1518: New Media

I’ve been contemplating the ways that people “consume” (ugh, I hate that word, but it seems to be the one in use most frequently these days) content online, and trying to determine a way it could be applied to our currently-stalled podcast over at The Squadron of Shame.

The Squadron of Shame SquadCast certainly worked extremely well for the episodes we did it for, but it did often end up being a little more demanding on the editing time than I would have liked, particularly as we’re all amateurs making use of not-brilliant equipment that often results in things like background hum, echo and other annoying flaws that are difficult to edit out. Much of my editing time was often spent manually trimming out echoes and funny noises, and in the case of a 2-3 hour episode — which most of our episodes tended to be — it would take the majority of the day to do this.

One of the things I’m wondering right now is how relevant the podcast format still is. Obviously I know that there’s enough of a market for sites like Giant Bomb to keep making one every week, and for established podcasting personalities like Garnett Lee to be able to start a new show and have people follow him to see what he’s up to. But I’m also conscious of the rise of alternative means of “consuming” (blech) content in the last couple of years, with YouTube being one particularly disruptive influence, and live broadcasts such as Twitch streaming and Google Hangouts being another.

Awareness of these alternative forms of media has made me ponder whether the standard podcast format is absolutely the best possible thing for the SquadCast going forward, or whether it’s worth contemplating an alternative means of presentation (with an accompanying means of archiving/downloading where necessary.)

The SquadCast has always been a “book group” style of discussion surrounding a game or gaming-related topic, and it’s worked well for us in the past. But gaming is also an inherently visual medium, which makes me wonder whether some form of video presentation might be worth experimenting with, perhaps combined with live broadcasting.

Another reason I bring this up is that Skype, which we have previously used to talk to one another and record the discussions we have, has become a largely unworkable mess ever since Microsoft bought it, making it impossible for me to “archive” the complete conversation just in case someone’s individual recording fails to work properly. I haven’t needed this facility on many occasions, but on the couple where someone’s recording was destroyed by Audacity’s frequent crashes, having that backup facility was a godsend. With the way Skype works now, though — you can’t run it in more than one user account on a Mac at once, which is what I used to do — working this way is impossible without an unnecessarily convoluted setup involving more than one computer.

What I’ve been pondering is making use of something like Google Hangouts, which allows for a number of features that would seem ideal for a discussion about games. It allows participants to converse via either audio or video chat, and it also allows for the footage of the participants to be intercut with other things such as videos from YouTube and the like. For example, while discussing a particularly interesting scene in a game, making use of Google Hangouts would allow you to find that scene on YouTube and then broadcast it to the people watching the Hangout, which strikes me as an eminently good idea. Presumably it would also allow for playing footage while the conversation continues over the top, which is a little more interesting than just gazing at a bunch of talking heads for a few hours.

Google Hangouts can also be easily archived to YouTube, and then one of the many YouTube-to-MP3 converters out there can be used to archive an offline version of the discussion’s audio, which can subsequently be released as a standard podcast for those who wish to continue listening in that way. It’ll be rawer due to the lack of editing and its inherently live nature, but I’ve often felt when I edit a show that I was making the job a lot more difficult and time-consuming than it really needed to be.

Anyway. I’m just thinking out loud here. Interested to know your thoughts, though, particularly if you’ve been either a listener or a participant in the SquadCast at any point in the past. (Those who are neither, you can educate yourself thanks to our archives here.)

#oneaday Day 993: Why You Should Probably Play Quest for Glory

It feels like a good time to explain Why You Should Probably Play Quest for Glory, because 1) the complete series is available on GOG.com for $3.99 for one more day and 2) the Squadron of Shame just released a podcast detailing exactly why it’s awesome. You can listen to it in the player below and go leave a comment here.

Quest for Glory remains to this day an aberration in both the point-and-click adventure and RPG genres, in that it is both. For those who have no experience of the series, the basic gist of all games in the series is that you have the mouse-driven “walk, look, use, talk” interface of an adventure game coupled with the stat-based system of an RPG. You wander around, you find out about quests, you get into fights, you save the sleepy Germanic valley/city/African-style savannah region/world.

