gaming side after one of the first business trips was to San Jose, which at that time was hosting GDC, Game Developer Conference. And it was my first time going to GDC. And, yeah, I was just fascinated with the group. It was engineers, artists, players, developers, publishers. And that community really fascinated me, and that's when I decided, "Hey, I really want to be part of this group. I want to get into gaming." So I came back and said, "Hey, I want to take on this project." And a lot of my peers were avoiding the gaming sector, because they knew that was difficult. And Samsung previously tried to do a console and it failed. So they knew it was difficult, but I wanted to get into it. I was super excited to get into it.Chris Erwin:Was it hard to convince your leadership, just based on the past challenges that Samsung had, to do it? Or did they just say, "Hey, TK, sure if you have an idea, see what you can do and then come back to us"?Taehoon Kim:Well, the leadership really wanted to do it mainly because Nokia at the time, that's when they launched their first gaming phone called N-Gage. I'm not sure if a lot of people remember, but it was a really weird device. They launched that business, and it was getting a lot of press. And our CEO was like, "We also have to a quick follow, and we have to get into gaming phones as well." So it was but different from what they did in the past, because it wasn't just a pure console, it's a smartphone plus a gaming device.So it was a completely different type of environment at that time compared to when they were doing console. But nonetheless, because gaming is a [inaudible 00:14:06] driven and also because it's a tough business, my peers were, "Hey, I want to be in another sector." So it was less competitive for me to take on that project.Chris Erwin:So that must have been pretty exciting. Your first role out of school, you work for a very large technology company that essentially gives you as a young in your career a mandate. It's like, "Hey, TK, you know what? You want to go forward and figure out a new gaming business line for Samsung? You got the green light to go and do it." That must have felt pretty good. And I think you were there for a few years. What did you accomplish? And then what was the reason for why you decided to move on from that opportunity?Taehoon Kim:It was a very unique opportunity for me. I think I got lucky being at the right place at the right time, because that's when Samsung was really taking off as a global brand name. That's when they first overtook Sony in brand value. And that's when the consumers were looking at the brand more than as a microwave company, and a major player in the IT space. And that's when they were also hiring a lot of people from overseas.And I did both undergrad and master's program at Cornell. And when I was in my masters, I got to know the founders of Palm, which was also a Cornell EE grad, through my professor. I got really stuck into Palm OS. I was semi expert with the Palm OS. I think that's why they hired me, because Samsung was the first major mobile manufacturer to adopt the Palm OS into their phone. And then the second thing is, because at that time Samsung's culture was still, it wasn't easy for Western certain people to... A lot of people from the US schools starting there, they weren't lasting that long. So it was hard for me as well, but I kind of decided, "Hey, I'm going to really make sure that I can stick around and tough it out."Chris Erwin:I think this is another important point for the listeners is that you are also building another company that you had founded while you were at Samsung called IvyConnection. Is that right?Taehoon Kim:Right.Chris Erwin:I like this because I think this is the beginning of a ongoing theme in your career that you are a builder and you're a founder. You're working at a full-time role, you're also building something on the side. And then this leads to, I think, some other big entrepreneurial ambitions kind of later on that we'll get to. But tell us quickly about IvyConnection.Taehoon Kim:IvyConnection kind of came out of the school project that was doing at Cornell, my master's program. At first, it was supposed to be a platform to connect tutors and students. And then I quickly realized, when I got to Seoul that there were a lot of parents who were looking to send their kids overseas to top schools, and they didn't know that things were different over there in terms how admissions worked. So I kind of created the category, which is a huge category is now it was the first company to do it. And so we did get a lot of demand. I started that right before I started working at Samsung, and it was just continuously growing. I recruited a whole bunch of my friends, and I had them kind of run the company. I was a co-founder, and while working at Samsung, I was advising and helping the growth.Chris Erwin:It's amazing, because you describe at Samsung it was a very brutal work culture at the headquarters. So you're probably working very long hours, very demanding, and then you're also building something on the side. It's like when did you have time to sleep?Taehoon Kim:I was young though, so I didn't need... I was happy to just work, until I was young and single. I was at my early 20s, so it was not problem for me. But, yeah, it was pretty brutal. We had to get to work right at 8:00 AM and the system kind of keeps record of exactly when you get into the company. And then you also had to come out on Saturdays for half a day.Chris Erwin:I did not realize that, that's the expectation across... Is that across all companies in Korea, as part of the work culture and the work norms? Or is that just unique to Samsung?Taehoon Kim:I think what's pretty unique to Samsung. I think at that time chairman wanted us to start early. You basically only have one day weekend.Chris Erwin:And for you, where you're also building another company on the side, it's almost like you never had time that you weren't working or very little bit, most likely. So you're at Samsung for about three years, but then you transition to Realtime Worlds. Explain why did you transition from your Samsung role? And what were you building at Realtime Worlds?Taehoon Kim:As I said, I was a project manager for a new gaming platform, and part of my job was also to source content for the device. And I remember playing Lemmings and I met the creator of Lemons, Dave Jones who just sold DMA Design and created Realtime Worlds. And I try to convince him to create games for my platform, but him and his co-founder, they ended up recruiting me. They're like, "Hey, join us. We just started Realtime Worlds, and we'd love to get your help, because we want to get into online gaming. And you have a lot more exposure to online gaming from Seoul, from Korea. So we wanted to be part of this exciting venture." So I decided to leave Samsung and joined them.Chris Erwin:How was that experience? Was it a similar work culture? Did you feel your past experience was very helpful and so you got in there and you're like you knew exactly what to do? Or was it still a very steep learning curve at that point in your career?Taehoon Kim:It was a steep learning curve for me, in terms of game development, because I have never done game development. Because Realtime Worlds is a game developer and publisher. That's right around when they just signed a contact with Microsoft for a game called Crackdown. It was like a souped up version of GTA. Dave Jones was also the creator and designer of GTA, the original GTA 1 and 2. So it was creating a similar game. And they had ambition to also create an online version of GTA, which is where I got involved.I got one of the large publishers in Korea called Webzen to do a publishing deal to fund portion of development for the GTA online project, and be a publisher for that. So they wanted me to create the Asia branch for Realtime Worlds, they called it Realtime World Korea. I started the studio here in Seoul, recruited some engineers and designers and also did biz dev work to get that publishing deal with Webzen.Chris Erwin:And I think also one of the highlights from your time there is that, did you also help to raise money from NEA, in your role at the company as you guys were growing?Taehoon Kim:Oh, yes. My professor from Cornell, he was friends with the founder of NEA, and he knew a lot of VCs. And Realtime Worlds was based in Scotland, and they knew very little about Silicon Valley. So I told him, "Hey, we're doing something amazing here and online gaming is a new sector, so I think we should be able to raise some money." So I created the deck, which I learned from school on how to do, so created a deck, created a business plan, and then flew over to Sand Hill Road in Menlo Park and pitched to a few VCs including NEA. I was surprised. I was like, it was fairly easy at that time to raise money. NEA decided to, all by themselves, bring $30 million into the company and we didn't even have product launched at that time.Chris Erwin:This is pre-product. Did you go to Sand Hill Road by yourself? Or did you have a support team? Or was the company leadership saying, "Hey, TK, you know what you're doing here, you have the connections, go make this happen by yourself"?Taehoon Kim:It was just me at the beginning. It was just me by myself, just trying it out, because the first meeting is exploratory anyways. So at the beginning it was me. They love what they saw, and then afterwards it was like everybody, all the partners from the NEA side and also everyone from our side. At the beginning, it was just me.Chris Erwin:Wow. Did you enjoy the fundraising process? I mean, it seems like you're wearing so many hats, you're doing business development, you're fundraising, you're also building out different offices as part of the core game development practice. Was there something that you felt like you were gravitating towards more specifically? Or did you like doing it all and having a broad top down view of the company?Taehoon Kim:Yeah, I think the reason I ended up taking the fundraising process is because I actually enjoyed the process. A lot of people hate it, because part of the fundraising process is just being comfortable with getting rejected. But I didn't mind that at all. I'm like, "Fine [inaudible 00:21:57]." And big part of the process is also not only selling, but knowing what they're looking for. So I got really good at researching all the VCs, and instead of having one deck and just one approach for all the VCs, I would custom create the deck for each of the VCs, and only target the top tier ones. I quickly realized that it's actually easier to raise money from the top tier VCs than the second or third tier VCs, surprisingly. And that approach really worked, and I love the process.Chris Erwin:Why is it easier to raise money from top VCs versus tier two, tier three?Taehoon Kim:It's actually simple. The top tier VCs are able to make decisions on their own, even though it seems odd or different or something that doesn't seem intuitive. They are able to say, "Hey, we're going to take a bet on this," and they can make a quick decision. The second and third tier VCs are always looking to see what others are doing. They're always looking for validation. They're always looking to see what the first tier guys are doing.So a lot more due diligence, it takes a lot more work, and they kind of beat around the bush a lot more. They take a lot longer to make their decisions. And a lot of times they bring in other VCs to co-lead or see what they think. So it's actually a lot more work to get them to lead. So if you have a great product and you have a good vision, then just go to the top tier guys. Go straight to top to your guys. They'll be able to make a much quicker and faster decision.Chris Erwin:That's a great insight. TK, though, I do have to say yet again, while you're at Realtime Worlds, I think the same year that you start working there, is 2005, you also are the co-founder of another company called Nurien Software. So yet again, you're working at a company, it's a very big role, you're working across a variety of different company functions, but you're also building something on the side. Is that right?Taehoon Kim:Right. Yeah.Chris Erwin:What was Nurien Software?Taehoon Kim:So Nurien Software was actually a spinoff off of the Realtime Worlds' Korea office. Dave Jones, he introduced me to the guys at Epic Games, and that's when they were launching on Unreal Engine 3. And he also introduced me to another studio who was doing a music game, and that kind of clicked for me. I was like, "Hey, what if we take Unreal Engine 3, which is very high graphics fidelity, which is usually used for like MMORPGs and then create a music game out of it, because the music is to be very visual." And they wanted this to be kind of separate. So I decided to be make it, instead of doing it Realtime Worlds Korea made it into a separate one.And that also started to get momentum. And it turns out music plus gaming was a huge thing, especially in Asia. Just as we were starting the development for, we call it MStar, a music based MMO, another game called Audition just took off massively in China. It was doing a billion a year. It was a tough time for me because Realtime Worlds and Nurien Software, at the same time, was kind of taking off.Chris Erwin:And again, for Nurien Software, you also led a $25 million fundraise from NEA and top VCs.Taehoon Kim:I pitched them on Friday, and they told me they were in on Monday. So it was crazy times. That's when online gaming was really taking off. So it was actually, it's not just me, but it was much easier to raise money at that time.Chris Erwin:Probably, again, working a lot, building, not a lot of sleep. You're running both these companies. And then Nurien Software sells in 2010 to Netmarble CJ E&M. And what was the end result for Realtime Worlds? What happened to that company?Taehoon Kim:I was only running both companies for a short period of time. So right after Nurien Software got funded, the board wanted me to focus on the new VCs, and Nurien Software wanted me to focus on Nurien Software. So I helped Realtime Worlds find a replacement for me, and I left Realtime Worlds, and I was full-time at Nurien.Chris Erwin:Hey, listeners, this is Chris Erwin, your host of The Come Up. I have a quick ask for you, if you dig what we're putting down, if you like the show, if you like our guests, it would really mean a lot, if you can give us a rating wherever you listen to our show. It helps other people discover our work, and it also really supports what we do here. All right, that's it everybody. Let's get back to the interview.Taking a step back, so, TK, you're part of these very exciting companies. The leadership and the founders clearly, really believe in you, and think you are someone special. So they're giving you the green light to essentially co-found spinoffs, and then go raise additional venture funding for that. Did you feel at this point in your early career that you're like, "I'm exactly where I'm supposed to be. This is an exciting path, These are growing industries. I'm good at it. I have the right international connections. And now it's time where I want to double down on this, and I'm going to be an entrepreneur. I see white space in these gaming markets, and I want to build towards that. And I'm going to go raise capital to make that happen." What was going through your head? Because it feels like the story that you're telling is so exciting for someone to be at your career stage. What were you feeling?Taehoon Kim:That's when I realized that this act of dreaming something up, raising money for it, and actually launching it and seeing it become real and seeing a product go live, and enjoyed by millions of people, is just really fulfilling. And it's something that I knew that I wanted to continue doing. It's something that I really enjoy.So even to this day, that's the main reason that I'm doing this. Well, it's more than financially driven motives. I just love creating new things and bringing it out to people and surprising people and seeing them delighted. It makes all the hard work worthwhile, and it's a very kind of thrilling experience for me. And that's when I realized, "Hey, I want to do this long term. This is what I'm good at. Coming out with new ideas and getting it funded and launching it." Not all of them are successful, but that's fine. The act of doing it is a reward.Chris Erwin:Very well said. So I think, was it that mindset, I think, a company that you did found and you worked at for one to two years before nWay was Pixelberry. What was the quick take on Pixelberry? What was that?Taehoon Kim:So Pixelberry was also a spinoff from Nurien Software. Nurien Software was an MMO company, so, as I said, it was using Unreal Engine 3. It was still very heavy. You had to download a big client, and run it on pc. And back in 2009, 2010, that's when social gaming and hyper-accessible gaming was taken off. So Pixelberry, at the beginning, was an experiment to try to bring over a lot of the core technologies built at Nurien Software and make them more accessible, and make it so that people can just instantly play on a browser.And the first game that we tried to do was a fashion game, because we realized from launching MStar, which was a music MMO, the best way to monetize those games were through, we're making a lot of money by selling clothing for the avatars, selling fashion, in other words. So we wanted to create a game, a social game, focused on creating fashion and selling fashion.Chris Erwin:I didn't realize that Pixelberry was also a spinoff of Nurien Software. So it seems that you had a really good thing going with the founding team of Lemmings that created Realtime Worlds. There was a lot of market opportunity. The founders really believed in you, and you had all these different ways, as you said, to kind of create and innovate as the gaming markets were evolving, and bring these incredible gaming experiences to users. And I think you were part of that team for almost six years, from 2005 to 2011. What was the catalyst that caused you to break off from that, start the venture that you still run today, which is nWay?Taehoon Kim:I was doing Pixelberry and it wasn't doing that well, mainly because, me as a gamer, didn't really enjoy fashion games that much. Maybe that was the reason. Or maybe because the industry was kind of changing rapidly, but it wasn't doing that well. Zynga and a handful of others were kind of dominating the social gaming space. And the co-founders of Realtime Worlds, Dave Jones and Tony Harman, at that time, just sold realtime worlds to GamersFirst. And they're like, "Hey, TK, let's start a new company together." And that's when I kind of jumped at the opportunity, because I really wanted to work with those guys again. And that's when nWay was founded.Chris Erwin:Oh, got it. So Dave and Tony are part of the founding team of nWay?Taehoon Kim:Yes, the three of us that were the founders [inaudible 00:30:16].Chris Erwin:So I think what would be helpful for the listeners is to explain what was the initial vision for nWay, when you, Dave, and Tony were coming together to found the company. What was your vision for what you wanted to build?Taehoon Kim:By that time, I did a lot of different type of games, did [inaudible 00:30:31] mobile gaming at Samsung, I did MMOs, PC MMOs Unreal Engine 3, and then also browser based games at Pixelberry. And the vision at nWay was like, "Hey, a lot of people are becoming gamers now through new technologies, new devices, mobile was really taking off. People were playing games on mobile browsers, smart TVs, and there was new technologies to bring them all together." So the vision was, "Hey, let's go back to the type of games that we love. Let's go back to the days when we were playing Doom online, and playing fighting games with other live players. Let's bring competitive gaming, let's bring real time multiplier gaming to the emerging platforms." So that was the vision.Let's create new technologies to bring console quality, competitive multiplier games that could run on mobile browsers, smart TVs, where people can kind of play together regardless of what device they were on." That turned out to be a big thing, these days with Fortnite and Minecraft, everybody's playing crossplay games. Your friend is on tablet, somebody else is on a Nintendo Switch, and you can play together.Chris Erwin:Okay, so when you start out, that's the vision. So where do you start? What was the first steps? Is it pre-product, we're going to go raise money, and put together a team? Or in the beginning of it self-finance and you were working on a certain game or a certain platform? What were your first early moves?Taehoon Kim:I took a lot of the learnings from the previous products. So by then I knew how to make games that would run on multiple devices. I knew it wasn't easy, but we wanted to do a quick prototype of an action RPG game, where it can have four player co-op and two player PVP mode that would run on a mobile phone and a browser. We were able to create a quick prototype in about six weeks, and the prototype, it did all the selling for us.Because I could just show it to the investors, "Hey, look, I'm over here. There's another guy on a mobile device, there's another guy on another device." And they could see that we're all synchronized, and they could see that it was a very fast action game. A lot of them were blown away at how there was low latency and running so fast just over the internet. And so we were able to raise money from the top tier VCs. But at the same time, 2011, 2012 was a period of time when there were a lot of acquisitions happening, and we were also getting a lot of acquisition offers at the same time, that complicated the process.Chris Erwin:So six weeks into building a prototype, you're fundraising on Sand Hill Road, but you're also getting inbounds from companies that want to buy your business that early.Taehoon Kim:Yeah. They saw the prototype and immediately give us ridiculous offers to buy the company. It was basically VCs and companies trying to buy us competing, which helped the valuation to go up.Chris Erwin:All right. So a couple questions on that. It's really interesting. One, were you at a point, because you've successfully raised money from Silicon Valley investors, you've had exits for them, where you and the investment funds made money. Were you able at that point, where you felt like you could walk into a room, do a product demo, you didn't need to show up with a deck and they would say, "Yeah, this sounds great, TK, we're going to give you money"? Were you at that point or were you still running a formal process? You show up with the business plan and everything?Taehoon Kim:We didn't need the business plan anymore, but we still need a deck. By then, I just became really an expert on how to create a simple deck that walked through the business, and I knew what type of prototype need to be created to fundraise. It was a simple 15 to 20 slides deck plus a quick demo. And simpler story the better, is this basically a storytelling deck walkthrough, why you're able to do what you're doing now. Why it hasn't been done until now. And then you talk about the market and how big the market would get, show a quick prototype, and talk about the technologies involved. And that was pretty much it.Chris Erwin:You're getting these incredible inbounds from companies who want to buy you, plus, you're also raising from venture capitalists. How did you and the two other founders come together to decide, do we sell or do we not sell?Taehoon Kim:The VCs helped us with that as well, maybe because they were trying to