The Stadia refund process has begun, and the good news is that most of you won’t have to do anything: Google said it will attempt to “automatically process refunds for all purchases of games, add-on content and subscriptions fees other than Stadia Pro made through the Stadia Store.” You will likely have to wait a bit, though, as Google warned that it’ll take until mid-January to get through most of the process.
“We ask for your patience as we work through each transaction and ask that you refrain from contacting Customer Support as they will not be able to expedite your refund during this time,” Google said in the Stadia Refund FAQ (opens in new tab). “We still expect the majority of refunds to be processed by January 18th, 2023.”
Customers who have made 20 or fewer eligible purchases will receive a separate email notifying them of each individual refund, while those with 21 or more purchases will receive one email summarizing all refund attempts. If refunds cannot be made to the original payment type, an email will be sent explaining how to set up an alternative system. Stadia Pro subscriptions issued prior to September 29 will not be refunded, but Pro charges incurred after that date will be.
Google also confirmed that Stadia hardware owners will not have to return their devices in order to receive a refund “in most cases.” It didn’t specify what situations might not qualify for a no-return return, but said that “proof of the device may be required to process a refund in some cases.”
The Stadia Store is now closed and all commercial options, including subscriptions, have been disabled. Stadia itself will continue to operate until January 18, 2023, although Google warned that some gameplay issues could crop up, “especially for any games requiring commerce.” As for getting your Stadia games and saves onto other platforms, Google said players should contact individual developers and publishers for information, and provided a list of several who have already announced either intent or specific plans: Bethesda Softworks (opens in new tab), Bungie (opens in new tab), CD Projekt (opens in new tab), IO Interactive (opens in new tab), Rockstar Games (opens in new tab), and Ubisoft (opens in new tab).
https://gamingarmyunited.com/wp-content/uploads/2022/11/1668038027_Google-asks-Stadia-owners-to-please-not-contact-customer-support.jpg6901200Carlos Pachecohttps://gamingarmyunited.com/wp-content/uploads/2022/08/Website-Logo-300x74.pngCarlos Pacheco2022-11-09 23:32:442022-11-09 23:32:44Google asks Stadia owners to please not contact customer support about their refunds
A US judge has dismissed Riot Games’ lawsuit against Shanghai Moonton (opens in new tab) over the Mobile Legends: Bang Bang mobile game, saying the dispute between the two companies should be resolved in China.
The order to dismiss the case (opens in new tab) was granted following the filing of a forum non conveniens (opens in new tab) motion by Shanghai Moonton—effectively a request to have the case moved to a more appropriate court. Riot opposed the motion on three separate points, including China’s “evidentiary and Covid-19 travel restrictions,” but the judge in the case rejected all three arguments.
Noting that Riot is fully owned by Chinese conglomerate Tencent, which is not taking part in this case but pursuing a separate legal action against Shanghai Moonton in China, the court said it would be “unfair to allow Riot and Tencent to bring a two-front war against Moonton unless and until Tencent decides to show up on both battlefield.”
Riot’s complaints about the more restrictive discovery rules in China, which is says will unfairly advantage Shanghai Moonton, also failed to hold sway: The lawsuit was dismissed without prejudice, and the ruling states that “if the evidentiary hurdles in China genuinely prove fatal to certain of Riot’s claims (ie., regarding those removed [Mobile Legends: Bang Bang] promotional trailers), Riot can bring an action specifically regarding those claims in this court.”
The dispute between Riot and Shanghai Moonton actually goes back years, and includes two other games called Mobile Legends: 5v5 MOBA and Magic Rush: Heroes. Riot said in a 2017 lawsuit that Moonton “developed and distributed a succession of mobile games designed to trade off Riot’s well-known and valuable intellectual property,” and that when Riot complained about the infringement, Moonton removed the game from distribution but then re-released it, with some “modest changes,” as Mobile Legends: Bang Bang. That case was also dismissed for the same reason as this one, a decision referenced by the judge in this ruling.
“The question is whether circumstances have truly changed from those that existed in 2017 or whether Riot simply seeks a second bite at the apple, unhappy with the progress (or lack thereof) in the still on-going, parallel China litigation,” the ruling states. “The Court deems the latter to be the case.”
“For years, the parties have been litigating highly related copyright claims in China that raise many of the same issues that Riot is now trying to re-raise in the US,” said Ajay Krishnan, a partner at Moonton’s legal firm Keker, Van Nest & Peters. “It would have been duplicative, inefficient, and wholly unfair to proceed with this case in the U.S., where Moonton would lack access to key evidence and witnesses.”
Riot, of course, feels very differently about the ruling, and said it is considering its options.
“We strongly disagree with the court’s decision and especially its worrying conclusion that China is an ‘adequate alternative forum’ for a US company to pursue its claims of copyright infringement that occurred in the US,” a company representative said in an email sent to PC Gamer. “The idea of having US citizens apply for M5 visas to fly overseas in order to ask a Chinese court for relief concerning works that were both created and infringed in the US—defies common sense. On top of that, Moonton’s knock-off game isn’t even available in China. We are exploring all possible options, including an appeal.”
https://gamingarmyunited.com/wp-content/uploads/2022/11/1668067496_US-judge-tells-Riot-to-take-League-of-Legends-lawsuit.jpg6751200Carlos Pachecohttps://gamingarmyunited.com/wp-content/uploads/2022/08/Website-Logo-300x74.pngCarlos Pacheco2022-11-09 23:17:542022-11-09 23:17:54US judge tells Riot to take League of Legends lawsuit to China
It’s not unusual for game sequels to disappoint fans of the original by leaving out beloved features. Dying Light 2 was no exception: While the open world zombie sandbox got plenty of good reviews (including mine) and a mostly positive response from fans, there were complaints about the lack of zombie ragdolling and weapon repair systems sported in the original.
