• Konami is Inviting Indie Developers to Make New Games Based on Some of Its Classic Series

    Konami has announced an indie game contest that actively asks small developers to make games based on some of its classic series, including Gradius, Ganbare Goemon, and many more.

    Konami's Action & Shooting Game Contest asks indie creators to plan and develop new action games and shooters based on past Konami titles. The rules allow for creators to make remakes or sequels, they can pick out a single character or mechanic from a past title, or even change or combine genres that may not have been in the originals. Through the collaboration of indie creators and Konami, these new works could potentially become commercial products.

    A video outlining the contest was published by Konami. This contest is sponsored by Konami and held in cooperation with Shueisha Game Creators Camp, a project to support game developers. The contest began September 30 and will run until January 6, 2022.

    Konami's specified 80 different games for creators to reimagine, including games from Gradius, Star Soldier, Twinbee, Ganbare Goemon, Knightmare and others. The full list can be found at the bottom of the official entry page (in Japanese).

    It comes at an interesting time for Konami as a whole – a recent report says that the company is beginning to refocus on its owned series, and is becoming more open to allowing third-parties to develop games within them. While Konami itself is apparently handling new games for Castlevania, Metal Gear Solid, and Silent Hill, this contest seems to allow some of its lesser-known or more cult favourite series to re-emerge through different means.

    The grand prize for the contest is 2 million yen (about $18,000 USD), and Konami will offer to publish works that can be commercialized. In addition to investing up to 30 million yen ($270,000 USD) in development funds for commercialized projects, Konami will provide supervision, production advice and support regarding localization, promotion and development equipment.

    The outline of the contest is as follows:

    Ryuichi Shigeta is a freelance writer for IGN Japan. This article was translated by Diamond Feit.

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    Venom: Let There Be Carnage’s Biggest WTF Questions

    Now that you’ve seen Venom: Let There Be Carnage, you may have a few questions about some of the crazier stuff that went down in this symbiote sequel. We’re here to point out everything that left us scratching our heads and then attempt to use the comics to find some answers.

    Warning: full spoilers for Venom: Let There Be Carnage!

    How Did Shriek Get Her Powers?

    The film starts with young lovers Cletus Kasady and Frances Louise Barrison, the latter of whom was being taken away from St. Estes Home for Unwanted Children to the Ravencroft Institute for the Criminally Insane so she could be imprisoned in a facility meant to hold people with special powers. But this is the first mention of metahumans in the Venom franchise, so how did Frances aka Shriek get her powers in the first place? The movie never tells us, but in the comics she’s a mutant.

    That’s right! Venom featured a character tied to the world of the X-Men. But remember, Sony only controls the rights to use Spider-Man characters, so don’t expect Wolverine to show up in the next Venom movie or anything like that.

    Shriek’s comics origin saw her grow up in an abusive household, and then two traumatic events caused her to fully lose her sanity: getting shot in the head by a police officer (like in the movie), and being trapped in the Darkforce Dimension by the hero Cloak, which is what caused her sound-controlling mutant powers to emerge for the first time. She could do even more with her powers than what we saw in the movie, including making shields, taking flight, shooting energy blasts from her hands, and the rather creepy ability to tap into a person’s psyche to bring out their darkest qualities.

    Spider-Man’s rogues gallery is chock full of superpowered criminals, so the introduction of Shriek (Naomi Harris) seemingly opens the door for more metahumans to appear in Sony’s Marvel movies.

    What Is the Ravencroft Institute?

    The Ravencroft Institute is a major setting in the movie, but we don’t learn much about what goes on there or the people who run it. What is the Ravencroft Institute and who is the doctor who runs it? And was that bearded prisoner someone important? Let’s break it down.

    The Ravencroft Institute is essentially Spider-Man’s version of Arkham Asylum — a maximum security facility designed to hold deranged villains with dangerous powers. (We visited this location in The Amazing Spider-Man 2, as well!)

    The doctor in charge is Dr. Pazzo (Sian Webber), who in the comics was Carnage’s psychiatrist from the 1995 mini-series Venom: Carnage Unleashed. She wasn’t as mean-spirited in the comics and was more focused on helping her patients than mocking them like we saw her do to Shriek.