convince us to maybe take their deal. But they would let us know what each of the companies are like, and they would connect us to founders who have sold to that company previously. And I was able to pick their brains or interview them. We decided, "Hey, we really want to try this on our own." So we decided to take the VC route. And I think at that time that was, the VC was Lightspeed Ventures, who gave us a good term sheet and we decided to sign that term sheet.And the reason in the beginning I told you why things became complicated is because after we signed the term sheet with Lightspeed, one of their portfolio companies, KIXEYE, they also decided that they wanted to buy us. And they give us an offer we rejected, and then they got really mad at Lightspeed Ventures asking them why they're funding a company that could be a competitor to them. And KIXEYE basically threatened to sue them if they invested in us. So at the last minute it kind of fell apart.Chris Erwin:Oh, so Lightspeed did not end up investing in you at that point.Taehoon Kim:So imagine this Zynga gave us an offer, a pretty good offer to buy us. We rejected Zynga's offer and signed with Lightspeed, but Lightspeed couldn't follow through because of KIXEYE. I'm thankful to them because at that time they actually gave me a check for a million dollars, it was like a loan, with no interest rate.Chris Erwin:Lightspeed gave it to you?Taehoon Kim:Yeah, I was really surprised by this. They were like, "Hey, we need to talk." I met them at a coffee shop, and they like, "Hey, here's a check for million dollars. I'm really sorry to have wasted your time, and take this money and use it to give more time to find another investor, because it's not your fault that this deal kind of fell through." So if we didn't get that, it would've been a lot harder for us. Because we did spend a lot of time, a lot of cycles with them, and that meant we had less time to finish the fundraising. That million dollar check, give us more time.Chris Erwin:Think about that million dollar Check is an incredible marketing for Lightspeed as being a go-to partner, as a tier one VC, right? Because one, for you, TK, in your career, knowing that they did that, that they had your back, they understood the challenging situation that they put you in. And they were very direct with you about how they want to do a make good. Next time you go need to go raise money for the next thing that you found, are you probably going to have a conversation with Lightspeed? I would say the answer is yes.Taehoon Kim:Yeah, became really good friends with them. But isn't that incredible? They don't know if they're going to get the million dollar back. What if we fail, and we just kind of go bankrupt or whatever, and then I have to pay them back? But they were, "Hey, here's a million dollars, there's no interest rate. You can pay us back time."Chris Erwin:I agree, it is amazing. I think what they were putting a price tag on was, we want to be in the TK business. We want to be in business with Dave and Tony. And so this is not the last time that we're going to have a chance to invest in a company that could make them millions, if not billions of dollars. And so they said, "We're going to invest in that relationship," and probably a $1 million check to them was easy money, right?Taehoon Kim:Yeah.Chris Erwin:That's amazing. I've never heard of something like that before, but I totally get why they did it. That's incredible. So I understand that Lightspeed and other venture firms were introducing you to founders who had sold their businesses to these potential acquirers of your business. What was one or two things that you learned that made you decide, "I don't want to sell right now"?Taehoon Kim:They were describing to me the culture of the company, because once you sell, you're basically getting a job at that company. And if there's a culture fit, that's great. But if it's a different type of culture, then maybe you won't enjoy it as much. Again, I was doing it because I love that process because the actual act of creating and launching is what's rewarding for us. So I think that's main reason why we decided, "Hey, maybe we shouldn't sell." But after Lightspeed thing fell through, we were like, "Oh, maybe we should have sold." Right after that million dollar check and that conversation, literally, the next day or two days from then I was able to get another term sheet from another VC. So this one is actually a funny story. So I was really upset when Lightspeed thing fell through. I went out drinking with my friends, and I got hammered that night. I had another VC pitch the next morning. I was so hungover that during the presentation I threw up three times, and I was doing a pitch.Chris Erwin:During the pitch.Taehoon Kim:Yeah, during the pitch, I would say, "Excuse me, I went to the bathroom." I would throw up, come back, continue the pitch. And I did that three times, and whenever I made that trip to the bathroom, people were kind of laughing at me, who were at the front desk. I did the presentation 9:00 AM, I came home and I was, "Oh, my God, I totally screwed that up." I fell asleep. I woke up at 4:00 PM, got a call at 5:00 PM saying that he was in. So I was like, "What the..." Because I told him the story of what happened as well, so he said, "Hey, all that stuff just added more color to your storytelling," and then he was in.But then later I realized that the reason he was able to make quick decision, this is a Baseline Ventures, by the way. Baseline Venture was, it was a very unique firm that they had one partner, so they were able to make decision very quickly. And I pitched to them, I think, two days after Instagram was acquired by Facebook. So Baseline was in a flush with cash and they were very happy about the outcome. And so I think that's one of the reasons why they were also able to make a bet, and make that decision very quickly. I literally made a pitch 9:00 AM, and then got a call 5:00 PM saying, they wanted to put in the money. Usually, it doesn't happen that way, but it was a really weird period of time in my life.Chris Erwin:No incredible in a situation in which you thought that that was probably the worst pitch that you've ever given in your life, because you're running to the bathroom to throw up. It turns out that it was, at least one of the more impressive pitches in converting a VC into someone who has interest within just a handful of hours. So it just goes to show you got to stay resilient. And you're human, you just went through this traumatic event where Lightspeed pulled out at the last minute, so you need to go blow off some steam. You go out boozing with your buddies, but you come back the next morning, you put your game face on, and you do what you got to do. That's an incredible story. Thank you for sharing that.So then you raised the money from Baseline, and a few others, and then when did you feel, "Okay, we turned down some initial inbound offers to buy the company," but when did you feel that you really started to get some real momentum that showed you and the other founders, "Hey, we have something much bigger here"? What did that look like?Taehoon Kim:That's when mobile gaming was becoming more serious and evolving from just casual Match 3 games to a device that could run any type of game. So that's when we really got a lot of momentum. So the first prototype they created, I told you it was a four player co-op plus a PVP action RPG game. So we continued to develop on that prototype. We called the game ChronoBlade, and when we had a much more alpha version of the game, that's when things were really blowing up in Asia for RPG games and mobile.And during GDC, when a lot of the publishers were in San Francisco, we had publishers after publishers lined up, literally, signing offers on a napkin table and presenting us, "Here's how much we were willing to pay for MGM and royalty fees for your game." And we were able to just pick from the top tier ones. So we had offer from Tencent, NetEase, Netmarble, the biggest and the best. That was at the point in the company when we knew that things were becoming really serious.Chris Erwin:What year was that?Taehoon Kim:I think that was like 2013, about a year after fundraising.Chris Erwin:Seven years later you do end up selling the company to Animoca. How did that come to be?Taehoon Kim:Oh, this is a complicated story. So in 2018 there was a company called Tron, it's a big blockchain company, who moved in right above our office space. And that company was just taking off like crazy and they had happy hours, they had events. As neighbors we would show up, and that's how we kind of learned about blockchain space, and merging blockchain with gaming could be a new thing. And at that time it was getting really difficult to monetize competitive games because the game has to be fair. So we can't sell things that's [inaudible 00:42:30] base, it can only sell cosmetics. And we were always trying to find new ways to innovate on how to monetize those type of games.And we quickly realized, "Hey, if we can make items in the games that players can earn into NFTs, and if the players can kind of trade NPS items among themselves, and we don't have to even sell them, they can get them in the game, and then exchange from themselves," which was already happening in the MMORPG space anyways. And if we can charge a transaction fee for each of the trades, that could be a model where we didn't have to do any of the [inaudible 00:43:01] box stuff that the players didn't like, and have a enough steady and viable business model.And that's how we got into the blockchain space. At the same time, Animoca was investing like crazy into anything related to the blockchain. It's when I met Yat Siu, the chairman of Animoca, and we kind of hit it off. But funny thing happened to my board at that time, I've never seen this happen. I had a five member board, and our lead investor, our biggest investor at the time, Bridge Ventures, which was a IDG Ventures US, who renamed themselves Bridge Ventures, and they separated from IDG. And so they had to raise their own LPs, and their LPs looked at their investment portfolio and said, "Hey, you do a lot of gaming, you do a lot of enterprise, maybe you guys should pick one instead doing both."And they decided to pick enterprise and get out of gaming. But the partner at Bridge Ventures who was on our board, basically, said, "Hey, then what am I going to do?" And he ended up leaving with Bridge Ventures to create a new VC fund called Griffin. Now it's like the biggest gaming fund by the way, but he left. And then TransLink Ventures, which was our second biggest investor, partner from TransLink Ventures for another whole separate reason, he ended up leaving TransLink. And so he was gone. And then our third board member, Peter Levin from Lionsgate, he ended up leaving Lionsgate. So he was gone from the board. So three of our biggest board members all left for different reasons around at the same time, and they were all replaced by new people and the mandate was to get out of gaming. All of a sudden, boom, my board was gone.And so they wanted to get out. They wanted to sell the company. So when I went met with Yat Siu, I hit it off with the Yat, and I thought it would be amazing to work together. And that's how the deal went through. If it was the same board and then there wasn't that kind of shake up at the board level, I'm not sure if I'd be able to sell the company, probably would've been the state of independent. But because of that and the special circumstance, the deal was able to go through. So that was a good thing for Animoca.Chris Erwin:Good thing for Animoca. But if it was up to you, you would've stayed independent for at least a few years longer, because you saw a bigger opportunity ahead, right?Taehoon Kim:Yeah. If it wasn't for that shake, I probably would've stayed independent. But looking back now, I'm thinking that it was a good thing to kind of join forces with Animoca. Right after we joined forces with Animoca, Animoca went through a growth phase. I've never seen a company grow that fast. They basically went from a $100 million valuation to the $6 billion valuation in like two years. They were doubling in valuation every three months. It was kind of nuts. It was really fun to be part of that ride. And right now it's an amazing partnership.Chris Erwin:In that sale, was it a cash and equity deal? So are you able to participate in this crazy run that Animoca's had?Taehoon Kim:It was mostly equity, so it was a huge upside for the investors.Chris Erwin:Got it. A final note before we get to the rapid fire section is now that you're partnered up with Animoca, what do you see as the future for nWay and what you're building together? What gets you excited? And what is some recent success that you want to be building upon?Taehoon Kim:I'm super excited about what we're doing. I think that we're still very early stage with about three, and this whole kind of digital ownership revolution that we're going through. I think there are opportunities for companies like us to develop and publish online games where players can truly own things. I don't want to make a game where it's like an instrument for people to just make money, but I do think that there's something special about being able to really own some of the items that you're playing with. I think it adds meaning, and when you have ownership you just get more attached to things. And so our vision right now is to create more meaningful entertainment through real games that players can play and also have ownership in. And we're going to be doing a lot of experiments and try to really bring together the Web3 community and the gamers under one community.Chris Erwin:And I know something that you've talked about is some recent wins and partnerships and games that you've done is the International Olympic Committee you published Sean White NFTs, likely a powerful marketing engine for that. And then also you have a Power Rangers game, and a game with the WWE. Do you have similar type projects that are upcoming that build on top of these?Taehoon Kim:So Power Rangers and WWE, those are just regular free to play games. They don't have any blockchain or NFT components in there. The innovation there was to have a game where people can just quickly pick up and play and immediately play with another player. Power Rangers especially was super successful. We had over 80 millions downloads, and I think it's in two year five now, and it's continuously profitable. So the game's been amazing.With the Olympic game, we were able to meet with IOC right when their decades long exclusivity with Nintendo and Sega was coming to an end. And so they wanted to explore a new type of game partnerships. One thing that they were noticing is that the younger audience, who were not watching TV anymore was caring less about Olympics and they wanted to focus on bringing the younger audience into caring more about their brand. And they also at the same time noticed that the younger audience are on Fortnite and Minecraft and they're playing games that are crossplay.So they were looking for a game developer or game development partnership where they could have their game run on multiple devices at the same time. And a real time game where people can play to have a social experience. And as you know that's like right on our sweet spot. We were able to prove that we have some of the best kind of technology to make that happen. With another Power Rangers game called Power Rangers: Battle for the Grid, I think it's still is the only fighting game in the world where it runs on everywhere, the runs on Xbox, PlayStation, and the Switch. It even ones on a browser through Stadia. And it's a really fast action game and you can play together with anybody on any device, and there's no lag and there's no [inaudible 00:48:45] issues.So they saw that and they were like, "Hey, we want to partner with you guys." I threw them curve ball and said, "We want to partner with you guys, but we also want to add this thing called NFTs. And we think that there's a 100-year-old tradition that's already there with your brand. When people go to the Olympics they still trade the Olympic pins. We want to make the pins into NFTs, also integrate them to the game, so that when people collect these NFT pins, they could use it in the game to give them a boost in the game." To my surprise, even though they are a very conservative organization, we won the RFP, and they wanted to partner with us. And we launched the project and we got a lot of press from that. And that was a really fun project to launch.Chris Erwin:And I just have to ask, this is a minor detail, but this 100-year-old tradition about trading Olympic pins, are these pins like representative? If you're from the United States and you go to the Olympics, you're wearing a US pin, and then the different athletes will trade them amongst themselves. Is that how that works?Taehoon Kim:Well, there's tons of variety of pins created from poster artworks, emblems, mascots, Coca-Cola always creates Olympic pins together. But the tradition got started, I think, in 1932 or something like that, when they had Olympics in Paris, and the officials, for the first time, had badges or pins and they started trading that. But right now there's a really high variety of pins out there.Chris Erwin:Super cool. It sounds like digitizing those pins and converting them into NFTs that can be traded on chain and in an efficient digital manner that seems it's like a perfect application. I had no idea about the underlying tradition behind that, but makes a ton of sense to me.So let's go into rapid fire. Before we do that, I just want to give you some quick kudos. Look, I think we first met two to three months ago over a Zoom call. And so this is literally our second conversation ever. I did research into years story online, but hearing it come to life, there's a few things that really stand out. I think, one, that your willingness to really work hard and also try different things and take bets very early on in your career, but align those bets with things that you are really passionate about.So even if they were risky, you are doing them down these vectors where it was strong, passionate, and meaningful areas to you. And there's almost in a way you were going to will them into existence or make them work. And clearly you took a bet at the intersection of technology and art, which manifested in gaming that has really paid off.Something also stands out is within the category that you've bet on, in contrast to others that would just say, "Hey, I found myself in this unique opportunity. I'm able to open up doors to raise capital, build businesses." And instead of having the goal just be, "I want to make a lot of money," it is. Instead, "I want to bring delight to users. I have a unique expertise of what the gaming ecosystem, where it comes from and where it's going. And I know what users want. And I want to give them delights. And I'm going to enjoy the journey along the way."And I think that's probably something that we didn't get into, but this probably speaks to a reason why you've been able to recruit teams that build alongside you consistently, and investors that want to back you is because you're going to enjoy the journey. And I think when you focus on the end user and the experience and delight, the money is then going to follow versus going about it the other way. So it's clearly worked out incredibly well for you and very excited to see what you continue building next.Taehoon Kim:Thank you.Chris Erwin:Welcome. Let's go to rapid fire. So six questions, the rules are very straightforward. I'm going to ask six questions and the answers can be either one sentence, or maybe just one to two words. Do you understand the rules?Taehoon Kim:Yes.Chris Erwin:All right, here we go. What do you want to do less of in 2022?Taehoon Kim:Less of Zoom meetings, and more of in-person interactions.Chris Erwin:Got it. What one to two things drive your success?Taehoon Kim:I think it's the ability to read the market, ability to raise money, and then having the optimism to try new things and innovate on things that could be deemed risky.Chris Erwin:Got it. What advice do you have for gaming execs going into the second half of this year?Taehoon Kim:The advice would be to focus on making a fun game. There are a lot of game companies who are getting funded going to kind of play to earn or Web3 games, where they're kind of losing that kind of focus. But I think at the end of the day, the game should be fun. And if the games are able to create a community of gamers who really care about the game and their kind of community inside the game, then you can create an economy within the game that's not a bubble, that's sustainable.Chris Erwin:Well said. Any future startup ambitions?Taehoon Kim:I think AR and VR would make a comeback. It's a really difficult business to be in now, but if I kind of look decades into the future, I think that could be something that could be a new space that could be blossoming later on.Chris Erwin:Proudest life moment?Taehoon Kim:I think that would be a tie between when I got married to my wife and also when I had my twin boys in 2011.Chris Erwin:Oh, you're a father of twins. I'm actually a twin myself.Taehoon Kim:Oh, yeah, I have twin boys.Chris Erwin:Oh, that's the best. How old are they?Taehoon Kim:They're both 11.Chris Erwin:Very cool. TK, it's been a delight chatting with you. Thank you for being on The Come Up podcast.Taehoon Kim:Thank you so much. It was definitely a pleasure.Chris Erwin:All right. Quick heads up that our company has a new service offering. We just introduced RockWater Plus, which is for companies who want an ongoing consulting partner at a low monthly retainer, yet, also need a partner who can flex up for bigger projects when they arise. So who is this for? Well, three main stakeholders, one, operators who seek growth and better run operations. Two, investors who need help with custom industry research and diligence. And, three, leadership who wants a bolt-on strategy team and thought partner.So what is included with RockWater Plus? We do weekly calls to review KPIs or any ad hoc operational needs. We create KPI dashboards to do monthly performance tracking. We do ad hoc research ranging from customer surveys to case studies to white space analysis, financial modeling where we can understand your addressable market size, do P&L forecast, ROI analyses, even cash runway projections. We also do monthly trend reports to track new co-launches, M&A activity, partnerships activity in the space. And lastly, we make strategic introductions to new hires, investors for fundraising, and then also potential commercial strategic partnerships. So if any of this sounds appealing or you want to learn more, reach out to us at hello@wearerockwater.com. We can set a call with our leadership.All right. Lastly, we love to hear from our listeners. If you have any feedback on the show or any ideas for guests, shoot us a note at tcupod@wearerockwater.com. All right, that's it everybody. Thanks for listening.The Come Up is written and hosted by me, Chris Erwin, and is a production of RockWater Industries. Please rate and review this show on Apple Podcast. And remember to subscribe wherever you listen to our show. And if you really dig us, feel free to forward The Come Up to a Friend. You can sign up for our company newsletter at wearerockwater.com/newsletter. And you could follow us on Twitter, @tcupod. The Come Up is engineered by Daniel Tureck. Music is by Devon Bryant. Logo and branding is by Kevin Zazzali. And special thanks to Alex Zirin and Eric Kenigsberg from the RockWater team. 