Also: there was no X-ray. In the original Dying Light, if you stunned a zombie with an attack there’d be a moment of time-slowdown and you’d see the zed’s skeleton through their bodies. Y’know, like an X-ray. If you followed up with another attack you could see the zombie’s bone’s shatter and break inside their infected bodies. It’s a bit reminiscent of Sniper Elite’s brutally gory kills where you can see bones (and other NSFW stuff) being splintered in slow motion as a bullet passes through them.
Dying Light 2 was patched to version 1.7.2 yesterday in anticipation of the Bloody Ties DLC (opens in new tab). Along with darker nights, outfit previews, and other quality of life improvements, plus plenty of bug fixes, X-ray has been added to Dying Light 2 in the patch, though the feature sounds like it’s still in beta.
“The all-time loved feature from Dying Light is back! X-ray is available and will make your gameplay more memorable!” the patch notes say (opens in new tab). “Please keep in mind that this is the first phase of this feature, and we will work in the future to make it iconic for Dying Light 2 Stay Human – your feedback is appreciated, so smash some bones and let us know what you think about it!”
I couldn’t deny the urgency of so many exclamation points used in the space of a single paragraph, so I jumped into the patched game to try it out. After running around the streets bashing zombies with a mace and a fire extinguisher on a stick, I did see the new X-ray effect happen a few times. It’s not quite as intense an effect as it was in the original Dying Light, at least not yet.
For comparison, here’s a clip of the X-ray feature from the original game:
And here’s a gif of the couple of times I saw it in Dying Light 2:
There were other times where I think I could hear the effect kick in, without actually seeing the bones of the zombie appear. But, like Techland says, it’s basically in beta at the moment, and it may be a while before Dying Light 2 can live up to Dying Light’s original bone-crunching glory.
Here are the full patch notes for Dying Light 1.7.2.
Gameplay updates:
The Nights in The City got darker! Overall darkness is way deeper than before
Throwable items trajectory implemented
Players can now run in the PK ship HUB
Outfits preview is available
Fixed an issue with the achievements not being granted to the players upon completion
Players will no longer be able to travel outside the playable area in Let’s Waltz quest
Waltz in Let’s Waltz quest will no longer be idle
You can no longer get stuck in a car during the Let’s Waltz quest
During the Let’s Waltz quest, toxic chemicals will reduce the player’s infection as usual
Fixed an issue where UV Safezone in Main Terminal Station was not fully functional
Hakon won’t fall asleep on the mattress in the Getting Stronger quest, allowing players to progress with the quest
The toxic area near Downtown and The Wharf will deal damage again
Howler’s alert indicator will be shown correctly
The death screen will be shown correctly when defeated in the Challenge
Collectibles from Chapter 2 will not count toward the achievements
Fixed an issue where the grappling hook was unavailable during Hooked on the Thrill Challenge, and Nightrunner Trial 3
Multiple Challenges got fixed objective count and timers
The Wharf water tower will be correctly assigned to Peacekeepers upon the player’s decision
Virals will hear better, reacting to various sounds with more intensity
Fixed an issue where the Infected becomes unresponsive and dies
Damage scaling for fists and dropkicks is fixed, no longer allowing players to box through the game easily
You can no longer fall through the elevator
Fixed an issue with “Leaving the mission area” during the Twin Brothers’ quest
Added a new Craftmaster upgrading tutorial for the new players
The wardrobe is no longer blocking the exit in one of the safe zones
Frank’s door at the Fish Eye is now open during Explore Villedor mode, which will allow plates to get a collectible located there
Fixed AI outline during Rage Mode in one of the story quests
Fixed issues with Stamina not depleting during some of the Nightrunners’ trials
Co-op updates:
Users won’t encounter a black screen while activating windmill when one of the players is respawning
Animation of grabbing the player by infected should no longer freeze
You can now leave the game if the host dies during certain story quests
Fixed user’s online ID disappearing during some activities in co-op
UI/UX Updates:
Removed a glitch where a white box showed up when LMB was clicked
Fixed a display timer on Challenges from Chapter 1
Players will be no longer to see outside the map with the Photo Mode
Fixed lighting inside buildings during the day
AI clothes will not stretch in a long distance
Fixed some missing textures in the bazaar
Beehives are more aligned with the trees in the Prologue
Fixed the sound glitch that did not play any sound during the death screen
Biters will ragdoll correctly when dropkicked
Raindrops will be appropriately displayed on the water’s surface
Aiden’s Stash text fixes
Multiple Lightning/Brightness tweaks
Fixed an issue with previously looted bags being highlighted during survival sense
Fixed issues with missing textures
Parts of the player’s outfits are now displayed correctly in Photomode, and inventory
Fixed an issue with parkour music being stuck on one track indefinitely
Technical updates:
Fixed an issue where using a rollback feature might lead to the game crashing
Fixed the framerate drop issue that was happening randomly after a few hours of gameplay
Fixed an issue with random crashes during the combat
Players will no longer be stuck in the infinite loop after launching the game in Steam Offline mode
Fixed multiple crashes on consoles
Fixed random freezes when changing some options
Fixed textures in X13
Fixed D3D failed to execute error
Fixed occasional crashes when playing with Video Settings set to D3D12 Ultimate Raytracing
New Intel XeSS upscaler available
Screen space reflections are now more stable & capable of reflecting particles
Improved water rendering
Improved water ambient lighting
Improved water screen space reflections
Water is now able to reflect reflection probes in the interiors
Water & fog interaction is enhanced.
The default sharpness value for upscalers closer resembles the native result
Warzone 2.0 is receiving a big shakeup to its second chance system ahead of its launch, introducing PvE elements and an optional cooperative opportunity to its new Gulag. 1v1 duels are gone (for now), replaced with randomly paired teams of two. Players will no longer receive random weaponry, instead having to loot high-powered guns from the middle of the arena.
