Here’s Why You Should Watch Gameloading: Rise of the Indies

I normally don’t put my hand up for reviews. As most of you know from what I write, I simply attempt to be funny. But I like being analytic and critical on occasions, most especially if I can contribute to debate, or a conversation that inspires higher learning, or just a bit of ‘hmmm-ing or ahh-ing’ at the very least.

Gameloading: Rise of the Indies is a seriously thorough documentary highlighting and introducing us to the world of indie games and the developers behind them. Furthermore, this documentary tries to explore the wider impacts that indie game development have and are having on media and culture.

“Indie game developers are like misfits”

The Documentary opens with an introduction to the developers of the Stanley Parable, who happen to be a two man team (Davey Wreden and William Pugh) who are barely in each others’ presence due to one living in Texas and the other in the UK. They communicate predominantly through Skype and despite all this, they have managed to develop a fantastic puzzle game that received numerous accolades including the IGF Audience Award in 2014.

Amongst other groups, we are also introduced to the immensely fun Train Jam initiative, a collective of game developers who travel together by train from Chicago to San Francisco and collaboratively design new indie games during the 52 hour trip.

We don’t even need that much of an introduction to the now well known Zoe Quinn and her game, Depression Quest, which she describes as an exploration of the idea that choices, or the taking away of such choices can affect game outcomes. As a result, her game is an interesting way for players to understand and relate to serious issues such as depression and how it affects day to day living.

The documentary explores the experiences of various developers, from the creative explorations of Soundself as being developed by Robin Arnott, to the visual ones of Tale of Tales and their obsession with visual story telling.


These are all people who live and breathe games in ways that your average gamer and maybe your average AAA game developer does not. These are the people Peter Molyneux probably wishes he was, or had in his development team.

These developers see indie game creation as a way to extend their world-view to others. The way many of these indie developers speak about their creations imply a broad emotional affection towards gamers and games in general.  There is a strong sense that they want to share, be it their personal story, a new way of seeing the world or sharing a way to connect with new people you’d normally not meet.

There is a lot of love in the indie game community apparently, and everyone likes to hug each other.

Indie games are a great opportunity to explore new methods to learn. As opposed to the current stereotype that video games isolate the player from their immediate environment (the usual glued to the screen or phone trope), indie games are exploring ways to make games interactive, physical and social experiences that apply the console, computer or handheld as only one part of gameplay.

In short, indie games are made the way they are because the developers behind them aren’t exactly pandering to the stereotype of a screaming multiplayer kid mashing his or her fingers on a console (ie. the horrible way I happen to play Age of Empires).

The one thing I got out of this documentary is that indie games are a deeply personal endeavour, and the developers behind them are literally wearing their hearts on their sleeves in bringing these to the public.

Further, what struck me about the mindset behind indie games was how strong the need to tell a story through games was. Several developers intimated as to how they no longer saw games as quests that needed to be ‘won’, but as journeys that educate and impart wisdom through experience. Soundself could be seen as a new spiritual method to explore meditation and the heartbreaking indie game, That Dragon, Cancer is a deeply personal journey to relate to and understand the devastating real-life effects of cancer. Sometimes, the game doesn’t let you win, but it does help you change.

That Dragon, Cancer
That Dragon, Cancer

It was also a new avenue for people who never even saw themselves as video game creators to become one, such as Christine Love, who used the Japanese game format of the visual novel to tell an innovative alterative history tale about the struggle of women living during the Chosen Dynasty in Korea.

On a technical level, the film is quite polished. And while the documentary segues into different topics, it still feels a tad manic in its exploration of the genre. If it is not conveying the development of one particular game and the personal development of its developer, it is jumping with little to no context on to the next theme or subject. As a result, we are watching the development of the Stanley Parable in the first five minutes, to the background of Soundself’s creation to theories regarding learning and development to the history of indie gaming to exploring games through narrative to Zoe Quinn to visual representations in games to Train Jam to sound editing.

As a result, I never usually get where the story transitions or whether there was a point being made in certain sections.