Tony Harman - Founder, CEOTony Harman has been running game development companies since the '80s, creating products that have earned over a billion dollars in revenue. He began his career with a decade at Nintendo of America in charge of acquisitions and development, including blockbuster titles like Donkey Kong Country. As President of DMA Design, his team created Grand Theft Auto, one of the most successful franchises of all time. Tony later cofounded Realtime Worlds and developed GTA's MMO successor All Points Bulletin, as well as the hit franchise Crackdown. Most recently, Tony was President of nWay, a mobile-focused game developer focused on bringing console-quality games to mobile: ChronoBlade and high-profile licenses such as Power Rangers and WWE. Tony has raised over $150MM for the companies he has founded.Links:@theunioverse, https://unioverse.com/ *Disclaimer. Richard Carthon is the Founder of Crypto Current. All opinions expressed by members of the Crypto Current Team, Richard or his guest on this podcast are solely their opinions and do not reflect the opinions of Crypto Current. You should not treat any opinion expressed by Richard as a specific inducement to make a particular investment or follow a particular strategy but only as an expression of his opinion. This podcast is for informational purposes only.~Want more information on us? Please check out our Linktree for all our info :)linktr.ee/cryptocurrent

What's the best game about living Unicycles that you've ever played? If that question captured your interest, you may want to join us this week as we look back at Uniracers by DMA Design--the company which would eventually become Rockstar North! Released in Europe as Unirally, this obscure unicycle stunt racer attained "cult classic" status when its release was jeopardized by a lawsuit brought on by Pixar. We aim to find out if this title deserved more attention, or if it was better off left in the realm of the obscure. Before getting into Uniracers, we catch up on some of our recent gaming habits by questioning the release of Madden 23, and giving our thoughts on the remaster of The Last of Us. Remember you can catch video of our gameplay segments AND monthly bonus episodes by joining our Patreon: https://www.patreon.com/theretrogradepodcast (https://www.patreon.com/theretrogradepodcast) Watch us on YouTube: https://www.youtube.com/channel/UCRkbglFPa8g_Jnhxmw_wiGg (https://www.youtube.com/channel/UCRkbglFPa8g_Jnhxmw_wiGg) Join us on Twitter: @RetrogradePod, @RetrogradeAndy, @RetrogradeMikey Or on Instagram: @theretrogradepodcast Or visit our website at http://www.theretrogradepod.com/ (www.theretrogradepod.com/) Questions, Comments, and business inquiries can be sent to theretrogradepodcast@gmail.com Show Notes: https://www.theretrogradepod.com/episodes/uniracers-unirally-review-super-nintendo (https://www.theretrogradepod.com/episodes/uniracers-unirally-review-super-nintendo)