Sounds simple, right? After all, RPGs and adventure games already have a lot in common — mainly the fact that both often involve a lot of talking — thus it’s not much of a stretch to imagine an RPG with a point-and-click adventure game interface (or, in the case of earlier games in the series, text parser).

Except Quest for Glory doesn’t stop there, because it makes its games noticeably and significantly different depending on whether you initially choose to play as a fighter, magic user or thief. (It’s also worth noting that the “thief” class is a proper thief who breaks into houses and nicks stuff for personal gain, none of that namby-pamby “rogue” nonsense)

That’s right — join the quest as a fighter and, for sure, you’ll be doing a lot of fighting, but you’ll also be using your brawn to solve non-violent problems. Become a thief and you’ll be using your agility, climbing ability and stealthiness to sneak around and solve problems from the shadows. Become a mage and over the course of the various games in the series you’ll outfit yourself with a diverse array of spells, only a couple of which are of the traditional “throw fiery objects at opponents” variety.

Best of all, if you’re the sort of indecisive person who likes to play as a “hybrid” class, you can spend a few extra points on character creation to take a skill that doesn’t normally belong to that type of hero. Want to be a wizard that’s good at climbing? Go ahead. A thief with a good line in magic tricks? Sure! A fighter who knows what the word “sneak” means? Knock yourself out! All skills that are at higher than zero can be raised through grinding — the Quest for Glory series subscribes to the Final Fantasy II/Elder Scrolls mentality that skills should be raised organically as you use them rather than at arbitrary level boundaries. Crucially for the whole fun factor, though, it’s relatively rare that you’ll need to grind a skill, unless you’re specifically aiming to do and see absolutely everything the game has to offer. (And if you are, you’re a masochist.)

Then there’s the fact that the Quest for Glory series was one of the first series that allowed you to transfer your save file from one game to the next. Beat one game and you’d be invited to export your character ready to import once the next game released. This was remarkably forward-thinking (and confident) of the developers at the time — and also somewhat symptomatic of the different times back then. Now, sure, we have franchises like Mass Effect and Dragon Age allowing you to import your save file from the previous game, but each game in the series didn’t specifically include with a promise of the next one. In other words, whether or not a game gets a sequel these days isn’t necessarily preordained — it’s often dependent on sales. In Quest for Glory’s time, it was built in to the design from the very beginning, even as technology improved over time.

This is one of the other interesting things about playing through any of Sierra’s old adventure series. You can see how gaming technology evolved from game to game. Quest for Glory I and II initially used 16-colour 320×200 EGA graphics and a text parser, though Quest for Glory I was subsequently rereleased with 256-colour 320×200 VGA graphics and a mouse-driven interface. Quest for Glory II never got the same treatment officially, but a fan-made free remake (approved, but not funded or assisted by, the original team) brought it into the latter days of the 20th century rather nicely. Quest for Glory III then brought the series officially into the 256-colour VGA age, and Quest for Glory IV was the first CD-ROM based episode, featuring none other than John “Gimli and That Professor Bloke I Can’t Remember the Name Of from Sliders” Rhys-Davies on narration duties.

Quest for Glory V marked a bit of a turning point, however, not just for the series, but for Sierra’s fortunes and the adventure game genre at large. Being a CD-ROM only multimedia extravaganza with 256-colour 640×480 Super VGA visuals, polygons and a prerendered intro sequence that, while impressive at the time is utterly laughable if you watch it now, Quest for Glory V marked the point where, for many, the franchise lost its way. There are plenty of people who adore the game, of course, but those who grew up with the earlier entries in the series can’t help but mourn the direction it took with its fifth instalment and its subsequent demise.

This wasn’t the only time Sierra did something weird with one of its established series. In fact, almost all of Sierra’s classic, long-running series ended up as something completely different to their original forms — King’s Quest became a 3D action RPG with its eighth instalment; Police Quest became the tactical SWAT series after its fourth incarnation (later dropping the Police Quest moniker altogether); and Leisure Suit Larry just went off the rails altogether after its sixth episode (which, naturally, is called Leisure Suit Larry 7). In comparison to these other titles, Quest for Glory V‘s changes were actually relatively modest — but still enough to put some off.