Nonetheless, the documentary is jam packed with information. The interviews and depictions of certain developers’ journeys are enthralling to watch. These developers are genuine people, with fears and hopes and want nothing but to express themselves through the medium and have their game played.

I tip my hat to the segment charting the journey of Australia’s own Armello. That particular segment was informative in how a small development team pushed to get their game seen at major conventions such as PAX using guerrilla marketing tactics.

It was particularly useful to also have the various challenges of indie game development addressed. From lack of funding (and sleep); to inappropriate marketing skills; to the great scourge of online harassment, we become privy to the tears of stress during game launch, to finding a spare square metre of space at a convention to promote a game.

It is notable that great tact was used to address the spectre of that weird movement that I-shan’t-dignify-with-its-name. It made no reference to the personal reasons for the vitriol between the parties involved.  But rather, painted a picture as to how damaging this kind of harassment is to nurturing an indie community, from discouraging people to create new games to how easily a game developer’s dream can become a personal and deeply intimate nightmare.  None of which is necessary, or particularly helpful to the genre, which takes diversity in storytelling, creative ideas and accessibility seriously.

One thing that the documentary highlighted is how intricately tied a game is to an indie developer’s self esteem. Many developers confessed to feeling ‘impostor syndrome’ on occasion when trying to promote their game, as if being an indie developer somehow made them fake or unworthy to show their talents to the world.

Again, indie game developers just want to hug and get hugs in return, and they really do. The documentary makes the indie gamer scene feel far more collaborative and self supportive than mainstream developing companies do.  Whether because of the lack of general corporate and business support that larger companies can access, or because indie gamers are much more lovable is up to the viewer to decide I suppose.

This documentary has packed a lot of themes and stories into one hour and a half, which, either because of jumpy editing or just through wealth of information, feels a tad longer. But it is hugely informative and you cannot help but feel a strong fondness towards the people featured in it. It is obvious that the documentary’s message is that Indie Games are becoming a genuine cultural movement, filled with a lot of heart and personality and that it is getting bigger. With all these developers also creating easier access to developer tools and creating cultural spaces where these new and diverse ideas can be explored, the rise of the Indie Game is inevitable. And while it doesn’t explore the possible future direction of these games, it certainly shares its hopes for more diverse story telling and exploration of new ways to experience games.

Gameloading: Rise of the Indies
Gameloading: Rise of the Indies

2K Australia in Canberra Shuts its Doors; #2KAusJobs Hashtag Created to Help Those Affected

Earlier today a source confirmed with Kotaku Australia that 2K Canberra, the studio that most recently brought you Borderlands: The Pre-Sequel, would be closing its doors. It was confirmed that the entire studio would be shut alongside every staff member losing their jobs.

2K provided Kotaku with a statement citing the reasons for this:

We can confirm we have taken steps to begin the studio closure process for 2K Australia in order to better manage ongoing development costs while improving the working proximity of our creative teams. We are very grateful for the team’s valuable contributions to numerous 2K projects, and are working with affected staff to explore reassignment opportunities where possible.

Sources also confirmed to Kotaku that the studio was planning a move to Melbourne to attract new talent but this ultimately led to the departure of many high levels within the company to leave. A hashtag on Twitter has been created, #2kAusJobs as well as a Google Doc listing possible roles available in an effort to hopefully allows those affected.

Saints Row IV: Re-Elected for PS4 Recalled in Australia

Earlier today, QV Software has informed Australian retailers to pull copies of Saints Row IV: Re-Elected for PlayStation 4 from their shelves due to a manufacturing issue, which has caused the incorrectly classified version of Saints Row IV: Re-Elected to be released in Australia.

Major gaming retailers in Australia, both EB Games and JB Hi-Fi have removed all listing of the PS4 game from their corresponding websites.

Customers are encouraged to return their PlayStation 4 copies of Saints Row IV: Re-Elected to their place of purchase for a full refund. Retailers are being sent correctly classified copies of the game as replacements and will arrive soon.

PICKS OF PAX – Indie Edition

The Best Things About PAX Aus!