Everything starts somewhere, and when the games industry began to form in the UK, back in the '80s, Gary Penn - my guest on the One-to-one podcast today - was there. A young adult passionate about games, he was propelled to micro-stardom, as he puts it, when he won a competition to find Britain's best gamer and ended up writing for Zzap!64 magazine. It was a magazine that changed the face of games journalism, injecting passion and charisma and a sense of fun.   After Zzap!64, Penn would go on to win awards for The One magazine, before leaving editorial and side-stepping into consulting and ultimately, producing games. And it's then that he would cross paths with the most famous game series of all: Grand Theft Auto. Except, it wasn't called GTA at the time and it wasn't very good. In fact, Race n' Chase as it was known then, was "awful", according to Penn. But fate - and Penn - ensured the game wouldn't be cancelled and GTA would be released, paving the way for the series to become the cultural phenomenon it is today.   But by the time GTA3 was in development, Penn had had enough. He had severely burnt out and didn't want to work around the clock any more. So, along with some other DMA Design people, he would make a new studio called Denki to create very different kinds of games. Hundreds of these would be interactive TV games, but as time moved on, the studio ditched those in favour of games like Quarrel, which we loved on Eurogamer - a mash up of Risk and Scrabble.   Then, in 2019, the studio found success with Autonauts, a chill game about creating and managing a settlement by automating everything in it. It's that game Denki is building on now with the release of Autonauts vs Piratebots this week - Thursday, 28th July. That game adds, among many other things, an eye-patched, peg-legged, parrot-toting threat to the game, pirates, which you will have to defend your settlement against.   Support Eurogamer here: https://www.eurogamer.net/subscribe Learn more about your ad choices. Visit megaphone.fm/adchoices