    Dr. Pazzo speaks to a bearded prisoner and says his name, Siegfried, but unfortunately that’s not the name of any particular character from the world of Spider-Man, so it’s not an Easter egg for a villain or anything. Still, now that Ravencroft has been established, it’s possible that we’ll start seeing more familiar villain faces there, should the facility be used in a future Sony Marvel movie.

    Why Is It So Easy for Venom to Make More Symbiotes?

    One bite into Eddie Brock’s (Tom Hardy) arm was all it took for Cletus (Woody Harrelson) to consume some symbiote-infused blood and become Carnage, but wasn’t that a little too easy? In the comics, the Venom symbiote essentially reproduced and spawned the new symbiote that bonded to Cletus and became Carnage, but in the movie Carnage is created by a twist of fate–a twist of fate that could easily be repeated if Eddie’s not careful. If he were to get a paper cut while mailing a letter, then would the mailman who collected it get a symbiote too? If he got a bloody nose and threw away the tissues, would the garbage collector get a symbiote? Seems like Eddie could accidentally create a new symbiote at any moment if he gets any sort of minor injury!

    Did Venom’s Temporary Hosts All Die?

    When Eddie Brock and the Venom symbiote have their breakup, Venom latches onto various other people to explore the city on his own. Unfortunately for them, they all drop to the ground and lay unmoving after Venom is done with them. So did all of Venom’s temporary hosts die? Yeah, it looks like they did.

    As you may recall from the first Venom movie, the symbiote was unable to bond with numerous people and left each of its test hosts dead. It wasn’t until Venom formed a special bond with Eddie that both the host and symbiote were able to survive.

    That means Venom essentially went on an unintentional killing spree around the city–and no one seemed to notice or care! Even Mrs. Chen seemed more concerned with Venom than the poor fellow he just killed laying dead in her store. And what happened to Mrs. Chen? We assumed she wasn’t bonded long enough to kill her, but still, her scene as Venom is played for laughs while her life force was being drained away.

    For a bulk of the movie, Eddie is trying to curb Venom’s murderous habits, so it feels bizarre for these numerous deaths caused by Venom to get swept under the rug.

    How Did Carnage Lose to Venom?

    Carnage seemed the superior symbiote to Venom in nearly every regard, so how did he lose to Venom?

    The main reason was because the Carnage symbiote was not a perfect match with Cletus like Venom was with Eddie. In the middle of the climactic battle, we see Carnage and Cletus arguing with each other over Cletus’ one true love Shriek, who Carnage hates because of her symbiote-killing sonic scream. Their stark opposite feelings about Shriek ultimately prove to be their downfall.

    This is a big departure from the comics where Cletus’ defining trait is his perfect compatibility with his symbiote. Whereas Venom refers to himself as “we” (“We are Venom”), Carnage refers to himself as “I” because both Cletus and the symbiote are intimately connected thanks to their shared lust for death and destruction.

    But given that the main arc of Venom: Let There Be Carnage is the relationship between Eddie and the symbiote, it follows that their bond would be the key difference between hero and villain that ends up saving the day.

    What Happened to Detective Patrick Mulligan?

    Detective Patrick Mulligan was seemingly left for dead by Shriek during the final battle, but a brief shot of Mulligan shows him gasping awake with glowing blue eyes. But what exactly happened to Mulligan? Does he have powers now?

    In the comics, Mulligan gets a symbiote of his own and operates as the anti-hero known as Toxin. So it seems that movie-Mulligan got powers, just different ones than we were expecting. But how did that even happen? There didn’t seem to be any transfer of power from Shriek to Mulligan as she was beating him up, at least that we could tell.

    Regardless, our best guess is that Mulligan’s eyes glowed the same blue as Shriek’s discolored eye because he somehow absorbed Shriek’s super-sonic powers. This twist does make a certain amount of sense because it means Mulligan would now have the power to fight symbiotes and take them down using one of their greatest weaknesses. Not a bad tool for a symbiote-hunting detective to have in a potential third Venom movie!

    There’s plenty more to be said about where Mulligan could go next along with Eddie and Venom, so check out our theories on where the Venom franchise may go from here.