The Gulag is also getting a pseudo co-op overhaul in keeping with Warzone 2.0’s big bet on populating maps and modes with bots (opens in new tab). If combat drags on too long, the Gulag’s Jailer, a high-powered AI combatant, will join the fight. Defeating the jailer earns all four players a ticket back to Al Mazrah. So there are now two paths to a second chance: kill the other prisoners as usual, or team up against the Jailer.
You should really choose one, because failing to defeat Jailer will eliminate all players. Infinity Ward hasn’t provided any details on what combat with the Jailer looks like, but if I had to guess, the Jailer probably resembles the armored-up Juggernauts (opens in new tab) littered throughout the campaign.
There’s also no word on how coordination between the two teams will take place, leaving me to speculate that both squads will have to come to a verbal agreement through Warzone’s new proximity chat. I can only hope this is the case—Activision Blizzard’s new anti-toxicity tools (opens in new tab) have to be top-of-the-line if they’re confident about implementing a room where four random Warzone players are incentivized to lie to each other.
(Image credit: Activision Blizzard)
The overhaul of the Gulag, along with big changes to the loadout and inventory system (opens in new tab), are indications that Infinity Ward is eager to take risks with Warzone 2.0, pulling inspiration from games big and small like Destiny 2 and Escape From Tarkov (opens in new tab).
Personally, having to broker an agreement between three other players to start an optional PvE boss fight sounds hysterical, especially with all the opportunities for deception and betrayal. It’ll be interesting to see how Warzone 2.0 continues to differentiate itself from its predecessor when it releases November 16.
https://gamingarmyunited.com/wp-content/uploads/2022/11/1668071189_Give-peace-a-chance-Call-of-Duty-Warzone-20s-reworked.jpg6741200Carlos Pachecohttps://gamingarmyunited.com/wp-content/uploads/2022/08/Website-Logo-300x74.pngCarlos Pacheco2022-11-09 22:18:552022-11-09 22:18:55Give peace a chance: Call of Duty: Warzone 2.0’s reworked Gulag will let players call a truce
In 1979, 39-year-old Margot Comstock, a freelance writer and editor, won $15,000 (around $62,000 today) on a game show called Password Plus. It was a key day for computer history, though no one, including Margot, knew that at the time.
Password Plus had nothing to do with computers, but that victory was the gateway to a series of incredible contributions to early home computer culture. With her prize money Comstock bought an Apple II and began exploring the creative potential of the PC in the form of Softalk magazine, which launched its first issue in September, 1980.
Comstock became a key figure in this specific subculture, so much that Doom’s John Romero claims her nickname was “The Glue.”
In the wake of Comstock’s recent passing, Laine Nooney—noted Sierra historian—wrote a striking tribute (opens in new tab) that lays out her achievements with Softalk, which existed for just four years. The magazine channeled an earnest love for the Apple II and a tireless enthusiasm to make computing accessible to anyone; it was a cultural artifact that researchers (like Nooney, Kevin Driscoll and Kera Allen (opens in new tab)) believe helped to articulate the broader transformation of the niche computer hobbyist to the everyday computer user, thanks to its focus on “the Apple as an object of pleasure and curiosity.” Softalk did much to push the Apple II as something that anyone could learn to use: the inaugural issue of the magazine explicitly stated that it was not for programmers. Nooney even noted how Richard Garriott referenced Comstock and her husband, Al Tommervik, as characters in the Ultima 2 town of Tommersville (opens in new tab).
Softalk was free for Apple computer owners—the team distributed the magazine to “known” registered Apple owners, and encouraged folks to sign up with their Apple serial number. This was a huge factor in Softalk’s strength of community, revolving around their popular Open Discussion letters section, which offers an eye-opening look at how and why people were using Apples back in the day. In the November 1980 installment of Open Discussion, one reader, Pete Helfrich of Fountain Valley CA, wrote in with a plea: he had seven kids and desperately needed suggestions for programs with “a lot of graphics and animation” to help teach them how to program. Less than two years later, Softalk ads would include bright, alluring ads for eduware from companies like Spinnaker (and a rather menacing ad for Plato educational programs (opens in new tab)).
(Image credit: Plato)
Poring over the earliest issues is a fascinating look at early advertisers for the Apple II community—a revealing way to understand what people were excited about well before the age of home dial-up and social media. At the time, game ads were the text-heavy domain of several game companies like On-Line Systems (before it became Sierra On-Line), Automated Simulations, and Strategic Simulations. Games by Automated Simulations were marketed as fun distractions from work—”slaving too long over a hot computer?” reads one full-page ad—complete with limited lifetime warranties, “no matter what happens to your cassette: the dog chewed it… you left it out in the rain… whatever.” If only things were still so.
(Image credit: California Pacific)
One of the 1981 issues opens with this incredible full-color ad for Ultima (opens in new tab), another for Gorgon (opens in new tab), and also features an ad for a fascinating old two-player game called Colorblind (opens in new tab), which came with two sets of color goggles so each player could only see their own view on-screen “until that critical moment when the two antagonists come within line of sight of each other.”
The December 1982 issue has an ad that I find especially kooky, for a home control system called Waldo (opens in new tab) that worked with Apple II. It looked essentially like a very simple modern smart home system with a synthesized voice feature, something that I didn’t really imagine existed in the 1980s. Besides helping to operate the lights and TV, some of its rather optimistic “future” features would also help you check the stock market, or warn inhabitants of fires and leaks. I couldn’t find anything else on the company behind Waldo, but stumbling across its ad was like staring into the face of a very weird forgotten past I’d love to know more about.