Perhaps the saddest thing about the demise of the Quest for Glory series is that we really haven’t had anything like it since. We’ve had a resurgence of point-and-click adventures in the last couple of years, sure, but nothing that so deftly blends two genres together with interesting stories, a genuinely amusing sense of humour and satisfying gameplay.

However, there’s some good news for fans of Lori and Corey Cole — they’re working on something new called Hero U, and will be opening a Kickstarter funding drive some time later this month. More details here. I’m pretty excited — they’ve said outright that it’s not going to be a new Quest for Glory game, but it will incorporate some of the things they learned from making those games. Sounds awesome, right? Of course.

Hope you enjoyed the podcast. We certainly spent long enough recording it — and then I spent even longer editing it. 🙂

#oneaday Day 791: Give Me More J

The Squadron of Shame recently tackled the subject of Japanese role-playing games in the first of a new format show that we’re experimenting with. You can check out the show here, or if you’re on something Flash-enabled, you can use the fancy-pants player below. (If you’re not, you’ll simply see a white space, for which I apologise.)

If I had to pick a favourite genre of interactive entertainment, it would, without doubt, be the Japanese role-playing game. I came to the genre relatively late (yes, I was one of those people who discovered RPGs in general through Final Fantasy VII) so I didn’t really have the NES-era epiphany of realising that RPGs were the only genre of games that were attempting to tell a story — for a while, at least. I also didn’t discover the earlier Final Fantasy games until much later, though I have, to date, played every one of them (except XIV) and have finished most of them. I still have V and VI outstanding. Shameful, I know.

There’s something about the JRPG genre that has resonated with me ever since I first got off that train in Midgar and that awesome music started up, though. For one, I find the sort of over-the-top wackiness and melodrama that typifies the genre to many people to be entertaining and fun to get invested in. For another, I have absolutely no objection to a bit of moe in my games, and generally find anime characters of this type very appealing despite the fact that in many ways they’re just as generic and widespread as the bald space marine with no neck. And for yet another, I enjoy the creativity frequently on display in the genre, both from an artistic and a narrative perspective.

It’s a cliché to say that Japanese RPGs are clichéd, and a lot of people who accuse the genre of that probably haven’t played one for a while. Sure, there are certain thematic elements and tropes which many of them have in common, but all are unique in some way. I can remember pretty much every JRPG I’ve played over the years in great detail — contrast this with the fact that there are a whole bunch of shooters I struggle to distinguish from one another, and it’s pretty rare than I can even remember characters’ names from Western RPGs like The Elder Scrolls. Each JRPG has its own unique cast of characters who are (in most cases) well-developed and display plenty of growth and change over the course of the story. Sure, some of them start their journeys as unlikable arseholes (Squall from FFVIII and Neku from The World Ends With You spring immediately to mind) but having a strong emotional reaction to a character — “I really don’t like this guy” — is surely a sign that the writers have done their job well. It’s sometimes a difficult experience to play a game with a seemingly dislikable protagonist, but often this is a sign that he’s going to go through some experiences to soften that stony heart of his, and I’m a big fan of that particular narrative trope.

Leaving narrative aside, I’ve always been a fan of the often abstract, creative battle systems that populate Japanese role-playing games. This is perhaps best exemplified by the Final Fantasy series, which significantly shakes up its core mechanics with every single instalment. Don’t believe me? Here’s how the battle system and related mechanics differ from game to game:

Final Fantasy — Traditional D&D-style turn-based combat without movement. Spells split into levels, like D&D, and characters have a limited number of casts per level that increases with their character level. Characters have set classes and, later in the game, may promote these to “prestige” classes.
Final Fantasy II — Turn-based combat, but progression is tied to an Elder Scrolls-like system whereby using something makes it improve. Whack things with a sword and your sword skill will increase. Take a lot of damage and your hit points will increase. Use a lot of magic and your magic points will increase. This system proved rather divisive at the time, and predated Bethesda’s implementation of a very similar levelling system into its flagship Western RPG series by six years.
Final Fantasy III — Turn-based combat, with progression tied to a “Job” system where characters could switch classes almost at will, allowing players to dynamically build a party to fit the situation at hand.
Final Fantasy IV — The first appearance of “Active Time Battle”, the almost-real-time-but-not-quite system which has been present in most of the subsequent titles. Progression and skill unlocks were static and unique for each character.
Final Fantasy V — The Job system returns in a much more well-implemented fashion. Players may develop Jobs at will, and may also equip certain skills that they have learned from another Job to build multi-purpose characters.
Final Fantasy VI — Each character has unique special abilities but everyone has the opportunity to learn the same spells by fighting with “Espers” equipped.
Final Fantasy VII — The Materia system allowed for deep customisation of characters with a slightly puzzly element — how best to fill the available slots in a character’s weapon and armour?
Final Fantasy VIII — By drawing magic out of enemies and “junctioning” these spells to statistics, players could create powerhouses that made their character level practically irrelevant. A bizarre and abstract system that didn’t quite work.
Final Fantasy IX — Characters learned skills from their equipment. Once they had learned the skill, they could use it any time, otherwise they had to keep the equipment in question in use to perform the action.
Final Fantasy X — A brief break from the Active Time Battle system brought a clever turn-based system where certain actions could rearrange the turn order. Also saw the first appearance of a non-traditional levelling system in the form of the “Sphere Grid”
Final Fantasy X-2 — A return to the Active Time Battle system and a variation on the Job system came with X-2’s Dressphere setup, whereby each of the game’s three playable characters could equip several Jobs and switch between them mid-battle.
Final Fantasy XI — The first MMO entry in the series had another variation on the Job system whereby a single character had levels in every Job, but could only have one active at a time, with a “Sub-Job” becoming available after some progression had been made and allowing characters to use skills from this second Job.
Final Fantasy XII — Taking the combat of XI and applying it to a single-player game allowed XII to have a real-time feel while still feeling strategic, as players were able to pause the game to issue commands to characters while battling without being sent to a separate screen. Progression was split between a traditional levelling system and the “License Grid”, whereby characters had to purchase licenses to use specific pieces of equipment and abilities, then purchase the equipment and abilities separately.
Final Fantasy XIII — Active Time Battle on a separate combat screen returns, this time with players taking control of a single character in fights that focus more on carefully-timed Paradigm Shifts (effectively Job changes by another name) rather than using specific abilities. Had a distinctly unconventional levelling system whereby characters could gain levels and abilities from six different classes independently.
Final Fantasy XIII-2 — Similar to XIII, but with only two characters available. Players could catch various monsters to fill the third party slot. Characters could once again develop down the six different paths, though monsters had a fixed class which could also be developed. Unlike XIII, where you were stuck playing as the party leader, in XIII-2 you could switch between the two characters at will, and one of them getting knocked out did not mean failure.

As you can see, Final Fantasy is a series which has evolved significantly over the years, and yet many accuse Square Enix of letting it stagnate. Sure, they’ve arguably made a few missteps over the years — XII, XIII and XIII-2 have all proven somewhat divisive in particular (though I enjoyed all three of them) — but one thing that the Final Fantasy team really can’t be accused of is sitting on their laurels and churning out the same old thing year after year. The same is true for many other JRPG developers. It’s one of the richest, most creative genres out there.

So why has it fallen from grace? A combination of factors. With the increasingly-busy lives people lead today, a 100-hour game is no longer necessarily seen as a good thing. Budgets for high-definition games spiral out of control, making the production of an HD JRPG an impractical prospect for many studios, particularly when they can’t necessarily count on huge sales numbers to recoup their expenditure. (This is perhaps why MonolithSoft and Mistwalker chose to release the gobsmackingly brilliant Xenoblade Chronicles and The Last Story on the Wii rather than the more popular/”hardcore” Xbox 360 and PS3.) And the eye of “the average gamer”, whoever that might be, has drifted towards the West these days for the majority of their gaming fixes, rather than the East as once was.