With all the huge titles about to debut, its easy to forget about the wealth of incredible and unique indies out now, coming soon and in early access. I’d love to list all the games I played on show at PAX Australia, but here’s some of my favourites direct from the show floor.

Never Alone – Upper One Games

Never Alone is a unique game that puts you in the shoes of Nuna, a young Alaskan girl. With a newly befriended arctic fox, the two of you set off on a tale based in Alaskan culture to find the source of a never-ending blizzard.

This game has an absolutely gorgeous aesthetic and does things only a few games have even attempted, immortalising a culture and their history, while showcasing it to and educating an audience that may never have experienced it before. The game plays as a puzzle platformer akin to Limbo or Braid with a co-op aspect, but also takes inspiration from some of the recent UbiArt Framework titles, Valiant Hearts and Child of Light in its approach to narrative. Another interesting factor of Never Alone is that each of the collectibles in game unlocks a small documentary style video relevant to its place in the game, giving cultural insight from the Inuit people that expands and contextualises what you’re experiencing at that moment.

Never alone launches on PC, PS4 and Xbox One on November 18 as a download only product from the digital stores. You can read more about it here. It’s an exciting new step for games, and it’s co-op features make it perfect for playing with a friend, family member, or even on date night!

Screencheat – Surprise Attack

Screencheating isn’t cheating right? It’s a legitimate strategy!

Screencheat keeps this philosophy at it’s core, creating a four person multiplayer game where you’re all invisible and the only way to shoot each other is by watching other players screens to track them down. The game plays surprisingly well, after one or two matches you really get a feel for the way it works – it has this real sense of nostalgia about it with quite a unique spin. The weapons you can wield in game are as zany as the concept, with electro-crossbows, a blunderbuss and even a hobby horse which allows you to charge into enemies. There is a lot of fun and laughs to be had here, a game that can bring even strangers together in a tense and fun match of old school inspired shooting.

Screencheat is available now for PC on Steam, GOG and the Humble Store. You can find those links and read up on the game here. So what are you waiting for? Grab a few friends and settle in for some seriously entertaining multiplayer sessions!

Submerged – Uppercut Games

Imagine the world of Wind Waker combined with that of Lara Croft. Throw in some survival aspects and you have the basis for Submerged, a narrative driven exploration game in a sunken wasteland.

The game starts with a young girl and a young boy in a boat, sailing amongst sunken buildings. You play as the girl, Miku, and carry the boy, Taku, to safety in a ruined clock tower, then begin to search for supplies and an explanation of where you’ve found yourself. After sailing around for a little while I knew this was a world I wanted to get lost in. The environments in this game lend themselves perfectly to the premise, blending mystery with a sense of adventure. The story is one which unfolds the more you play, taking you on a journey of discovery with the protagonist. This really looks to be an ambitious project, one which will be very exciting to dive into when it releases.

Submerged is due to be released in 2015. You can follow its progress for more information on Uppercut Games’ Development Blog.

Expand – Cjohnson Games

Expand is a ‘meditative’ game that follows a small, black square through an ever unfolding circular labyrinth, and strangely enough, manages to be one of the most powerful games on the market.

As you move about this evolving worrld, paths and arcs unfold and shift in quite an evocative manner. It’s one of those things you could watch for hours, with new and unique forms shifting out of the humble sphere. Add to this a truly incredible soundtrack and short, simple phrases and the game becomes a much deeper experience, hinting at higher meaning and allowing you to relate this small square’s journey to your own life experience. It’s simple, tranquil and ultimately emotionally resonant, and I’m sure each player will have new and unique experiences when playing it.

Expand is set to release sometime in 2015, and you can follow updates on the title here. The game will also ship with a level editor, something that personally I’m pretty excited to play around with myself.

Metrocide – Flat Earth Games

Metrocide is like old school Grand Theft Auto and Bladerunner had a baby. A pixel art, kickass baby.

As a famed contract killer you must navigate through this dark futuristic world, avoiding enemies like gangs and cops as you hunt down your targets. Permadeath is present here, making all your movements and actions even more important if you don’t want to wind up back at the start. The top down view and visual style really allow the tone of the game to come through without being over-complex, making way for a game that’s challenging but also a lot of fun. Fans of action-stealth games or anything retro inspired should really give this one a go.