(Image credit: Waldo)
Where Softalk really shone was its human-centric coverage of the Apple II: how the humble computer played a part in synth music, disabled employment, human-dolphin communication research (opens in new tab), photography, filmmaking, and of course, games. Softalk was far from being the only computer magazine to review games, of course, but Comstock’s tone was uniquely thoughtful and personal; her “preview” of The Prisoner game (opens in new tab) (based on the cult TV show starring Patrick McGoohan), for instance, is a wonderfully direct invitation for readers to review the game and send proof that they’ve “escaped” the in-game Island. She said she wouldn’t be looking at the proof, only passing it on directly to the publisher to avoid spoiling it for herself.
Comstock’s feature on the early game network GameMaster (opens in new tab) is a fantastic community piece. GameMaster was a digital 39-room “mansion” where you could play backgammon or a trucking game called “Twelve Wheeler,” explore a kitchen full of recipes, a greenhouse with gardening tips, and a photography room. Membership ran on a credit system that allowed you a certain amount of “house time,” including game rules and a “mailbox” in the mailroom. Members could chat together in the parlor and reserve conference rooms for specific meetings. It sounds, rather suspiciously, like one of the earliest instances of an online multiplayer game or shared world, and it is in Softalk that I first learned of its existence.
(Image credit: Softalk)
Naturally the magazine also did profiles into game companies at the time like a 1981 cover story on war gaming company Strategic Simulations (opens in new tab), whose best-selling game was Computer Bismarck. Eventually, Softalk even took over an On-Line Systems magazine called Softline (opens in new tab) dedicated to games. With Comstock also serving as editor, it ran thinkpieces, features, and in-depth discussions on everything from text parsers to Atari sound design. It covered LARPing at California’s Renaissance Pleasure Faire (opens in new tab), touching on the seemingly anachronistic presence of tech workers who loved learning a new “language,” and the parallels between sports and team gameplay (opens in new tab) in videogames.
(Image credit: Softalk)
Given that computers were still a rather prohibitively expensive business in the ’80s, in Softalk, Comstock fielded questions from readers (opens in new tab) who wanted to know why all Softalk reviews were “highly complimentary.” “Especially with limited space, we believed that Apples (sic) users would rather learn about products they might want to buy than chuckle over the wittiest criticisms of something they might otherwise never consider”, she replied. “What do the rest of our readers think?”
It is clear from perusing the readers’ letters how present some of our contemporary issues—piracy, copy-protected software, emulation problems, prohibitive costs—were even when the consumer computing industry seemed much more loose and experimental (and far less corporatized) than it is today. Of course, there’s also a guy who wrote in needing hints for Zork 2. It is admittedly hard not to feel a sense of rose-tinted nostalgia while flipping through the old magazine archives because this wholesome community vibe is rare to find in editorial spaces today; it’s difficult not to read some of these stories and feel a tug of cynicism at where we’ve ended up.
(Image credit: Datamost)
(Image credit: Softalk)
It’s a must-read historical resource for anyone interested in how people first talked about PC games in broad, accessible language, and how Comstock fiercely connected the technological wonders of the computer (specifically, the Apple II) to a bigger social and cultural picture. (It’s also a must-read to find priceless ads for stuff that never quite “made it,” so to speak, like Waldo.)
Comstock’s legacy, as long as Softalk is preserved and available to the public, is a legacy that valued the humans at the heart of computing and gaming, that strove to include people on the margins, and to maintain important conversations about accessibility. This is all stuff that seems fairly obvious to a 2022 reader, especially when we take a lot of shared knowledge about computers and games for granted today. But I find a gentle sense of hope and optimism in perusing old issues of Comstock’s brainchild, in the enduring power of how people need connection and community to thrive, and the importance of maintaining a dialogue with the soft, intangible ways in which technology affects us all.
https://gamingarmyunited.com/wp-content/uploads/2022/11/1668078554_How-one-writer-became-the-core-of-early-Apple-II.jpg328741Carlos Pachecohttps://gamingarmyunited.com/wp-content/uploads/2022/08/Website-Logo-300x74.pngCarlos Pacheco2022-11-09 22:00:552022-11-09 22:00:55How one writer became the core of early Apple II culture
The midterm elections across the United States on Tuesday surprised most pundits and political figures who expected a “Red Wave” of opposition that, though some key races are still being counted, didn’t manifest itself. The night of seat-swapping did include one high-profile win for gamerkind: the newest congressman from Florida’s 10th District, Maxwell Alejandro Frost, is apparently into Kingdom Hearts.
A bilingual Democrat of Puerto Rican, Lebanese, and Haitian descent, Frost is maybe more notably the first member of Gen Z elected to congress—the age group generally defined as being born between 1997 and 2012. At age 25, Frost just crosses that threshold and will become the youngest person in congress when sworn in in January.
It’s become something of a public tradition to scour political figures’ social media archive, especially those who are young enough to have spent their youth on this version of the internet. When Frost won, a 2017 Twitter post of his resurfaced: “Haven’t played video games in years but I’ll always remember how awesome Kingdom Hearts is,” he wrote, linking one of the game’s iconic songs, Dearly Beloved II, in the post.
Haven’t played video games in years but I’ll always remember how awesome Kingdom Hearts is https://t.co/CcorRuXXmJFebruary 19, 2017
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Gun violence was a major issue for Frost’s campaign, as he previously served as a director for March for Our Lives, a series of hundreds of demonstrations and marches led by students that supported various gun control policies, following the 2018 tragedy at Marjory Stoneman Douglas High School in Frost’s native state of Florida.
Though I’d love to see many more members of government who play PC games, candidates who play games are becoming more common each election as younger people enter government. When representative Alexandria Ocasio-Cortez streamed Among Us with popular figures on Twitch in 2020, she drew more than 420,000 concurrent viewers, enough to place her in the top 20 streamers on Twitch up until that point. Ocasio-Cortez has also talked about her affection for League of Legends, having reached Silver rank 3 during the pandemic. As of 2021, the average age of members of congress is 59 years old.
