Kid Icarus: Uprising is Nintendo's big 3DS game of early 2012. Hyped since the early days of the 3DS as one of the major titles for the system, we've now been able to play the finished game.

It's fun. It's weird. No, it's very weird. We're not ready to review it just yet. We want to give the game some time to marinate and we want to be able to talk to you about the game in its entirety when we've had enough time with all its modes.

But we've got to tell you something. So here we are. Me and Kirk Hamilton, who will be reviewing the game. He and I played some multiplayer online against each other on Sunday afternoon. And then we jumped on IM and chatted about the game.

Here's what we had to say about one of the strangest and most interesting Nintendo games in a long time...

Kirk Hamilton, future reviewer of Kid Icarus: Uprising: Okay! Let's talk about Kid Icarus Uprising. There is a lot to get to.

Stephen Totilo, occasional player of Kid Icarus: Uprising over the last year.: Yes. let's go. Kirk, this game is insane.

Kirk: I hear you. The menus alone are enough to make a guy dizzy. I skipped the tutorial and got straight into the game, which I think may have been a mistake.

Stephen: Menus? We can't even talk about all the menus. Nintendo sent us both copies, but, remember, some of the menus—the menus!—are supposed to be secret until release day.

Kirk: Oh, sorry! Yes, let's keep things by-the-book. Only approved menus will be discussed here.

Stephen: The tutorial is great. Because it's full of jokes!

Kirk: The whole GAME is full of jokes. So many jokes! Whoever wrote this had a whole lot of fun.

Stephen: Right. I wasn't expecting a comedy. But it's funny. Did you find the spa scene?

Kirk: I found a hot springs...

Stephen: I think that's the one. Where Pit is mocked for jumping into the hot springs fully-clothed.

Kirk: Yes! There's this weird sexual tension between him and Lady Palutena.

Stephen: Yeah! This is such a surprising Nintendo game in so many ways.

Kirk: Yeah, the writing is really unlike anything I've seen in a Nintendo game before.

Stephen: I was thinking back when I was playing Metroid: Other M that if THAT was how Nintendo was going to do voice-acting, I didn't want them to do it. But this is sooo much better. Tons of voice, all hilarious.

Kirk: It's interesting how there are no cutscenes either—they just exposit super-fast while you're actually playing the game.

Kirk: It keeps things moving along, though it can be a bit chaotic at times.

Stephen: I agree. So I have to say that this game is a textbook example of a game seeming really different once I play it on my own time.

Kirk: How do you mean?

Stephen: I played it a few times over the past year-plus at Nintendo events. And while I got the basics — an airborne shooter that turns into a ground-based brawler-shooter in level after level, I didn't really appreciate that it is meant to be played more like, well… Smash Bros.. Like it's a total arcade game that's all about mixing and matching powers and abilities and unlocking tons of gear. And prizes.

Kirk: Yeah, I see what you mean. Playing it at that hands-on I did earlier this year was similar—I had all these questions about the particulars of how everything works, but you can't get your head around that until you spend a good amount of time actually doing it. It's the kind of game that lives and breathes in the insane amount of collectibles and unlocks.

Stephen: And yet it still has some of the weirdest controls ever. And Nintendo has made them even weirder by including that ridiculous stand. That thing is useless. Totally unnecessary.

Kirk: I do not understand it. I've seen plenty of commenters who are looking forward to using it, and more power to them. But I can't find a comfortable way to use the damn thing. It's too low on my desk, and I wind up hunched over to play it. It's less comfortable than just holding it in my hands.

Kirk: Which, I should mention, for me isn't all that comfortable either, unfortunately.

Stephen: I just don't understand why they'd even push the idea that it's needed. It's not. I'm left-handed, so I just switch to lefty mode, move Pit with the face buttons, Aim with the stylus on the touch screen and shoot with the R-trigger. Why I'd need a stand is beyond me. But then again, this game also comes with cards.

Kirk: Ha.

Stephen: The only thing that should surprise me, I guess, is that they didn't pack in R.O.B.

Kirk: Or some sort of portable vitality sensor. The control schemes in this game are totally baffling to me.

Stephen: I'd love that, actually. Just the control scheme is baffling? Nothing else? Not… the power menu that you have to play inventory Tetris in?

Kirk: I was trying to think of a good Vitality Sensor follow-up joke, but I'll leave that one. So, the control setup.

Stephen: It is BEGGING for dual-analog, no?

Kirk: Yes! And I don't understand why that's not an option.

Stephen: It's weird. Why support the Circle Pad Pro and not offer it?