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    Astria Ascending Review

    There is always something exciting about playing a brand new JRPG that isn’t from one of the popular franchises we already know and love, mostly to see how it differentiates itself from the pack. But while Astria Ascending’s turn-based combat is excellent, its mediocre story and weak quest design drag it down. It has plenty of amusing things going for it, but those shortcomings keep it from becoming the breakout JRPG it had the potential to be.

    Astria Ascending puts a side-scrolling twist on a more traditional, turn-based RPG shell. You’ll explore its world of Orchanon as a 2D platformer, entering separate rooms, collecting treasures, and encountering enemies as you travel across the screen. But while its presentation is novel, its story setup is something we’ve seen several times before: you play as Ulan, the leader of the 333rd company of Demi-Gods trying to stop an uncompelling chaotic threat that wants to remove harmony from the world.

    Each of your party members has their own bigger motivation too, but in general, the story is just so cliche. Astria Ascending’s world has a unique look and its races are freshly designed, but their differences are only skin deep. Because of this, the main cast suffers from bland dialogue and a lack of personality, making them uninteresting to spend dozens of hours with.

    And like so many other JRPG stories, their struggle is against yet another syndicate of generic villains that want to destroy the world for some weak, unconvincing reason. That isn’t to say that this story structure never works, because it does have entertaining or heartfelt moments here and there. Many party members have family tied into the events in ways that could be compelling, but with how vague a lot of the plot points are left, those potential hooks were never actually able to grab my interest.

    Side quests do very little to make the world feel fleshed out.

    Unsurprisingly, completing your quest will mean venturing into a handful of puzzle-filled dungeons. Some of these require you to take advantage of basic elemental powers to solve them, like using wind to move boxes to their correct position. But most aren’t that engaging due to their simplicity. Dungeons are usually structured the same too: each has a boss known as an Astrae that you can summon in battle once you’ve defeated it, followed by another boss at the end, leaving them a little too predictable to make your way through.

    The repetition is shaken up a bit relatively deep into the story by a section where you shoot enemies in the sky like a side scrolling shooter, but it’s too little too late. You only ever see this twist between specific locations in the latter half of the story, and by that point you’ll already have progressed so far that its introduction feels random and disjointed.

    As you explore Orchanon, you will also find plenty of side quests, but these are similarly straightforward and uninspired, doing little to make the world feel fleshed out. You’ll often be asked to defeat a certain number of enemies or find the quest giver a specific item, and little else. While none of them are very interesting, additional guild missions that task you with killing special enemies for money, experience, and skill points can be. Every enemy type has distinct abilities so fighting these minibosses adds even more variety to the creatures that you face, which is especially welcome when combat is the shining star here.

    Focus Your Skills

    Astria Ascending really stands out in its battles and its art style. Every zone is drop dead gorgeous, especially in dungeons. Since it’s presented as a 2D platformer outside of fights, the world of Orchanon feels as if it was created in a story book – each of its characters drawn with tender love and care, and they especially shine in combat. Whether it be an attack, spell, buff, or status effect, everything is animated immaculately and with purpose.

    The combat itself is some of the best I’ve seen in a traditional turn-based JRPG. This is due to the excellent Focus mechanic, which makes the party gain Focus Points when striking an enemy’s weakness. Focus can stack up, allowing you to deal an abundance of damage once it maxes out. But while you’re collecting Focus, enemies can hit your weaknesses and do the exact same thing, raising the stakes the longer a fight goes on. You’ll also have to be careful since using the wrong attack on an enemy will make you lose Focus, adding an extra layer of tension to each fight. Mix that exciting system with the art and animations and it truly makes combat an impressive package.

    Almost every encounter feels like a challenge that is satisfying to conquer too. An intuitive job system provides a wide variety of abilities to use, and planning your team’s powers is where Astria Ascending’s true puzzles lie. Members of your party begin with a starting job but will gain three more throughout the story, which provides them with a myriad of different skills to mix and match based on your personal preference and the weaknesses of the enemies you are facing.

    Unfortunately, Astria Ascending also comes with some horrendous difficulty spikes. This means you’ll occasionally need to spend a significant amount of time grinding to get past tough enemies. There is at least a difficulty option that can be lowered if you’re not willing to deal with these annoying spikes – but on the normal difficulty, it’s not uncommon to spend multiple hours leveling just to get past one specific fight only to have to do it again for a different one not too far down the road.