Ende 1997 veröffentlicht das britische Studio DMA Design ein auf den ersten Blick unscheinbares 2D-Spiel für PC und PlayStation – Grand Theft Auto. Dessen Protagonist, ein Kleinkrimineller, gaunert sich zu Fuß und in Autos durch die offenen Spielstädte Liberty City, San Andreas und Vice City. Das Spiel ist kein ausgemachter Kritikerliebling: Die Wertungen fallen eher mittelmäßig aus, vor allem die altbackene Grafik wird vielfach kritisiert. Kommerziell ist das Spiel (und sein Nachfolger) aber erfolgreich genug, um einen dritten Teil zu rechtfertigen. Und der schreibt dann Spielegeschichte und macht die Serie zu einem kommerziellen Schwergewicht und einem bedeutenden Popkultur-Objekt. Warum? Nun, das besprechen Fabian, Chris und Gunnar ausführlich in der offiziellen Super Stay Forever-Jubiläumsfolge: Unser von Fabian Käufer betreutes Konsolenformat hat nämlich die 50. Folge erreicht! Thema: Grand Theft Auto III, 1995 Plattform: PlayStation 2, später Windows, Xbox, Mac OS, Android, iOS Entwickler: DMA Design (Rockstar North) Publisher: Rockstar Games Genre: Actionspiel Designer: Leslie Benzies, Sam Houser, Dan Houser Musik: Craig Conner Podcast-Credits: Sprecher: Fabian Käufer, Gunnar Lott, Christian Schmidt Audioproduktion: Lars Rühmann, Christian Schmidt Titelgrafik: Paul Schmidt Intro, Outro: Nino Kerl (Ansage); Trash80.com (Musik) (Musik)