Metrocide is out on Steam Early Access right now, which you can find here. You can keep up with the game’s progress on Steam or on the official website.

So there you have it, a few of my personal favourite indie titles from PAX Australia this year. There are countless more exciting and awesome indies out there, don’t forget to check out what else was on offer – and if I’ve missed your favourite please let me know in the comments or on social media!

Jayden Perry ©2014

SMITE: An Interview with Todd Harris

The Co-Founder of Hi-Rez Studios Talks about SMITE!

During PAX Australia the team from Hi-Rez studios were on hand to show off their MOBA, SMITE, to the general public. The game has been released and is free to play, available to download here, and I got the chance to chat to Todd Harris who walked me through what SMITE is, how it works and what the future holds for the title.

Jayden – First off, could you take us through SMITE a little? Its a MOBA, but it’s not as widespread as games like League of Legends or DOTA2, games people are quite familiar with. What makes SMITE different to these titles?

Todd – Of course it’s newer, so it’s still on the growth phase, but really what makes it different in terms of gameplay is how we treat the camera and controls. In most of those other MOBAs its sort of a 2D isometric perspective, the camera is way up above the map, like a bird’s eye view and you’re clicking to move your character. In SMITE you’re actually moving your character as the camera is right behind them. The combat plays much more like a third person shooter – you directly move your character, you’re right there in the environment. If your friend is sneaking up behind you, you can’t see them, you’ve actually got to turn your camera in order to see them. So the camera and the controls definitely are different, and that kind of trickles through the whole combat.

All of your attacks in SMITE are aimed skill shots, where in the other MOBAs some are but a lot are lock ons and you’re just managing cool downs. In SMITE if you play a ranged character, which we call a hunter, similar to an ADC role, all of the arrows or ranged attacks have to be aimed, they have a travel time and you have to lead the enemy. Same goes with melee characters, having to aim their damage cone at enemies. So for aiming and evading it comes down to player skill with the controls combined with the strategy. From a mechanics stand point these make it different.

From a theme perspective, you’re playing gods and godesses from mythology, so there’s a lot of characters people already know. Characters like Thor, Odin, Anubis, Zues or Hades, plus some that are a lot more obscure.

A final big difference is just the fact that there are multiple maps and modes. In most other MOBAs there’s your primary three lane map, and that’s the most popular, whereas in SMITE we have a three lane map called ‘conquest’ you can jump into if you like that MOBA style. If you’re not into that or want something easier to learn you can jump into other modes – here at PAX these guys are playing ‘arena’, which is a big, open Roman Colosseum, and more of a deathmatch experience. You don’t have to worry about lanes, you can just jump in there, have some good fun and be in and out in twenty minutes reliably. It just provides a different experience for players. We have five maps all with different art, gameplay rules for people to hop in and enjoy.

Jayden – Lots of MOBAs are notoriously hard to master and learn, but this seems a lot more accessible due to the third person camera and familiar feel. Do you think that this will be something that will lead to it gaining popularity into the future?

Todd – Yeah, I mean we’re trying to do both. We have a super competitive scene we could talk about, but when you’re coming in at first, whether from another MOBA and you need to learn all these new characters or if you’ve never played MOBAs before, we want to make it easy for people, so this game mode [deathmatch] is very easy to pick up.

The other thing we have that i think is a great system is by default when you start as a new character we have a system that gives an auto-build of your items and an auto level of your skills from our designers; it’s also customised a bit per game mode and per god. It may not be the ideal build but it’s gonna be pretty good. Your team mates aren’t going to yell at you for building wrong. You can just hop on in and all you have to worry about is mastering the skills with you god, not worrying about items, then later when you feel comfortable you can turn it off. It’s a pretty cool system and also something that helps expand the genre because a lot of people are intimidated by MOBAs; we think this will help get a lot of new people into it, whether it’s SMITE or other MOBAs out there.

Jayden – Could you tell us about the competitive side to SMITE? It seems you have some good tools for new people to learn the game, but what’s the competitive side like?