Does the congressman-elect believe Goofy is a good companion or just annoying? I’ve reached out to Frost’s campaign for comment.
https://gamingarmyunited.com/wp-content/uploads/2022/11/1668030682_Congress-just-elected-its-first-Kingdom-Hearts-fan.jpg8011200Carlos Pachecohttps://gamingarmyunited.com/wp-content/uploads/2022/08/Website-Logo-300x74.pngCarlos Pacheco2022-11-09 21:30:512022-11-09 21:30:51Congress just elected its first Kingdom Hearts fan
In October, the news broke that key creatives behind Disco Elysium had left Studio ZA/UM last year. A few days later, founding member of ZA/UM Martin Luiga alleged they had been “fired on false premises“. Studio ZA/UM issued a statement about the “collective effort” of game development without substantially commenting on the news, and we were left uncertain as to what transpired at the studio and what to expect from it going forward. Today, the story exploded with surprising allegations from both sides.
Robert Kurvitz and Aleksander Rostov, the fired Disco Elysium game director and art director, have published an open letter (opens in new tab) which alleges that ZA/UM’s current owners took over the company illegitimately before kicking them out. The letter appears to have been prompted by a report in an Estonian newspaper which alleges that the pair of creatives were toxic leaders who were fired for ignoring responsibilities and mistreating colleagues. That news report, which quotes Studio ZA/UM’s current CEO, was followed by an official statement from the studio which reiterates its claims.
So the situation is this: The fired Disco Elysium creative leads, Kurvitz and Rostov, say that the new studio co-owner who fired them, CEO Ilmar Kompus, is an illegal interloper in the business, while Kompus and ZA/UM deny that allegation and say that Kurvitz and Rostov were fired for toxic management. It seems almost certain this one will end up in court.
The Estonian Ekspress report quotes Kompus as saying: “Robert [Kurvitz] is said to have been known for belittling women and co-workers in the past, but this was previously unknown to the company. It would be very short-sighted of a growing international company to tolerate such behaviour.”
Kompus goes on to say that Kurvitz and others had “delusions of grandeur” about their ownership of the Disco Elysium IP, and alleges they tried to go elsewhere in the industry “but no one was interested.”
The report alleges that Kurvitz and Rostov mistreated coworkers in various other ways without going into tremendous detail. It also says that there was conflict between the business side of ZA/UM and the creative team, which given this was an anarcho-communist collective may prompt a shocked Pikachu jpg.
In a report on the claims, GI.biz (opens in new tab) quotes an anonymous source who describes the situation as “CEO corporate scheming on one side, a toxic auteur on the other.”
ZA/UM has provided a statement to PC Gamer elaborating on its reasons for firing Kurvitz and Rostov. According to the statement, Kurvitz and Rostov showed “limited to no engagement in their responsibility and work” including “not working at all for almost two years.” The company also accuses the pair of “verbal abuse,” “gender discrimination,” and “attempts to illegally sell” ZA/UM intellectual property “with the aim of undermining the rest of the team.”
The statement goes on to say that ZA/UM “denies any claim of financial malfeasance or fraud” and that “the vast majority of profits from Disco Elysium have been invested back into the studio” to fund new projects.
The other side
We were quickly excluded from daily operations, our employment was terminated and our access to the company’s information was shut off.
Robert Kurvitz and Aleksander Rostov
“Financial malfeasance” is one of several allegations that Kurvitz and Rostov make in their letter, which tells a completely different story about their firing, one in which they uncovered evidence of a crime and were kicked out for asking questions. (Eagle-eyed fans may note that the letter is not signed by Helen Hindpere, the third figure who was fired, though shortly after its publication she did share it on Instagram.)
“Our stake in the game exists in the form of minority shareholdings in an Estonian company called Zaum Studio OÜ, which owns everything related to the game,” reads the letter from Kurvitz and Rostov. “The majority of this company’s shares were initially held by Margus Linnamäe, an Estonian businessman and investor who provided the initial capital. In 2021, Linnamäe was bought out by another minority shareholder, an Estonian company Tütreke OÜ. Tütreke OÜ is a vehicle for two Estonian businessmen—Ilmar Kompus and Tõnis Haavel.”
Kompus, again, is the current CEO of ZA/UM, while Haavel was an executive producer on Disco Elysium. Kurvitz and Rostov go on to say that, after they became majority shareholders in the studio, these two individuals quickly fired them and terminated their “access to the company’s information.” This allegedly happened after Kurvitz and Rostov asked for documents and financial data, which they say wasn’t provided to them.
Then comes Kurvitz and Rostov’s big accusation: “Tütreke OÜ must have obtained control over Zaum Studio OÜ by fraud. We believe the money used by Tütreke OÜ to buy the majority stake was taken illegally from Zaum Studio OÜ itself, money that belonged to the studio and all shareholders but was used for the benefit of one. Money that should have gone towards making the sequel.”
That is, Disco Elysium’s key creators are saying Disco Elysium’s profits were used to buy Disco Elysium and ZA/UM itself out from under them.
The company we built has been looted, while our own earnings are insufficient even to cover legal fees.
Robert Kurvitz and Aleksander Rostov
“We believe that these actions—which in our view, and the view of our lawyers, amount to criminal wrongdoing punishable by up to three years imprisonment—were perpetrated by Ilmar Kompus and Tõnis Haavel with support from Kaur Kender, another minority shareholder. This is hardly surprising given that Tõnis Haavel, who we believe to be the ringleader, has been convicted for defrauding investors on a different matter in 2007 (opens in new tab)“.
That link is to an Estonian court document, but the allegation concerns a bank called LHV Pank co-founded by Haavel, which in 2007 was also accused of fraud by the US SEC. It paid a big fine and settled without admitting any wrongdoing.