Danny O'Dwyer of Noclip is here to talk about the latest episode in their Greatest Hits series, The History of Grand Theft Auto, Lemmings & DMA Design. Now ‘the' Grand Theft Auto expert, Danny explains the European version of iconic American stereotypes present in this game compared to differing regional stereotypes found in other titles. We touch on how cultural perceptions play an unexpectedly influential role in game creation, especially when a studio is aiming for the global market. You won't believe the strange and lengthy catalog of titles which were essential in the timeline leading up to the creation of GTA III. See more from Danny O'Dwyer: Twitter: @dannyodwyer YouTube: /noclipvideo Patreon: /noclip Video Game History Foundation Podcast Twitter: @gamehistoryhour Email: podcast@gamehistory.org Twitter: @GameHistoryOrg Website: gamehistory.org Support us on Patreon: /gamehistoryorg

Saludos un programa más!! Volvemos para hablar en esta ocasión de los Lemmings, una franquicia de juegos creada por DMA Design que nos cautivó a muchos con un planteamiento innovador, unos niveles llenos de peligros y unos personajes tan incautos como encantadores. Contamos con la compañía de nuestro amigo Xaima como invitado, que se apunta al podcast para dar su opinión al respecto. Sin más, esperamos disfrutéis del programa y esperamos vuestros comentarios. Un saludo de parte del GM Team y hasta la próxima!!

Dachz tells a story about DMA Design, and the events that led to them publishing two popular game series: Lemmings and Grand Theft Auto. Sources for the episode can be found here: https://docs.google.com/document/d/1mAi7mtDnZGMGy2onXzOhh38NOHShC09uBTj5lp8qyo/

Greetings and salutations, people. Welcome to episode three of the PocketGamer.biz podcast, the premier audio periodical for the global mobile games market. In this episode, the PocketGamer.biz team discuss the winners of the recent Mobile Games Awards, the news that two major ‘media' companies are moving into games, and the troubling news that one of the world's largest games publishers still can't treat all of its staff equally, fairly or respectfully. (02:50) Our guest in this episode of the podcast is Mark Ettle, the founder and managing director of Cobra, a game development studio based in Dundee, Scotland. Mark is a pioneer of mobile gaming and a veteran of the games sector, starting his career with the legendary DMA Design, the studio behind Lemmings, Hired Guns, Body Harvest and that car theft game everyone seems to like. Mark discusses the studio's pioneering work in the App Store, it's approach to development and why Cobra has gone from a mobile only, to a mobile first studio. We round up with all of the forthcoming events, from the Steel Media network, including LaunchPad, the Big Indie Pitch, and the first sighting of the ever epic Pocket Gamer Connects Digital (#8 fact fans). (33:00) Show Notes Mobile Games Awards Netflix and Zoom move into games Activision Blizzard faces lawsuit and strike action as over 3,000 staff complain about discrimination and harrassment. Special guest: interview with Cobra Mobile's Mark Ettle Pocket Gamer Launchpad (12-13/08/2021) The Big Indie Pitch (26/08/2021) Pocket Gamer Connects Digital #8 (27/09 - 01/10/2021) Sit back, relax, prepare to be fascinated. As always, we'd love to hear your feedback, thoughts and ideas. Email us: podcast@pocketgamer.biz or get in touch via our @PGBiz handle on Twitter. If you're enjoying the podcast, do please leave us a review or rating. We'd appreciate it. Until next time - Listen, love, learn. The PG.biz team

Grand Theft Auto is an action-adventure game, developed by DMA Design and published by BMG Interactive for MS-DOS and Microsoft Windows in October 1997; versions for the Sega Saturn and Nintendo 64 were planned, but never finalised.

Uutisotsikoissa juttua mm. Sonicin viimeisistä kuulumisista ja rom-tiedostoja jaelleen herrasmiehen ja Nintendon välisestä oikeudenkäynnistä. Jakson pääaiheena DMA Design:in kehittämä Unirally/Uniracers vuodelta 1994. Vieraana Tohelot.

A historic interview with Gary Penn, a video games industry veteran and former games reviewer for Zzap!64.Fun fact:The first Grand Theft Auto game would have been ended up cancelled without his efforts as a creative director at DMA Design (later Rockstar)

If you've played Denki Blocks then you know why we're talking about it today. It's one of a vast array of excellent games that made the Gameboy Advance a compelling and worthwhile console to have, and the studio behind it (named after the game itself) was founded by four leading lights of DMA Design, the studio behind GTA and Lemmings, among many other gems. The studio itself, one of the UK's most prolific having created more than 200 games over the last 20 years, has a fascinating story, and just last year were the winners of the Scottish BAFTA for the game category. So join us to learn more as we delve deep into Denki!If you're loving life and loving listening to us, why haven't you joined us on our social media haunts yet? Come on, what you playing at?Twitter: @thisgamewhereYouTube: This Game WhereInstagram: This Game WhereFacebook: www.facebook.com/thisgamewhereMusic for this episode is by Stevia Sphere from the album Cell Division. You can find that and many more great tunes on their Bandcamp at: https://steviasphere.bandcamp.com/ 

Grand Theft Auto (GTA) is a long-running series of video games, published by Rockstar Games and developed by subsidiary companies. The games are primarily developed by Rockstar North (formerly DMA Design). Throughout its history, the series has always courted controversy due mainly to the mature content of the games, with all but one game being rated the equivalent of Mature

This week we are talking about the humble Scottish origins of the wildly popular video game franchises Lemmings and Grand Theft Auto. Both games were originally designed and released by the Dundonian company DMA Design (now Rockstar North) who obviously had a penchant for death, destruction and blowing things up.

This week in Your Parents Basement, we are guiding little creatures to safety, sometimes. From 1991, we’re playing Lemmings, developed by DMA Design and published by Psygnosis, for the PC and every other platform imaginable. We’re joined by Friend of the Show, Ceej! You can manually download this week’s podcast here or subscribe to the […]

Do yourself a favour and for the first minute or so crank the volume UP! Ian Dunlop and Neill Glancy's side-scrolling shooter captured the imagination of our Adrian and Dylan when they were teenagers. It struck such a chord with Adrian that he's structured a whole podcast about it! Also channelling Scott Johnston's supreme mech animations, Raymond Usher's thumping soundtrack and DMA Design's David Jones pulling the strings, it received 80%+ reviews across the board. The keyboard (or joystick) and mouse combination was revolutionary at the time and made for satisfying action. But was it all a bed of roses? The boys are here to pick it all apart... Fancy discussing this podcast? Fancy suggesting a topic of conversation? Please tweet us @arcadeattackUK or catch us on facebook.com/arcadeattackUK All copyrighted material contained within this podcast is the property of their respective rights owners and their use here is protected under ‘fair use’ for the purposes of comment or critique.

Parliamo di Amiga con Alberto Longo, lo sviluppatore di Breathless! 0:01:37 Inizio 0:03:00 Excursus storico 0:09:06 Farstar (C64), pubblicato intorno al 1987 (Ready 64) 0:10:28 L'uscita dell'Amiga 1000 (1985) 0:24:29 I PC a fosfori verdi 0:26:21 I primi giochi per Amiga 0:28:10 Niente console in Italia negli anni '80 0:29:08 I giochi per C64 col loro tetro sfondo nero 0:31:00 La tecnologia odierna che evolve senza rivoluzionare 0:34:21 I giochi 2D su Amiga 0:36:58 Amiga in ambito professionale: il Video Toaster e Babylon 5 0:39:07 Monkey Island (1990), Alien Breed (1991), i Bitmap Brothers, DMA Design (oggi Rockstar), Project X e Wolfenstein 3D nel 1992 0:41:59 Commander Keen di Id Software, Wolfenstein su VGA 0:44:21 Il chipset AGA (1992) 0:47:49 Amiga 4000 e Amiga 1200 (1992) 0:50:55 Arriva l'Amiga CD32 ed esce Doom su PC (1992) 0:54:48 Gli sviluppatori reduci su Amiga 0:56:22 La grafica in bitplane, Akiko, e il chunky copper 0:59:56 Le tecniche chunky to planar 1:00:27 Breathless (1995) 1:01:17 Gli FPS Amiga all'epoca (Link) 1:03:30 La demo del juggler (Link) 1:05:20 Lo sviluppo di Breathless (abime.net) 1:07:42 T-Racer (1994) (abime.net) 1:08:09 Dynabyte (Wikipedia) 1:10:39 Le BBS 1:12:08 Gli esperimenti con routine C2P, raycasting e texture mapping 1:15:23 Le ottimizzazioni sugli Amiga potenziati 1:16:00 La prima demo di Breathless per TGM (Aminet, YouTube) 1:17:54 L'editor per le mappe in Aztec C 1:19:19 Il team di Breathless 1:20:10 La programmazione in assembly 1:21:54 Le ispirazioni estetiche di Breathless 1:25:39 Come si sono conosciuti i membri del team di Breathless 1:29:48 La ricerca del publisher 1:32:55 I risultati economici 1:38:27 I progetti dopo Breathless Le note dell'episodio complete: https://gameloop.it/2019/09/18/gameloop-podcast-gl28a-amiga-breathless-e-alberto-longo/ Link: Sito | Discord | Gruppo FB | Forum Supportateci: Patreon | PayPal | Humble Store Il link Amazon per i vostri acquisti (potrebbe arrivarci una commissione): http://amzn.to/2r2XHT5