Todd – The competitive side is really important to us. Even in beta two years ago we began running tournaments every weekend just to see if there was going to be an appetite for competitive play, and there definitely was. We have teams at this point who play SMITE that players will recognise if they follow other eSports – names like Dignitas, Team Solo Mid, Cloud Nine, Cognitive, SK Gaming, all these have SMITE teams competing currently.

About two months ago we started the SMITE pro league which is six professional EU teams and six professional NA teams. We also have an amateur cup which lets people come up against these pros. In November there’s the regional championships in five different regions, leading to our first world championship in January.

Believe it or not SMITE is the fastest growing franchise to hit the 1 million plus event – there’s only three other franchises to reach this; League of Legends, DOTA2 and Call of Duty, and all of them have been around for a while but in the first year our prize pool is already 1.2 million, with two months left to go. Half of this has been crowdsourced through something we call the Odyssey – our version of Valve’s compendium, we really liked that model. With a January event, January 9 to 11 in Atlanta Georgia, we’ll see the best teams from NA, EU, Spanish-speaking Latin America, Brazil and two teams from China getting involved. We’re hoping that in Season 2, now that we have servers in Australia, we’ll see Australian teams entering the scene as well.

Scylla, mid battle!
Scylla, mid battle!

Jayden – SMITE is running on PC here at PAX, but it is coming to Xbox One in the future correct?

Todd – Yeah, so two months back in Germany Microsoft announced from their stage that it’s coming first to Xbox One; I think the quote they used was ‘finally, here’s a MOBA that wants to be played on consoles’. That’s true, today it’s free to play on PC and we do have controller support, some of our players plug-in a controller and it maps really well. We think it’s going to be a really nice experience on console, and when you see it in third person you get an idea in your head of how it would map to the controller and not feel awkward, it’ll feel really natural. A lot of the work we’re doing now is around some of the UI on things like the item store and god select to make it a much better experience for playing on a TV in your living room. We hope to start closed beta for Xbox One very early next year and have it released sometime in the first half of next year.

SMITE was played by a lot of people at PAX Australia and always had a long line, so that’s a great indication of interest in the product. We’re very excited to see where SMITE goes in the future, as well as how the first world championship turns out in January 2015. I’d like to thank Todd for speaking to me and giving us a good feel for the game, and to Surprise Attack for helping showcase the title and setting up appointments at PAX!

Jayden Perry ©2014

OXCGN’s The Division Interview

Chatting with Ryan Bernard at EB Expo!

The Division is a title that is looking better and better with each trailer we receive. During the recent EB Expo I was lucky enough to have the privilege of talking to Ryan Bernard, Game Director on the Division, about the title, narrative and tech of this title.

Jayden – The narrative you’ve crafted for the Division feels like it’s something really fresh amongst many other anarchic or post apocalyptic tales in games. What were some of the challenges in creating a story like this that doesn’t feel cliched or overdone?

Ryan – I would say, it came up because we needed a new unit, a Clancy unit, that would fit into the spectrum of what we have, with such a rich background of games. You have your Ghost Recon, you have your Splinter Cell, how do we create a unit that fits into that spectrum with something different, an online and an RPG focus. That really spawned the thinking that ‘okay, this needs to be a response unit’. Many Clancy units are tactical, kind of strike units, where they go in before something happens or go in and assassinate the terrorist leader, so to bring something fresh we wanted a unit that responds to the bad thing that’s happened in our game.

I think that right there really set us apart, and then the fact that we’re domestic, all in the US, and you’re dealing with a catastrophic, global scale, awful thing in ‘Mid crisis’. I know you mentioned apocalyptic but we like to use ‘mid crisis’ because things have not yet crumbled to something like Children of Men where everything is lost, we’re still on that verge where there’s something to save.

Jayden – Through the trailers you’ve released, you’ve packed a lot of emotion into them, whilst retaining quite a bleak tone. How do you manage to reflect that through the gameplay?