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    Paradox Cancels ‘Several’ Unannounced Games to Focus on Its Proven Genres

    Paradox Interactive has stopped development on multiple unannounced games in an effort to put more resources into safer bets for the company's profits.

    The publisher announced the cancellations in a press release on Thursday. Paradox says they are still working on 15 new games including Victoria 3, Vampire: the Masquerade – Bloodlines 2, Crusader Kings 3 on consoles, and the Shadowrun Trilogy on consoles. Paradox is also working on many new DLCs.

    Paradox CEO Fredrik Wester says the company is focusing more on the company's reputation for strategy games and making games last long after launch.

    "Paradox Interactive was born and raised in strategy and management games," Wester said in a press release. "It is where we have our heart and our mind and we are passionate about making games that our players can enjoy over a long period of time. Therefore we have sharpened our pipeline further to ensure that the projects with the highest potential have the resources necessary for the best possible development. We now have a promising game pipeline and I look forward to sharing these games with our players over the next few years."

    Paradox released two games in 2020: Empire of Sin and Crusader Kings III. Crusader Kings III received critical acclaim and is the 11th best-reviewed game of 2020 on Metacritic. Paradox specifically mentions in the press release that the Royal Court DLC is still in development for Crusader Kings III.

    The publisher also released the strategy game Surviving the Aftermath in October 2020, but the game remains in early access at the time of writing.

    This change in direction for Paradox may have been the creative differences that led to Ebba Ljungerud resigning as CEO of Paradox in September due to the company's new direction.

    IGN's 10 out of 10 Crusader Kings III review said the game, "takes the throne as the new king of historical strategy." Crusader Kings III has been announced for Xbox Series X/S and PS5 but does not have a release date at this time. Until then, read up on details of the upcoming Royal Court DLC.

    Petey Oneto is a freelance writer for IGN.

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    Squid Games’ Games, Explained

    One of the express joys of watching Squid Game, the hit South Korean survival drama blowing up on Netflix, is how the show twists childhood games into life-or-death contests.

    While some games from the show, like Tug-of-War, are popular across the globe, some of these games might not be all too familiar outside of South Korea. As someone who grew up on the playgrounds of Seoul, there is a deeper history behind the twisted, colorful competitions of Squid Game

    Spoilers for the games played in Squid Game below.

    Pog/Ddakji

    The first game in Squid Game isn’t Red Light, Green Light, but rather Ddakji, a Korean game similar to Pog. At the start of the series the protagonist, Seong Gi-Hun is a deadbeat dad down on his luck and drowning in debt. While waiting for the subway a mysterious man known as the Salesman approaches him with the opportunity to earn some quick cash.

    This is where the two men begin a game of Ddakji, a game where players must use paper pieces and hit them against each other on the ground to flip the other player’s piece.

    When I was a kid growing up in Seoul, Ddakji was the game to play on the schoolyard. Pokemon had just taken over the world and in Korea, you could buy rubber Ddakji pieces molded into the shape of different Pokemon. If a player had their Ddakji piece flipped over, the winner could keep the rubber token. This trend was so popular it even had its own small "Satanic Panic" when local news media once reported the rubber used for Ddakji was poisonous, causing fear among parents.

    Red Light, Green Light

    At a glance, Red Light, Green Light seems easy to grasp but the version played in Squid Game has unique Korean characteristics. Typically, Red Light, Green Light is a game where one player has their back to the wall while the rest try and cross the finish line. Only if they get caught moving during a “red light,” they’re eliminated (hopefully not via a sniper rifle).

    As explained by game designer Jeeyon Shim in a very helpful Twitter thread, the version of Red Light, Green Light in Squid Game is a bit different. In Korean, the game is called “무궁화 꽃 이 피었 습니다” or “The Mugunghwa (Hibiscus in Korean) Flower Is Blooming.” Whereas in Red Light, Green Light the decision for when players can run and when players have to stop is solely at the discretion of the player calling the colors, Mugunghwa relies on a very orderly cadence.

    If you noticed in Squid Game the robot girl says a very specific phrase, and it’s when she recites this phrase players are allowed to run towards the finish line. But when she ends the sentence, that’s when she turns her head indicating that anyone caught moving at this time will meet an untimely end.

