it’s probably time for resipiscence. This isn’t about whether or not the women being employed have the right to do the job, but rather that femininity is being reduced to “make us bend over and shoot our asses because you’re a perennially erect, two-footed penis. You have no brain: you will buy this product because we marketed at your biology like an 0898 number in the back of a ‘lads’ mag. Women are asses you want to ****. You’re a ****-rod. Now give us some money.” It’s broadside contumeliousness. If women want to work in industries in which they’re distilled to the sum of their sexual parts, that’s entirely up to them; what is being contested here is the right of companies to commit such depredations before mainstream audiences.
The ontogeny of the sexism in games debate recapitulates the phylogeny of the subject in general. As with the rest of society, the games trade, however slowly, has become acutely aware that using sex to sell in this way is,

to say the least, solecistic. While bumptious lefties have repeated the message to the point of palilalia, susurruses of discontent are now being heard across the spectrum and the momentum’s obvious: it’s widely accepted that the tottering lasciviousness we’ve previously endured at E3 and gamescom is anachronistic. It’s not up for debate hereafter. Eurogamer Expo’s move transmutes the booth babe issue from theory to fact in Europe, and PAX has already made the step. It’s happened, and other games shows should now find themselves pressured to follow suit. It’s time: ban the booth babe.

Inuring to the use of show models isn’t a female manumission – although some crusaders may well see it as such – but, less grandly, is about ensuring sexuality can’t be discomfortingly and capitalistically exploited in everyday environments over which we can exert control.

Booth babes at games events are the post-ban cigarette in the bar, a pervasive stink modernisers politely ignore until eventually, inevitably, some brave soul has to insist that the offender take their antediluvian discourtesy outside. Finally, we have an unirenic landlord, Rupert Loman, with the sangfroid to pull the ashtrays from the tables and point to the door. Some things, we have learned with time, should be kept out of public spaces: sexist marketing is one of them.

We invested significant resources in bringing the Kevin Butler character to life and he’s become an iconic personality directly associated with PlayStation products over the years. Use of the Kevin Butler character to sell products other than those from PlayStation misappropriates Sony’s intellectual property, creates confusion in the market, and causes damage to Sony.”

Lambert has appeared in a number of online and TV ads for the PlayStation brand, including the It Only Does Everything and Long Live Play campaigns. He’s also appeared live on stage at E3 and is regularly spotted roaming the social media wilds.
A recent run of Bridgestone ads have featured Lambert in a role displaying similarly distinctive mannerisms and attitudes; some have been edited in the wake of Sony’s legal pursuit.

Anti-air techniques for Tekken characters have been improved.
Recoverable health regenerates at a slower rater, reducing the number of timeouts.
Recoverable health has a more distinct color.
The cinematic camera during Boost Combos has been changed, giving battles a speedier feel.
The visual effect while Gems are active has been changed.
The “Fight” message at the start of each round disappears faster.
Character Changes
Ken: ’Shippu Jinraikyaku’ now has greater forward movement and increased damage.
Kazuya: ’EX Wind God Fist’ now has full invincibility from the start-up to the end of active frames.
M. Bison: ’Knee Press Nightmare” is now projectile-invincible.
Bob and Paul: Walk speed is now faster.

The protagonist was essentially a fallen angel of death, a reaper of souls hunted by his former brethren, and now driven to expose and destroy the false god they all served,” she said. “The Shifter concept was the genesis of the game that would become Soul Reaver; the core ideas were all there. The hero was an undead creature, able to shift between the spectral and material realms, and glide on the tattered remains of his wing-like coattails.

“We conceived the spirit realm as a twisted, expressionistic version of the physical world. The hero was bent on revenge after being betrayed and cast down by his creator – like Raziel, he was a dark savior figure, chosen to restore balance to a blighted, dystopian world.

“When we were asked to adapt this concept into a sequel to Blood Omen, our challenge was to take all these ideas and merge them creatively into the Legacy of Kain mythos.”