There’s still a rich back catalogue of excellent titles out there to explore in this deep genre, however — even more so if you learn Japanese. I’m making a point to go back and revisit some titles I missed the first time around at the moment — having recently played Shadow Hearts I’m now on to its excellent sequel, for example — and I’m having a great time. For the vast majority of these games, they’re a reminder of a simpler time — no “Your friend is online!” notifications, no party chat invites, no DLC, no controversy over endings even when they sucked — and they’re great.

So while the rest of the Internet yells and screams about each other about Mass Effect 3 (still!) I’m more than happy to immerse myself in a world of HP, MP, Attack, Magic, Item, Escape.

#oneaday, Day 297: Read This Or I’ll Punch You In The Balls/Face

The latest episode of The Squadron of Shame SquadCast is currently uploading. In it, we discuss the ever-present topic of video game violence. Is it really destroying our children and turning them into violent assholes?

Well, you’ll have to listen to the podcast for our group conclusions, but here’s my take on the whole thing. Video game violence has now been around for some time. In fact, it’s been around for quite a bit longer than some people realise. A couple of the guys brought up Forbidden Forest on the Commodore 64, a game which, while laughable now, was pretty shocking and gory for the time. I know that certainly five-year old me would have been freaked out by the big-ass spiders.

One side-effect of the violence issue being around for so long is that it’s now somewhat taken for granted. Whether or not this is “desensitisation” per se is a matter of opinion. But the fact is, violence in video games is very rarely shocking these days. Shoot someone in Call of Duty and it doesn’t carry much in the way of emotional impact, because you do it so much. Shoot someone in Heavy Rain, though, and it carries much more gravitas due to the context, and the fact it happens less.

But desensitisation to violence in the video games medium doesn’t mean that we as a culture are desensitised to violence as a whole. I’ve played a ton of games that involve ultra-violence, dismemberment, heads exploding, that sort of thing. One of my favourite games in recent memory was Bayonetta, which features a huge range of over-the-top violence and implements of extreme torture. But if I saw something like that happening in real life, I would be horrified and disgusted. I see a photograph of something violent and I feel sick. And anything involving eyes—even if it’s just on a TV show or a movie—ugh, count me out.

So it’s clear, then, that video games haven’t desensitised me, personally, to anything except video game violence, which is something much more akin to cartoon violence than anyone else. I doubt there’s anything that can adequately prepare you for real-world violence and gore, save being immersed in it for some time by being either a psychopath or a soldier on active duty. And neither of those things are particularly desirable.

What I have observed, though, is a knock-on effect from some of these games, and it’s not necessarily the violence itself that is to blame. Back where I used to live, a lot of kids used to play in the streets rather noisily. Nothing unusual, you might say, until you heard the language they were coming out with. It became abundantly clear to me from listening to them, and the fact I had played through Modern Warfare 2 relatively recently, that they were re-enacting something they’d seen in a video game. And the parents didn’t seem to care that their kids—aged between about 5 and 10, I’d wager—were out in the street, yelling “MOTHERFUCKER!” at each other and threatening to blow each others’ legs off.

“Kids will be kids,” is the easy response, of course. But these kids picked up on this material from somewhere, and obviously hadn’t had a discussion with their parent(s) about what was appropriate to be shouting in the street, and what wasn’t.

I don’t envy the task that parents have these days. There is so much crap out there that kids can access easily. So the challenge is not to stop them from seeing it at all—that’s an impossible mission that grows more impossible by the day—but to help them understand what is and isn’t “appropriate” in certain contexts. And some parents, it seems, just can’t be bothered to have those conversations. And, as a result, assholes beget assholes.

It’s a big topic, far more than just one blog post can cover. Want to hear more? Then check out the latest episode of the SquadCast, which will be up online very soon. Head over to the Squadron of Shame Squawkbox in the meantime to debate the issue.