Ryan – I would say it’s a balance. Because we’re an action RPG I’d say there’s moments where it’s very ‘not that’, not that emotion we see in the demos and CGI, but really with the narrative we talked about before, and the quieter moments in your own base of operations and in game, and with the elements of exploration, these ’emotional’ sections are really where we hit that note. At our core we’re an action, combat RPG, so a lot of what you’re doing is dealing with these factions that have risen up around New York and taking them out by force.

Jayden – With a narrative like this, has it been a challenge adapting it for online and cooperative play?

Ryan – It’s hard to have, especially when you make a game where you want it to be about player choice and an open world. In this years demo we introduced a new tool for the agent, which is called ‘echo’, and it’s actually part of that narrative. We don’t want to take the controller out of your hand ever, or as little as possible, so there are no cutscenes in the Division. So what we have is this tool where you and I might come into an area and get some digital information, some close-circuit camera footage, part of a conversation, any type of digital material that’s evidence in that area, and if there’s enough you can recreate the scene that is frozen in time.

It’s in the world, and it’s totally optional, so if you’ve already seen it you can move through, it doesn’t stop us or remove us from the game, so we use that tool to work with our team.

Jayden – The game uses a lot of tech you’d see in something like Watch Dogs, whether it be things like mobile controlled drones in game or the second screens outside of the game, have you been able to use feedback from the reception of these titles to improve them in your game?

Ryan – I think what we try to do is look at everything that’s out, not just Watch Dogs or Ubisoft games, to make sure we’re making the best decisions with the time we have and what we’re trying to hit with the game, and so I’d say we’re always looking at what’s just been released or previously released to make sure we get the best game possible for launch.

Jayden – Recently a lot of games like Watch Dogs and Destiny have fallen victim to a kind of over-hype that has led to a bit of a downfall in their success at launch. Is this something that is intimidating or challenging in developing a game like the Division?

Ryan – Intimidating, I don’t know. I mean it’s definitely a challenge, but I think the team looks at it like a positive challenge. It’s definitely known that these types of games have big anticipation, you have a game like ours where it’s a huge open world, hitting the notes that a lot of people want to play and want to be here now, now, now, generating a kind of ‘monster’ of anticipation. All you can do is make sure you think the game is good and hitting what you needed to hit, and wait to see what happens when we launch.

I’d like to thank Ubisoft Australia and Ryan Bernard for the chance to chat about the Division at EB Expo 2014.

Jayden Perry ©2014

PICKS OF PAX – Australian Expo Edition

The Best Things About PAX Aus!

PAX Australia 2014 was a brilliant expo that showcased both the amazing talent we have here in Australia of those making games, and the nationwide community that enjoys them. For three days fans descended upon the Melbourne Exhibition Centre to play the best in Indies and AAA titles, as well as chill out with board games, panels and good food.

Picks of PAX is my way of looking back on the great weekend I had, chronicling the best of the Expo and games from my time at the event.

First, the Expo itself.


The Signs

‘Welcome Home’. Before you even walked in the doors of PAX, the Melbourne streets around the Expo had taken upon the feel of it. Signs hung around the venue with messages like “why your IT guy is out sick” and “we’re back, with less tents”. These little signs made me chuckle more than once and were widely shared across social media, it was great to see that the organisers put this extra effort and community touch into their promotion, making it fun and enjoyable before PAX even began.


The Panels

If there’s something I wish I could have seen more of at PAX, it would be the panels. The couple I visited were really well put together and provided a lot of thought provoking discussion. I heard a lot of good reports from others, but between clashes and media appointments I missed a fair few. You could attend PAX and just hop panel to panel for the three days, barely touching the show floor, and still have an amazing time. Lucky for me, and for those of you who didn’t end up at PAX, a lot of the panels were streamed on Twitch and available to watch right now right here, on PAX’s Twitch channel.

The Booths

The big hitters on show at PAX had equally huge booths, ranging from League of Legend’s stage to showcase local matches and Oceanic finals to Ubisoft’s maze of screens and AAA titles. This year booths were given to a huge range of companies, with even Harvey Norman and the Australian Classification Board (mostly unmanned for the weekend) getting their own stands.