Hennig said despite the change in direction, the finished product was “pretty close” to original concept of Shifter.

“We had to cut content, but the core concept of the game remained unchanged,” she said. “To hit the August ’99 release date, we had to cut the last few levels of the game, and end on a cliffhanger that set up Soul Reaver 2.

“Originally, Raziel was going to hunt down and destroy all of his former brothers as well as Kain – and then, using his newly-acquired abilities, he would’ve activated the long-dormant pipes of the Silenced Cathedral to wipe out the remaining vampires of Nosgoth with a sonic blast.

larger and there were colonial marines, we wished for a bigger, wider experience. We never got that.
“The other itch is, the opportunity to become a character in the movies in a video game medium, to be a hero in this place… We want to be colonial marines. In a video game we can live the fantasy of being one of these guys and living in this situation, filling the gap in the story that should have been filled after Aliens.

“That became the nut we needed to crack. If you love the Alien films, there’s a lot of tension. The fun of being in the boots of these marines isn’t always having the alien in your face, but feeling that sense of exploration and discovery.

“You’re in the movie, and you control the camera—you’re like a virtual tourist in these sets.”

The game’s lead writer, Mikey Neumann, said the team’s goal in creating the game was to merge the canon with something new.

“The other itch is, the opportunity to become a character in the movies in a video game medium, to be a hero in this place… We want to be colonial marines. In a video game we can live the fantasy of being one of these guys and living in this situation, filling the gap in the story that should have been filled after Aliens.

“That became the nut we needed to crack. If you love the Alien films, there’s a lot of tension. The fun of being in the boots of these marines isn’t always having the alien in your face, but feeling that sense of exploration and discovery.

“You’re in the movie, and you control the camera—you’re like a virtual tourist in these sets.”

The game’s lead writer, Mikey Neumann, said the team’s goal in creating the game was to merge the canon with something new.

“We thought, what if this was really big, what if we made it really huge?” he said. “We really go to war in this game. We really push back. We’re the guys carrying the Aliens torch now.

“We wanted to make sure we found the right promises to fill.”

Design director John Mulkey said during the panel that the team wanted to “do high action like nobody’s business,” with moments in the game gradually leading up to more high octane encounters.

“This is not a two-hour experience, you’ve got 10-plus hours to explore this universe,” Mulkey said. “And you’re going to want to turn the lights back on.”

Certain parts of the game will also pay fan service to the movie. During the panel, footage of the game was shown and the character of Newt was mentioned.

“If you’ve seen the film it’s fan service, and if you haven’t seen them it’s content,” said Pitchford. “I like that approach. Playing with that sort of dissonance between the two entry points, whether you have previous information or you don’t, and making it work for all minds was a trick.”

Aliens: Colonial Marines is out in February 2013 on PC, PS3, Wii U and Xbox 360.

The .hack series is a fairly confusing conglomerate of games, anime, manga and spin-off media which is mainly concerned with a fictional MMO called The World which is troubled by mysterious goings on. Although other creators have had a hand in it, it is CyberConnect2′s brainchild.

And we wouldn’t be making NFS or Burnout games if we didn’t think the driving genre had a long shelf life and that we could push the boundaries.”

Apparently not content with delighting half the world’s gaming population, Sullivan dropped this little gem about what else Criterion might look to in the future.

“We might make a Road Rash game,” he said, resulting in a massive overjoyed spit take in the vicinity of my desk.

“But then we might make a game without vehicles in it. I mean, we made Black, I was the lead designer; we might make a game about blowing the crap out of each other.

“But Road Rash seems like a good fit for Criterion.”

Yes pwease. Criterion’s latest is Need for Speed: Most Wanted, which drops in November, but it’s also behind the highly successful Hot Pursuit reboot and about a thousand other well-received racers.

Burnout has been on hold since 2008′s Burnout Paradise, although 2011 console network release Burnout Crash was a bit of a laugh.