#oneaday, Day 98: Have You Heard…

It’s always a pleasure to find something entertaining and new to enjoy. A little while back, I discovered Kevin Smith‘s podcast, or SModcast as he calls it. I’d been following Smith on Twitter for some time. He tweets a lot, and the fact that he makes all his replies public irritates some people, but I’ve always found him extremely entertaining. He’s not afraid to speak his mind, at least, not on the Internet, as he claims he’d be a “pussy” in real life. I can identify with that. I speak my mind on the Internet too, but I sometimes find it difficult to do so face-to-face.

His podcast is such an entertaining listen because it has almost nothing in the way of structure. It’s a simple case of him and at least one other person sitting down and chewing the fat (no pun intended) about something or other, usually something that’s happened that week either in the news, or to the people involved personally. The talk is always spattered with absolute filth (even more so since his sponsorship deal with male sex toy maker Fleshlight) but it never seems to degenerate into total nonsense, despite Smith’s love of sparking up a doobie in mid-recording. There’s always a point, however much they may get off it throughout the course of their discussions.

The thing I love the most about the SModcast, though, is that it’s like sitting down with Smith and Mosier (or whoever is sitting in for him) and enjoying a thoroughly silly chat with them. You know, the sort of chats you have with your friends late at night when the drinks have been flowing and the “party” atmosphere has died down a bit. The kind of conversation that usually starts with “You know, I found out the weirdest thing today…” and generally meanders throughout diverse topics, including complete nonsense, without really settling anywhere for some time. The kind of conversation that easily falls into fits of the giggles. And Smith often gets the giggles, big time. I think I enjoy his giggle fits more because his laugh reminds me a lot of an old friend from school that I unfortunately haven’t seen for a long time now.

SModcast breaks every rule about what should be a “good” podcast, except for the “you should be regular” one. Smith and his team make sure there’s something for fans to listen to regularly. Each one may be completely different in terms of subject matter (but it’s a fair bet that there will be at least some mention of jerking off or anal sex in there) but they’re always entertaining. And they’re not always filthy, too. A couple of episodes a month or two back involved Smith talking to his mother and reminiscing about the “good old days”. Smith isn’t afraid to be a pottymouth in front of his mother, but the stories they told, despite their relative mundanity, were extremely compelling and interesting. Smith is nothing if not a good storyteller.

So if you want something interesting to listen to in the car or at the gym and don’t mind a bit of filth creeping in here and there (yeah… it’s totally not for kids) then you could certainly do far worse than show a fat man some support. Head over to SModcast.com and have a listen.

#oneaday, Day 78: It Never Rains But It Podcasts…

It’s 3 in the morning and I’ve just finished recording the latest SquadCast on the subject of David Cage’s Heavy Rain.

Featuring me, Chris Whittington, Mark Whiting and Jeff Parsons, we certainly all have plenty to say on the subject of the game. It should be a good episode, and I’ll keep you all posted as to when it’s up online and available to download.

For any of you reading this through the One A Day project, or stumbling across this blog for non-games reasons, the Squadron of Shame are a group of gamers who have come together with the express purpose of digging up overlooked underdogs and giving them a damn good (and often lengthy) critiquing. We podcast on a semi-regular basis about these games and tell you why you should play them… or not, in some cases.

For more information, if this sounds like something you might be interested in, check out our official (work-in-progress) site here or follow us on Twitter. You can also become a Fan on Facebook. Just search for our Page. I’d post the link but I’m on my iPhone right now. I’m sure you can find it. You’re big boys and girls.

Gratuitous self-promotion now over, it’s time for bed. Yes, that’s it for today. It is 3am, after all.

One A Day, Day 35: Eve of the War

Don’t know what happened with yesterday’s post – I definitely wrote the whole thing, but for some inexplicable reason, half of it disappeared. Oh well. Can’t go back now.

Well, here it is – the end of my week-long vacation, which has gone by far too quickly for my liking. I feel suitably rested – or I did, at least. Right now? I don’t feel very good about tomorrow. I have a 40 mile drive followed by 8 hours of being somewhere I don’t want to be with people I don’t want to be with, followed by another 40 mile drive back. But at least there are only four weeks to go. Four weeks! I can manage that, right? Of course I can.