    The phrase never changes, which means players will know when to run and when to stop vs. the more random Red Light Green Light variation. However, as Shim explains, the tempo of how you say the phrase will speed up, making it more and more difficult as time goes on. “If you were too conservative in the first rounds, you’ll have to cover more distance as the spotter goes faster, which means increasing your own speed, and increasing the risk you won’t be able to cut your own body’s momentum short when the spotter turns around,” Shim breaks down in their thread.

    Honeycomb Candy/Ppopgi

    In the Netflix translation, this candy is confusingly called “Honeycomb candy” when it’s just melted sugar with a little baking soda mixed in. Known as Ppogi (literally meaning “to pluck” in Korean) it is a snack usually sold by street vendors around the country for less than a dollar.

    The painfully sweet snack is usually cooked on a hot plate into a disc and as a bit of fun, Korean vendors will etch a shape like a star or a triangle onto the candy. Most vendors will provide a needle for you to try and “pluck” the shape from the candy, though given the concoction is 99 percent sugar, the slightest mistake will crack the whole disc.

    Some Ppogi vendors would even exchange successfully “plucked” shapes for small toy prizes. But this is a trap. The candies are deceptively fragile and some children will end up ordering multiple Ppogi to try and win a prize, emptying their wallets and ruining their teeth in the process. Even in real life, Ppogi are crane games in candy form.

    Tug-of-War

    This one is fairly self-explanatory for anyone familiar with the popular American gym exercise. Across Asia, ancient variations of Tug-of-War have existed for thousands of years, including Korea where it is known as Juldarigi (rope pulling).

    In ancient Korea, Tug-of-War serves as a popular festival game, especially during the lunar festival. Today, Tug-of-War is still played during Korean festivals using ropes as large as tree trunks. It is said the team that wins will ensure a bountiful harvest for their village.

    Glass Bridge

    The glass bridge challenge in Squid Game is most certainly not based on any specific game children play in Korea, and if it were I certainly would not have survived to my current age. Instead, the set design for the glass bridge marks a turning point in the series when it’s revealed that wealthy patrons gather to watch contestants play the Squid Game for their enjoyment.

    The level design for the glass bridge reflects this reveal. Instead of taking place in some twisted recreation of a children’s playground or neighborhood, the set for the glass bridge evokes the glowing lights of a game show stage. The players are now officially contestants on the world’s most exclusive and un-televised game show, competing for the amusement of anonymous wealthy patrons.

    This is also the game where several previously unknown contestants reveal that they spent years as glass-makers, reflecting the blue-collar, manufacturing background who have since been hit hardest by the economy as their wages stagnate.

    Squid Game

    If there’s an international equivalent to Squid Game I’d love to hear it. According to The Korea Times, the Squid game likely originated sometime during the 1970s and 80s in South Korea’s post-war era. There are no records of the game either before the Korean war, nor was this a game that continued to be played by children of subsequent generations.

    As explained in the show, Squid Game is played on a board drawn in sand with players separating into two teams: attack and defense. Attacking players, who are initially handicapped by only being allowed to move on one leg, must first promote themselves to use both feet before reaching a “home” square drawn into the sand.

    Defending players are tasked with stopping the attacking players by pushing them out of bounds. If the attacking player reaches the home square, they win, but if their team is eliminated the defending team wins.

    I won’t presume to know how this game originated and there are very few records, even in Korean, about the origins of the Squid Game. However, I have to imagine that this being a game that can be played on any sand yard might have something to do with its rise in popularity during the 70s and 80s.

    As the economy was still recovering from the Korean war, children had to find ways to entertain themselves and a lot of playgrounds and schoolyards were un-lawned fields coated in coarse sand. Grass fields were not common even into the 90s when I grew up in Seoul. While it allowed for kids to draw homemade boards quite easily, lending itself well to activities like Squid Game, they also hurt like hell if you fell.

    With this added context consider revisiting the series or, check out IGN’s review of Squid Game season 1. The show’s popularity has been such that one poor South Korean man whose real phone number was mistakenly used by the show has been bombarded with thousands of callers hoping for a chance to participate in the real-life death game.

    Matt T.M. Kim is IGN's News Editor and someone who would have likely been killed during the honeycomb game. You can reach him @lawoftd.

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