Kurvitz and Rostov say they’re reviewing the legal options, but intend to bring both civil and criminal cases in Estonia and the United Kingdom. “The company we built has been looted, while our own earnings are insufficient even to cover legal fees.”
The letter says that the pair have stayed silent out of consideration for those still at ZA/UM and their own mental health. “But given the severity of our suspicions—and the seriousness of the evidence we have—we think it’s time people knew what has transpired at the company.”
The letter does not address the various accusations of toxicity and irresponsibility made of the pair, and ends as follows: “We also believe in what Harrier du Bois calls ‘the law’. It’s not perfect, but it’s there to protect those who create from those who take. And so it will.”
Disco Elysium, which still tops PC Gamer’s list of the 100 best games on PC, is specifically critical of greed, the petit bourgeois, and the compromises we all have to make in our lives because of these systems. It is if nothing else a stunning critique of capitalism. That this creation is now the subject of claim, counter-claim, and lawsuits is some sort of cosmic irony.
https://gamingarmyunited.com/wp-content/uploads/2022/11/1668082255_The-battle-for-Disco-Elysiums-soul-explodes-with-new-allegations.jpg344611Carlos Pachecohttps://gamingarmyunited.com/wp-content/uploads/2022/08/Website-Logo-300x74.pngCarlos Pacheco2022-11-09 21:17:102022-11-09 21:17:10The battle for Disco Elysium’s soul explodes with new allegations, and is heading to court
More than two years after his public falling out with Bethesda Softworks, Doom Eternal composer Mick Gordon has issued a lengthy and detailed statement (opens in new tab) on his side of the dispute. Gordon claims he was the target of unfair and dishonest behaviour on id Software’s part, perpetrated primarily by Doom Eternal executive producer Marty Stratton, but defends his commitment to the game, saying, “I never quit Doom. I quit a toxic client.”
Cracks in the surface first appeared following the release of the official Doom Eternal OST in April 2020. The audio quality was dodgy (opens in new tab), and Gordon quickly revealed that he had not mixed most of the tracks. He also expressed doubt at the time that he’d work with Bethesda again. It was a very surprising statement in light of his long and seemingly-successful relationship with the studio across games including the 2016 Doom reboot, the Wolfenstein reboot, and Prey.
In May, Stratton posted an “open letter” on Reddit (opens in new tab) in which he praised Gordon as a composer but portrayed him as unreliable and difficult to work with. He said Gordon could not meet the OST deadline he’d agreed to, and that a two-month extension granted at his request wasn’t sufficient either, forcing id Software to give responsibility for it to lead audio designer Chad Mossholder. Stratton said his Reddit statement was prompted by “direct and personal attacks” made by Gordon against Mossholder, and while he wished Gordon well, added that Bethesda and id Software would not be working with him on any Doom Eternal DLC.
Gordon declined to comment at the time, but today’s statement paints a very different picture than the one presented by Stratton. In it, Gordon disputes much of Stratton’s 2020 message, saying that Stratton “lied about the circumstances surrounding the Doom Eternal Soundtrack” and “used disinformation and innuendo” to unfairly blame him for its failure.
“Marty’s Reddit post severely impacted both my professional and personal reputation,” Gordon wrote. “In releasing this statement, I’m exercising my right to defend myself. It is a defence, not an unprovoked attack, issued with extreme reluctance only after all other attempts to resolve the matter have failed.”
Gordon also called on his fans and followers to not respond with abusive behavior toward anyone involved: “This statement is not an excuse for a hate campaign. Acts of hate dished out online won’t result in any positive change. In fact, it only makes things worse.”
Marty Stratton, @idSoftware Studio Director, lied about @DOOM Eternal’s OST events in a Reddit post that used disinformation to blame me entirely for its failureLater, he offered me a six-figure sum to never speak about it The truth is more important.https://t.co/zSNo2QG1mINovember 9, 2022
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After explaining the nature of his employment—Stratton is not an employee of id Software or Bethesda, but an independent contractor—and his work, Stratton stated that he encountered a number of difficulties while composing for Doom Eternal, including a tight deadline, lack of direction and supporting materials, slow communication, and multiple interruptions. The schedule was “a masterpiece in Excel but a disaster in reality,” Gordon wrote, but efforts to come up with something more workable went badly. He said that Stratton “rejected” his criticism of the schedule, and characterized it as “a sign of incompetence.”
This was very near the start of the project, and according to Gordon, things grew worse as development continued. Gordon alleges that he worked for months-long stretches (nearly a full year at one point) without being paid, and that he was not aware of the plan to release an official soundtrack until it was announced at E3 in 2019. Crunch, he says, was brutal, for him and id Software both: Gordon speculated that one of the reasons there was no proper strategy for an OST release is that “id Software was stretched thin by the overwhelming push to make the November 22 release date and had no capacity to deal with other problems looming.”
I was horrified. Not just at Marty turning his back on what was our agreed path forward but also at his shameless disregard for the truth in his attack.”
—Mick Gordon, Doom Eternal composer
Doom Eternal was eventually released to acclaim, but Gordon said he still had no contract for the soundtrack, and he claims that when the OST was delayed (opens in new tab) in March 2020, he still hadn’t been offered a contract to do the job. Stratton eventually revealed to Gordon that id Software had been working on an “alternative OST” for at least six months prior to the contract offer, which Gordon said finally arrived just two days ahead of Doom Eternal’s release. Last-minute efforts to collaborate on the project failed, at which point Stratton decided that Mossholder’s work would be released.
“I could have protested, but it wouldn’t have done any good,” Gordon wrote. “Under the contract, Marty was guaranteed veto power and complete creative control. Ultimately, I’m just a contractor—it’s their product, and they govern every aspect.
“I voiced my anxieties over [Chad Mossholder’s] edits and hoped they had improved since the week before. I said they should ensure the album adheres to mastering standards and provided specific details in that regard.”