One of my favourites was Wargaming’s booth, filled with a tank, a stage and plenty of computers to play on. Another of the cooler ones was Media Molecule’s booth in the Indie area, decked out in all sorts of papercraft creatures in true Tearaway style. All in all, the booths managed to be really different and despite the crowds I never had too much trouble navigating them!


The Cosplay

For a convention without a cosplay competition, there sure was a lot of cosplay. It was really impressive to see so many people decked out as their favourite characters on the show floor. Thanks to the large presence Riot Games had at the expo, a vast majority of the outfits were characters from League of Legends. Similarly, Borderlands cosplay were not in short supply, thanks to the presence of Randy Pitchford and the recent release of Borderlands: The Pre-Sequel. The cosplay was one of those awesome things that served to really amplify the atmosphere of a convention. Wherever you went around PAX you saw characters you knew and loved, be that in the hallways, outside or even in the Crown food court nearby!

The Handheld Lounge; Clear your Streetpasses or even take a nap!

The Community

In my opinion, the best part of the entire convention was the community. From the exhibitors to the developers, the con-goers to the cosplayers, PAX has to be the most positive show I’d ever attended. Kotaku published an article on why PAX was the perfect antidote to the negativity and clashes going on in game culture, and I couldn’t agree more. Everyone was friendly, accepting and enjoying the wonderful world of games, tabletop and indies together.

The Diversity Lounge, a place that really helped foster this atmosphere, contained several booths including one for the charity group ‘Medic‘, working with Special Effect, a group who help disabled people to enjoy games, in the UK. It also showcased games that encouraged diversity, with one of my favourite indie games ‘Never Alone’ on show there. They even had panels and tournaments running in there during the expo, creating a really encouraging space that I feel symbolised a lot of what PAX was about.

All in all, PAX Australia was an incredible experience. From playing tonnes of fun and interesting games to meeting new people and bonding over shared loves, the show was really something special. I’d like to thank everyone involved in organising, exhibiting and even attending for making PAX Aus such a memorable expo. I can’t wait to do it all again next year!

Jayden Perry ©2014

Dead Rising 3 Apocalypse Edition is out on PC Now!

The ‘Definitive’ Dead Rising Experience, Now on PC!

It’s the day many a fan of Capcom’s Dead Rising series has been waiting for; Dead Rising 3 is now available on Steam and other digital services for AU$89.95. Not only will you receive the full PC version of the game, you’ll also get all four expansions in the ‘Untold Stories of Los Perdidos’ downloadable content collection. This is the first time Dead Rising 3 has been released outside of the Xbox One platform, something fans have wanted for quite some time.

Capcom have given more details about the game’s optimisation and Steam support in their press release (below).

Dead Rising 3 Apocalypse Edition includes the original Dead Rising™ 3 content along with the four downloadable add-on “Untold Stories of Los Perdidos” packs, making this the definitive Dead Rising® experience. Dead Rising 3 and The Untold Stories of Los Perdidos originally launched on Xbox One, the all-in-one games and entertainment system from Microsoft, and has gone on to sell over 1 million units to date on that system.

PC gamers can experience the hordes of undead at high resolution with fully optimized visuals and upgraded textures on characters, backgrounds and in-game objects. Dead Rising 3 Apocalypse Edition includes Steam platform support with Steam Achievements, Steam Cloud, Steam Trading Cards, global leaderboards and full game controller support. Also compatible with the keyboard and mouse, players can toggle back and forth between the two in real time.

Dead Rising 3 Apocalypse Edition takes place 10 years after the events of Dead Rising™ 2. Set in the city of Los Perdidos during a city-wide zombie outbreak, the story follows Nick Ramos, a young mechanic. He must find a way to escape from thousands of blood thirsty zombies before an impending military strike wipes out the city and its population. Relying on the help of other survivors he meets along the way and the vast array of unique and powerful combo weapons available, Nick will need to get creative to get out of the infected city before it’s too late.

So what are you waiting for? Dead Rising 3 Apocalypse Edition is available right now. If you need any more persuasion check out our review of the Xbox One version from its launch last year, then go on and have fun fighting off the undead hordes!

Jayden Perry ©2014