If lightening ever struck twice in the games industry then it was Mike Dailly who was hit, with both Lemmings and Grand Theft Auto to his name he helped to drive two of the biggest selling franchises of the '90s and beyond.  Today we get to hear about the early days of DMA Design and how he got into the industry. ●RID can be enjoyed in the following ways: Using links to all your favourite podcast services including Itunes, Spotify and Google Play here:  https://audioboom.com/channels/5001240 You can watch the podcast as video on YouTube - https://www.youtube.com/channel/UC68FLUN8heIutgNomU00lfQ Guests: Mike Dailly - http://www.javalemmings.com/DMA/ Hosts: ●RetroManCave - Neil   YouTube https://www.youtube.com/RetroManCave   Twitter: @TheRetroManCave   Patreon: http://patreon.com/RetroManCave   Shop:  https://www.etsy.com/shop/TheRetroManCave   Discord: https://discord.gg/7qYtGcz

We interview Mike Dailly, one of DMA Design's leading lights, to find out about his time working on iconic games like Lemmings and Grand Theft Auto. We look back to the start of his career, find out what made Lemmings work, take a brief look into the controversy surrounding GTA's release and get his thoughts on the developing state of the UK industry. ----- You can listen to the 30 Years of Play podcast on Soundcloud, Acast, iTunes and Spotify. Make sure to subscribe and leave a five star rating if you've enjoyed the show. You can check out the 30 Years of Play blog for more content about he past, present and future of the UK interactive entertainment industry at www.30yearsofplay.uk. And you can keep up with us on Twitter @30YearsOfPlay and via our social media hashtag #30YearsOfPlay.

Welcome to Dev Game Club, where this week we are beginning a new series about Grand Theft Auto III. As always, we spend the first episode situating the title in its release time frame and talk a bit about the history of the studio and creators associated with it before turning to the game proper. Dev Game Club looks at classic video games and plays through them over several episodes, providing commentary. Sections played: Through "The Fuzz Ball" Podcast breakdown: 0:37 GTA III discussion 58:48 Break 59:16 Feedback Issues covered: perspectives from Lulu about production, games of 2001, bringing the mafia back into popular entertainment, grabbing the zeitgeist, how to deal with the anti-hero, commercial plays with the gritty follow-up, freshening up a franchise by going dark, not being sold on playing this game, mature with a capital M, still being under the shadow, starting and abandoning GTA IV and skipping GTA V altogether, DMA Design founders, programming-centric company, the top-down camera view, introduction of the Houser brothers, British gangster cinema, writing style and tone changes, film-style credit sequence, iconic characterization and key art, having a gritty New York of the 70s and 80s genre films, blaxploitation, the New Hollywood, leaning into character archetypes, impressive voice cast, using Hollywood-level talent, not needing to use them, unsung high-quality voice talent, cinematic representation of the credits, ambition vs genius, going big and not apologizing, putting the developers forward rather than the actors, making their own myth, a voiceless main character (Claude), voiceless being better in first-person, empty vessel to fill, limited representation, defining characters more as time goes on, the risk of changing the character out from under the player, undirected game, tension between genre and character and story, playing a low-level thug in The Godfather, playing your own sort of character, do players care about the tension, do you have to like the character, the chaos engine and the strong cinematic style, player exploration of the possibility space, separating the chaos and the nihilistic stories, dehumanizing women, punching every which way vs punching down, Brett messes up his punching directions, creative decisions, choosing the ones you put in and don't, presenting a boundary that is itself commentary, choices players can't make due to lack of systems, prostitution in multiple media, the crassest flattest two-dimensional representation of sex work, being a target in the industry, disposable human beings, hope for humanity, craftmanship and talent and lack of responsibility, representing themselves, pushing the player to a nihilistic viewpoint, pushing the player to psychopathic driving, spawning cars to gum up the works, diametrically opposing success and responsible citizenship, not overcrediting them with thinking it through, tongue-in-cheek or not, what if it were visually amazing but everything else was the same, how you get the talent, Brett and Tim the ASMR guys, first-person camera, console-centric development, head bobbing, couch vs monitor, motion sickness and movement and FOV, more complicated than you think, stick movement and aim assist, what's the walkin' around like, frame-dependency, noticing something and being able to describe it, reticle, GTA III memories, returning to GTA III, corrupting the youth, killing jaywalking pedestrians, unexamined biases, kitsch, the first draft and tropes, editing a story due to current events. Games, people, and influences mentioned or discussed: Lulu LaMer, Thief, Tomb Raider: Anniversary, System Shock 2, Ico, Silent Hill 2, Anachronox, PlayStation 2, Metal Gear Solid 2, Tony Hawk Pro Skater 3, SSX Tricky, GameCube, Super Smash Bros, Luigi's Mansion, Pikmin, Devil May Cry, Final Fantasy X, Max Payne, Black & White, Diablo 2, Xbox, Halo, Baldur's Gate Dark Alliance, Conker's Bad Fur Day, Rare, Jak & Daxter, Game Boy Advance, Castlevania, Oni, Bungie, The Sopranos, Scorcese, Coppola, Better Call Saul, Breaking Bad, Prince of Persia, Jedi Starfighter, Republic Commando, Red Dead Redemption 2, GTA V, Rockstar North/DMA Design, Acme Software, David Jones, Russell Kay, Steve Hammond, Mike Dailly, Crackdown, Lemmings, Take Two, PS1 Classic, Reagent Games, Cloudgine, Epic, the Houser brothers, The Krays, Bob Hoskins, Ian McQue, GTA: Vice City, Robert Loggia, Frank Vincent, Joe Pantoliano, Michael Rapaport, True Romance, Debi Mazar, Tobey Maguire, Willem Dafoe, Nolan North, Leslie Benzies, The Godfather: The Game, GTA Online, Eve Online, South Park, Klute, Jane Fonda, Michel Faber, The Crimson Petal and the White, Jean-Paul Sartre, Dungeon Keeper, Jigsaw/Saw, Michael Madsen, Lars from Hamburg, Hitman, Giant Beastcast, Tacoma, Steve Gaynor, The Stanley Parable, Nels Anderson, The Witness, David "Heavens To" Murgatroyd, Fallout, Ray Liotta, Brian Moriarty. Next time: Through "Last Requests" @brett_douville, @timlongojr, and @devgameclub DevGameClub@gmail.com

Racking up hundreds of millions of sales/downloads worldwide, to say GTA is a phenomenon is an understatement. It seems unthinkable that it had relatively lukewarm beginnings in its PS1 debut, a top-down 2.5D game concocted by DMA Design. Dylan talks the gang (minus Rob and Kev) through those humble beginnings and how what was viewed as an average title put in place the building blocks for possibly the largest franchise in gaming history... Fancy discussing this podcast? Fancy suggesting a topic of conversation? Please tweet us @arcadeattackUK or catch us on facebook.com/arcadeattackUK All copyrighted material contained within this podcast is the property of their respective rights owners and their use here is protected under ‘fair use’ for the purposes of comment or critique.