It’s the other obstacles that are in my way that are stressing me out more, to be honest. The daily grind I can just about deal with, by simply telling myself “It doesn’t matter” (in the style of The Rock) repeatedly, over and over again. The things I’m not looking forward to are the two-day Parents Evening (yes, you read that correctly – a two-day Parents Evening), where I will inevitably be stuck 40 miles from home until late at night; the inevitable re-inspection of the school (which, knowing it doesn’t matter, I don’t really care about the result of but still don’t want to have to put up with the stupidity of); and finding a new job.

I don’t have a new job yet. I have applied to several. I haven’t heard anything back from any of them yet, but going on past experiences of applying for jobs, HR departments are extremely slow. I haven’t given up hope yet, and the Universe may well surprise me by throwing something I actually want to do for a good amount of money my way. Until then, though, the uncertainty is the killer. If I had the security of knowing that I had a new job to go to – to look forward to – after the end of this particular nightmare, I’d feel a lot better about my remaining time.

Still, can’t be helped. All I can do is just keep applying for things and eventually someone will appreciate me. Right? Right. Of course.

On a lighter note, we recorded the SquadCast for Machinarium tonight – an adorable little indie point-and-click adventure featuring robots and no language. My current tentative plan is to edit that next weekend, so keep an eye out for that one. Also watch this space for more exciting Squadron of Shame podcast news.

See, I like doing that stuff. The annoying thing is no-one wants to pay me for it!

The Squadron of Shame Squadcast #12: No Shame

The long-awaited first 2009 episode of The Squadron of Shame SquadCast is now available for download!

Subscribe now using one of the following links:

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You can also follow the Squad’s updates on Twitter here.

This episode, we delve into Games of No Shame. These fall into several categories – the games everyone loves that you hate, the games everyone loves that you love too, the games that everyone hates that you love and the games you’re terrified of being caught playing.

Also on this episode, Beige talks about jizz and Pokémon, we use the phrase “sucks like a banshee” and Pishu goes a-hustlin’.

Follow us on Twitter for up to date news, including rollout information of our exciting new website now that 1up has witnessed the power of that fully operational battle station that is UGO.

Stay tuned!

SquadCast: Persona 3

It’s the first of our irregular special side-mission podcasts today as we explore the world of teenagers pointing guns at their heads, the tarot and giant penises riding chariots. Yes, you read that correctly. Persona 3 is an incredibly long game – too long, perhaps, for a Squad main mission, so those of us who have played, finished (or “almost” finished) it decided to get together for a chat and a chin-stroke.

This podcast also features Beige and Pishu’s report from PAX 08, our regular Personal Piles of Shame section and selections from the soundtrack of the game.

Featuring: Chris “RocGaude” Whittington, Mark “Beige” Whiting, Chris “Papapishu” Person and Pete “Angry_Jedi” Davison.

Subscribe using one of the links below:

M4A Enhanced version via iTunes
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MP3 Standard version via iTunes
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The Squadron of Shame SquadCast #7: Okami

Released today is the seventh episode of The Squadron of Shame SquadCast focusing on Clover Studios’ beautiful game (poncey as it sounds, there really is no other way to describe it) Okami. Along the way we take in a lengthy journey into the depths of Papapishu’s mind (fueled by Dance Mania and ADD meds), discuss why good is boring and evil is awesome (and Braid is either a work of art or emo bullshit) and delve into the “this could go on for months” territory of Eastern vs Western game design philosophy.

We also, as usual, discuss our personal piles of shame, including comment on Geometry Wars 2, Braid (twice), Soul Calibur IV, Star Control 2 (hold on, haven’t we done that one already?), Siren: Blood Curse and, much to Pishu’s disgust, EVE Online.

This episode features a triumvirate of hot Chris action, with Chrises “RocGaude” Whittington, “Iscariot83” Hernandez and “Papapishu” Person making an appearance, along with myself, Mark “Beige” Whiting, Tom “sinfony” Haley and George “Regulus Loves EVE” Kokoris.

Grab the M4A file here, or the MP3 file here. Alternatively, subscribe in iTunes or via RSS.

Enjoy! Please feel free to post comments here or on the Squadron of Shame’s club page on 1up.com.