Ultimately, Bethesda confirmed that Gordon had met his contractual obligations and paid him what he was owed. But Gordon took serious issue with the state of the OST, which he said “was full of real, obvious technical faults, mistakes, and errors resulting from careless editing.” But the worst thing, he said, was discovering that the OST included a “massive amount” of music for which he had not been paid, including rejected tracks, demos, sketches, and mockups. That led to a call between Gordon and Stratton, during which Gordon said he and Stratton agreed to release a joint statement on fixing the OST problems. shortly thereafter, however, Stratton posted his “open letter” on Reddit which blamed the troubles on Gordon.
“I was horrified,” Gordon wrote. “Not just at Marty turning his back on what was our agreed path forward but also at his shameless disregard for the truth in his attack: the Reddit post was littered with lies and disinformation which directly contradicted the actual events and contractual clauses.”
(Image credit: Mick Gordon (Twitter))
Lawyers became involved and settlement offers were allegedly exchanged: Gordon says he was offered a “six-figure sum” in exchange for taking responsibility for the problems with the soundtrack, which he declined, while his offer to produce a proper OST was hung up on Stratton’s refusal to take down the Reddit post, which his lawyers allegedly said “would reflect poorly on his reputation.”
Tired of having his reputation called into question by Stratton’s open letter (he said “incidences of online abuse escalated at an alarming rate” following the post), Gordon eventually had the post taken down himself by way of a sympathetic Doom subreddit mod. That apparently ended any hope of reaching an agreement, as Stratton’s lawyers allegedly then told Gordon that Stratton was “greatly offended” and “furious” over the post’s removal, and “made it clear in the strongest terms that an amicable resolution would be impossible.”
He resorted to lies and innuendo … then tried to bury the issue under a stack of cash.”
—Mick Gordon
Gordon said Stratton’s reaction put him in a position where his only option was to make a public statement in order to repair his reputation.
“Marty couldn’t accept that I never wanted to work with him again, and made his best attempt to send my career into a nosedive as punishment,” Gordon wrote. “He resorted to lies and innuendo that fell apart under the most basic level of scrutiny, then tried to bury the issue under a stack of cash.
“Using NDAs, settlements and gag orders to silence truths is an appalling tactic used by people in high positions of power fearful of accountability. I am choosing to speak out because the alternative was to accept that tactic as okay.”
As a fan of both Mick Gordon and Doom, I’m sad to see that the relationship between them has gone so badly. There’s clearly an animus here that goes way beyond a disagreement over creative direction. Gordon said his statement doesn’t reflect “the overwhelmingly positive, successful relationships” he’s had “with many people and studios under the Zenimax umbrella,” and that the projects and people he worked with “remain dear to [his] heart.” But it appears clear that the relationship between Gordon and Stratton is broken on a much deeper level, and it seems that Gordon’s prediction that he won’t ever work with Bethesda again is likely to hold.
I’ve reached out to Bethesda for comment on Gordon’s statement and will update if I receive a reply.
https://gamingarmyunited.com/wp-content/uploads/2022/11/1668027040_Doom-Eternal-composer-breaks-silence-over-clash-with-id-Software.jpg6751200Carlos Pachecohttps://gamingarmyunited.com/wp-content/uploads/2022/08/Website-Logo-300x74.pngCarlos Pacheco2022-11-09 20:35:112022-11-09 20:35:11Doom Eternal composer breaks silence over clash with id Software: ‘I never quit Doom. I quit a toxic client’
Overwatch 2’s (opens in new tab) new ranks, skill tier divisions, and competitive mode rewards can be a lot to take in. The original Overwatch skill ratings are gone. Now, you have to play tons of games before you rank yourself among one of the many skill tier divisions. This new system puts the focus on improving and playing many matches over trying to perform your best in just one. Overwatch 2’s new rank system hides more information than the skill rating system, but it tries to me less discouraging in the long run.
Overwatch 2 has two ranked modes: Role Queue and Open Queue—both require winning 50 games or having owned the original game to unlock. Role queue locks your team composition to one tank hero, two damage heroes, and two support heroes. You select the roles you want to queue for, play matches, and get an individual rank for each role. Open Queue is a free-for-all like Overwatch at launch back in 2016. You can choose any hero in any role and receive one universal rank.
At the start of each competitive season, you have to complete a number of matches before you receive your rank. You will be unranked until you achieve seven wins or 20 losses, whichever comes first. If you played competitive modes in Overwatch 1, your rank will be close to what it was but modified for all the new changes in the sequel.
This system replaces the original game’s placement matches. It encourages you to simply play consistently over several matches instead of treating every one like a school test where you have to perform your absolute best.
For the entirety of the season, your rank will only update when you’ve hit the seven wins or 20 losses threshold again. And by “update” it means your rank can go up and down any number of skill tier divisions or stay the same, which is a pretty big change compared to the linear Skill Rating system in the original game.
All the ranks you can earn
(Image credit: Tyler C. / Activision Blizzard)
Ranks are broken up into seven medals that represent each skill tier. Each one has five numerical divisions within it that ascend until you break into the next highest tier. So if you’re Gold 1, win seven games and go up in rank, you’ll be Platinum 5.
The ranks break down like this:
Bronze 5-1
Silver 5-1
Gold 5-1
Platinum 5-1
Diamond 5-1
Master 5-1
Grandmaster 5-1
Two weeks into every season will mark the release of the Top 500 leaderboard and rank icon—and if the season has a new hero, they will become available to play in ranked. Top 500 is a shifting list of 500 of the highest ranked players. Top 500 doesn’t require you to be in a certain rank to qualify for it; it’s a snapshot of whoever is at the top. But it does require you to play 25 matches in Role Queue or 50 in Open Queue first. And because it’s only 500 players out of what is probably thousands of players in total, it will largely consist of Grandmaster and Master players.