We gets the highs and lows of DMA Design with Steve Hammond. The story behind Lemmings, Hired Guns and the scrapped sequel, the strained relationship with Psygnosis and the origins of Grand Theft Auto. Steve's website: [http://stevehammond.org/](http://stevehammond.org/) PLAY Expo Blackpool tickets: [https://www.playexpoblackpool.com/](https://www.playexpoblackpool.com/) Thanks to our amazing donators this week: Darren Coles, Stuart Smith, Rupert Fuller, Paul Szopiak Our website: [http://theretrohour.com](http://theretrohour.com) Our Facebook: [http://www.facebook.com/theretrohour/](http://www.facebook.com/theretrohour/) Our Twitter: [http://twitter.com/retrohouruk](http://twitter.com/retrohouruk) Show notes: Kitroniks Game Zip 64: [http://bit.ly/2nbyF06](http://bit.ly/2nbyF06) New Theme Hospital by Sega: [https://www.twopointhospital.com/](https://www.twopointhospital.com/) NES Maker: [http://bit.ly/2nehzxN](http://bit.ly/2nehzxN) Spectrum laptop: [http://bit.ly/2DNvh5a](http://bit.ly/2DNvh5a) Raspeberry pi arcade: [http://bit.ly/2DzT8lu](http://bit.ly/2DzT8lu)

Gary Penn talks to us about his early days on ZZap 64, working with David Braben on Frontier then his journey to DMA Design working on the original GTA series. Denki website: [http://www.denki.co.uk/](http://www.denki.co.uk/) Win Play Expo Manchester weekend passes: [http://bit.ly/2jQHBcl](http://bit.ly/2jQHBcl) Email us: show@theretrohour.com Thanks to our amazing donators this week: Steve Jewkes, Linus Johansson, Tom Van de Weile, Bart ter Haar Our website: [http://theretrohour.com](http://theretrohour.com) Our Facebook: [http://www.facebook.com/theretrohour/](http://www.facebook.com/theretrohour/) Our Twitter: [http://twitter.com/retrohouruk](http://twitter.com/retrohouruk) Show notes: Sonic the Hedgehog 2 HD: [http://sonic2hd.com/](http://sonic2hd.com/) VR64 Commodore 64 glasses: [http://bit.ly/2hEtGFC](http://bit.ly/2hEtGFC) Convert toys to arcades: [http://bit.ly/2xNIFiZ](http://bit.ly/2xNIFiZ) Toys R Us: [http://bbc.in/2fgRwGB](http://bbc.in/2fgRwGB) Cartridges are coming back: [http://bit.ly/2yLmgEl](http://bit.ly/2yLmgEl)

OLÁ PRA QUEM É GAMER E LOKI!!! Depois dessa obra, os jogos de mundo aberto nunca mais foram os mesmos, por isso vamos dedicar alguns minutos da nossa vida para ouvir e homenagear esse game! Nesse episódio o Zerei traz O post ZEREI + UM 011: GRAND THEFT AUTO III (PS2) apareceu primeiro em Papo de Loki.

DMA Design und Psygnosis veröffentlichten das Tüftelspiel Lemmings 1991 -- und es wurde ein Mega-Hit. Gunnar und Chris erinnern sich ans Bauen, Klettern, Graben und... Sterben.

An Emmy and BAFTA winning Producer and Entrepreneur with over 25 years experience in games and digital media. Colin entered the games industry in 1990 as Software Manager of SAM Computers, the manufacturer of the last British home computer. Following that experience he founded a small games company which brought around twenty titles to market, including licences of Lemmings and Prince of Persia. In 1997 he joined DMA Design as Producer on the multi-billion dollar generating Grand Theft Auto franchise, then helped found and was Studio Manager of Realtime Worlds, where he helped raise over $100m in investment and oversaw development of the 2 million selling, BAFTA-winning game Crackdown, and the online game APB. Colin was then VP of Business Development at RTW spinout eeGeo, and is now Commissioning Editor for Games at Channel 4 / Head of All 4 Games, and Chairman of VR facial animation specialists Speech Graphics. Ian and Colin Macdonald discuss:- How to take popular TV shows (such as Gogglebox) into a game format Games such as FIFA with in-game purchases Mobile games and in-app purchases Why VR isn't ready just yet Colin can be found at all4games.co.uk Show Sponsors:- Far North - Sales, Marketing, Technology Are you looking to enter new markets? Launch a new business, product or service? Maybe introduce a new revenue stream? Far North is an all-encompassing Business Development Consultancy. We aim to fulfil your growth potential by reviewing your existing business strategy or developing a new, bespoke business model.

This week we get the inside story on the original Grand Theft Auto on the PS1, and how it was inspired by Clockwork Knight on the Sega Saturn. Plus, why Lemmings 2 is not as good as the first one! Mike Dailly from DMA Design/Psygnosis chats to us. Show Notes: Hewson are back: [http://bit.ly/1VCmm5v](http://bit.ly/1VCmm5v) Sega responds to Dreamcast 2: [http://bit.ly/1TWR0s1](http://bit.ly/1TWR0s1) Every 3D realms game for £5: [http://bit.ly/1QbBlz7](http://bit.ly/1QbBlz7) Doncaster's new retro games market: [http://on.fb.me/1SlLaRs](http://on.fb.me/1SlLaRs) NES USB loader: [http://bit.ly/20ZiIpT](http://bit.ly/20ZiIpT) Team 17 takes on 16 year old pupil: [http://bit.ly/1WT0RP6](http://bit.ly/1WT0RP6) Commodore 64 MMO game, 'Habitat': [http://bit.ly/1TcNI3a](http://bit.ly/1TcNI3a) Doom Remake special edition: [http://bit.ly/1SLCzrR](http://bit.ly/1SLCzrR) Old people playing games to stop them falling over: [http://bit.ly/20ZiMWT](http://bit.ly/20ZiMWT) Iran's 140m gaming industry: [http://bit.ly/1URDwMv](http://bit.ly/1URDwMv) XCom 2 rated as perfect: [http://bit.ly/1Qwl6x0](http://bit.ly/1Qwl6x0) Commodore UK's David Pleasance & Colin Proudfood are working together again: [http://bit.ly/1o6plbH](http://bit.ly/1o6plbH) WinAPE 2.0 beta 2 - Amstrad emulator for windows gets an update: [http://bit.ly/1TWRhet](http://bit.ly/1TWRhet) Karateka ported from ST to Amiga: [http://bit.ly/1QbBSBe](http://bit.ly/1QbBSBe) New Sega Megadrive shmup: [http://bit.ly/1LkTWra](http://bit.ly/1LkTWra)

Grand Theft Auto is an action-adventure video game series created by David Jones and Mike Dailly;[3] the later titles of which were created by brothers Dan and Sam Houser, Leslie Benzies and Aaron Garbut. It is primarily developed by Rockstar North (formerly DMA Design), and published by Rockstar Games. The name of the series references the term used in the US for motor vehicle theft.--- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app--- Send in a voice message: https://anchor.fm/southarcadia/messageSupport this podcast: https://anchor.fm/southarcadia/support

Grand Theft Auto (GTA) is a series of action-adventure games created by David Jones and Mike Dailly. Later titles were developed under the oversight of brothers Dan and Sam Houser, Leslie Benzies and Aaron Garbut. It is primarily developed by British development house Rockstar North (formerly DMA Design), and published by its parent company, Rockstar Games. The name of the series references the term "grand theft auto", used in the United States for motor vehicle theft.

Grand Theft Auto (GTA) is a series of action-adventure games created by David Jones and Mike Dailly. Later titles were developed under the oversight of brothers Dan and Sam Houser, Leslie Benzies and Aaron Garbut. It is primarily developed by British development house Rockstar North (formerly DMA Design), and published by its parent company, Rockstar Games. The name of the series references the term "grand theft auto", used in the United States for motor vehicle theft.

Fala galera Sussuriana! Essa semana Luciano, Igor e Mario se reuniram para relembrar uma das franquias mais clássicas do mundo gamer, GTA. Amada por uns e odiada por outros, vamos falar de uma série que causa muitas polêmicas mas que ao mesmo tempo diverte a todos.Os personagens, as histórias, os cheats, as frustrações e as diversões. Tudo será relembrado nesse podcast. Fomos desde o primeiro game da série quando a Rockstar se chamava DMA Design, passando pelos jogos lançados nos portáteis, até o GTA IV.Tempo de Duração: 97 min (Pulem para 16 minutos para cortar a leitura de emails)Links Relacionados ao Programa:O melhor jogo de corrida ESTÁ no Xbox, enviado por Cristiano TorregianiIntrodução do GTA 2 com atores reaisBaixe gratuitamente os 2 primeiros jogos da série GTA[+18] Veja o video do caso "Hot Coffe"Matéria feita pela Band contra a série GTAOld School - GTA Vice City DOWNLOAD DIRETO 

More video games and video game music, though we finally have an intro theme! Bouncer by Seth 'Beatfox' Peelle (show intro theme); Sedge Flower by Takenobu Mitsuyoshi & Yuzo Koshiro from Shenmue by SEGA; Lemrap by SFX inspired by Lemmings by DMA Design; Main Title by Alexander Brandon from Deus Ex by Ion Storm Inc; Grabbag by Lee Jackson from Duke Nukem 3D by 3D Realms; and Now You're a Hero by Henrik Nåmark from You Have to Burn the Rope by Kian 'Mazapán' Bashiri.