If you take an extended break from playing, the invisible MMR, or matchmaking rating, will decay, or be lowered, to place you in easier games in case you’re a bit rusty. Blizzard said your MMR will adjust faster than normal during this period to get you back on track.
How groups work with ranks
Overwatch 2’s competitive modes have some limitations on playing in groups. Bronze, Silver, Gold, Platinum, and Diamond players can group up with any number of people within two skill tiers of them. Master players can also group up with any number of people, but they have to be within one skill tier from them.
Everything gets more strict in the two highest roles. Grandmaster players can group up with one player within three skill tier divisions of them. And Top 500 players can only group with one player that is also in the Top 500 in their region.
(Image credit: Tyler C. / Activision Blizzard)
New rank rewards
Overwatch 2’s competitive rewards are a little different now too. There are competitive points for buying your favorite heroes’ golden weapons (3,000 competitive points each), and titles to put on your name card in the following season (and must be earned again in that season).
For every game you win you’ll receive 15 competitive points, and for every draw you get five.
Your highest rank across Role Queue and Open Queue at the end of the season will reward you with a chunk of competitive points via a competitive challenge associated with it. Here’s how many competitive points you’ll get, along with the associate title rewards:
Bronze: 65
Silver: 125
Gold: 250
Platinum: 500
Diamond: 750, Diamond Challenger
Master: 1,200, Master Challenger
Grandmaster: 1,750, Grandmaster Challenger
Top 500: 1,750, Top 500 Challenger
You get titles for completing a number of competitive games too:
It’s a complete shift from last year, because there will actually be Black Friday graphics card deals in 2022. This wasn’t the case in 2021, or even when most of today’s high-end graphics cards launched back in 2020, where the combined arms of the pandemic-constrained chip supply and a resurgent cryptocurrency market meant it was all but impossible to bag a new GPU at MSRP let alone with a healthy discount.
But we’ve already seen from both the main and October Amazon Prime Day events that graphics card deals are most definitely back on the menu. That’s because of a sudden oversupply of GPUs when the bottom dropped out of the crypto mining world and imminent launches of new generations of both AMD and Nvidia cards took the impetus out of the graphics market.
This is great news on the one hand. It’s now possible, should you want to upgrade your graphics card today, that not only do you have your pick of RTX 30-series or RX 6000-series cards to choose from, but you will actually find them discounted, too. But on the other hand, you have both the RTX 4090 (opens in new tab) released and the RTX 4080 (opens in new tab) coming very soon, and the newly announced RX 7900 XT/X (opens in new tab) cards landing in December.
Sure, these are all expensive cards, all above the $899 mark, and some considerably so. Looking at you Miss. RTX 4090. But they are also offering higher performance over cards similarly priced from the previous generation, which means if you’re looking at anything from an RTX 3080 and up, they need to be heavily discounted to make them worthwhile.
An RTX 3090 Ti (opens in new tab) listed with some $700 discount is still going to be around $1,300, and absolutely not worth the money at that price. The $1,200 RTX 4080 will perform the same, or better even without the technical beauty of DLSS 3. So, basically, beware hefty discounts on high-end cards—they may still not make for a great Black Friday GPU deal.
Down at the more mainstream end of the GPU market, however, it’s much easier to deal. There is currently no indication how far into 2023 we’re going to get before either the red or green teams launch their affordable new graphics cards. Which means you can be pretty confident in a mainstream GPU purchase this deals season.
And there will be some seriously healthy deals, too. Though it’s important not to get blinded by needless tribalism when you’re after the fastest graphics card for your gaming PC. You may have always bought Nvidia graphics cards, but right now you’re far better off spending your cash on an RX 6700 XT (opens in new tab) than an RTX 3060 Ti (opens in new tab). They will deliver equivalent gaming performance, but the AMD card is regularly over $100 cheaper. If you’re unsure of where a card might stack up in the GPU performance league, our benchmark guide below should give you a rough idea of how they line up.
When is Black Friday 2022?
Black Friday 2022 is on November 25 this year and will effectively last through until Cyber Monday on November 28.
Though, in reality, Black Friday is now a month-long event running pretty much throughout the entirety of November. Indeed, since Amazon kicked things off with its Prime Early Access event in October, the deals have been rolling along since then.
Where are the best Black Friday graphics card deals?
In the US:
In the UK:
US Black Friday graphics card deals
UK Black Friday graphics card deals
Graphics card hierarchy
Every new GPU generation offers new features and possibilities. But rasterized rendering is still the most important metric for general gaming performance across the PC gaming world. Sure, Nvidia GPUs might well be better at the ray tracing benchmarks they more or less instigated, but when it comes to standard gaming performance AMD’s latest line up can certainly keep pace.
It’s also worth noting that the previous generation of graphics cards do still have something to offer, with something like the GTX 1650 Super able to outpace a more modern RTX 3050 in most benchmarks.
We’re not saying you should buy an older card in 2022, but it’s worth knowing where your current GPU stacks up, or just knowing the lie of the land. But there is also the fact there will be gaming rigs on sale with older graphics cards over the next few days, and if they’re cheap enough they may still be worth a punt as a cheap entry into PC gaming.
We’ve benchmarked all the latest GPUs of this generation, and have tracked their performance against the previous generation in terms of 3DMark Time Spy Extreme scores. Where we don’t have the referential numbers for an older card we have used the average index score from the UL database. These figures track alongside an aggregated 1440p frame rate score from across our suite of benchmarks.
(Image credit: Future)
MSRP comparison
Here’s a list of the manufacturer set retail prices (MSRP), or recommended retail price (RRP), for most the latest graphics cards. For the most part, these are the set prices for the stock or reference versions of these cards, if applicable, and not representative of overclocked or third-party graphics cards, which may well be priced higher.
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