Kirk: The game is compatible with the circle pad pro, but not with dual thumbstick control. I like the Circle Pad pro a lot, and it would make the game so much more comfortable for me to play. And yet, even when it's attached, both circle pads are forced to do the same thing. So the closest you can get to having two thumbstick control is to map the face buttons to the reticle and the circle-stick to Pit's movement. You can't even map the D-Pad to Pit's movement and the Circle-pad to the reticle! It's a bizarre omission.

Stephen: Right. I don't think I'm having as hard a time with the controls as you, but it is strange that they don't offer that. How's the campaign? I think you're further in. I've only done two missions.

Kirk: I'm liking it fine—the missions all follow a very set routine so far. Fly, shoot, then land, shoot, fight a boss. Which seems thin, until you get into all the unlocks and other extras—this is really just an arcade game, and the story mode so far feels like window dressing. Funny, charming (occasionally annoying) window dressing, mind.

Stephen: Have you been ratcheting up the difficulty?

Kirk: I've played around with it, yes.

Stephen: I still can't believe that insane system. 99 difficulty levels or something?

Kirk: It gets really, really hard with the difficulty raised.

Stephen:) I've been "betting" hearts to raise the difficulty. But I've only gone up to 3.0 or 3.5.

Kirk: Try putting it up to 5 or so. I'm simply not good enough to compete past a bit above the suggested level—I get owned. Everything moves so fast, and I haven't adjusted to the controls, so if feels very frustrating when it's too punishing.

Stephen: Hmm. I wonder if better weapons would alleviate that. Though I can't see how that would address the problem of simply turning Pit.

Kirk: Oh, they undoubtedly would, to a point. The flying controls feel perfect for the stylus, but on foot...

Stephen: (Of course the control options just for turning Pit are nuts… you can adjust vertical flick speed, horizontal speed… crazy crazy game).

Kirk: All of the control options menus are crazy! Wait, can we talk about these? I want to. The inversion menu, for example.

Stephen: Oh, we can talk about these. This game has so many menus!

Kirk: It gives you this huge set of four arrows which demonstrate how things are currently set, and you tap "Invert Y-Axis" or "Invert X-Axis" to make them flip. They could've used a check box?

Stephen: We haven't even mentioned the one where you toss eggs into the air to unlock trophies ("idols'). Which is very Smash Bros.-esque.

Kirk: Yes! That took me a while to parse. I dropped a lot of eggs. Thank you for showing me how I can use my 3DS coins to buy more eggs.

Stephen: I like living in a world where a company as rich as Nintendo will finance madness like this.

Kirk: I agree. I'm wondering how Nintendo feels about marketing this game.

Stephen: I mean, I have no idea if this is a great game. But it is nuts. And I love crazy games.

Kirk: "It's totally batshit-insane! It's so much weirder than anything else on the 3DS!"

Stephen: I think this is the first Nintendo game I've played in which the lead character jokes about the economy and whether his next enemy is a mini-boss or not. I know you mentioned some of that in your preview, but it's something else when you experience it.

Kirk: The economy jokes in particular are cracking me up. There are more than just the first ones, too. It's a running gag.

Stephen: Oh? That's great. Nintendo game-writing has semi-secretly been wonderful for a while. See Fire Emblem, Mario & Luigi...

Kirk: It's all just this mess of banter and crazy exposition, like a chat-channel that's been left open for every bad guy in the game.

Stephen: Yeah. What do you think of the graphics? And just the tech here? I think the graphics are very impressive. They impressed me more before I owned a Vita.

Kirk: It moves so fast that the 3D bugs me after a while, but the flying bits in particular look great in 3D. I agree about that Vita.

Stephen: But they are good. I'm playing at max-3D-slider.

Kirk: I've felt that way about every 3DS game I've played, now that I've been spending a lot more time playing games on the Vita. I go back and forth on the 3D. Sometimes I need a break.

Stephen: Since they started toning down 3D on this system, I've been cranking the 3D and really enjoying the depth you get.

Kirk: But the colors are great, and the art style is fantastic. I adore the enemy designs.

Stephen: It's funny, just as the world seems to be falling out of love with the idea of portable 3D gaming—thinking it's just a gimmick—I now crave it.

Kirk: I still think it's a gimmick, I guess. With it turned off , I come to the Vita comparison a lot more often, though. For better or for worse.

Stephen: Right. I haven't turned the 3D off. It's too good with it on. Full disclosure: you have a fever! And so 3D isn't what the doctor ordered.

Kirk: That's true!

Stephen: And multiplayer?

Kirk: This game is not recommended for people with the flu.

Stephen: We just did a few rounds of light vs. dark.

Kirk: ) I liked multiplayer, actually.

Stephen: Which, surprise! Was insane. I challenge you to describe light vs. dark mode in 10 words or less.

Kirk: Okay. Here goes.

[two minutes pass]

Kirk: "Kill everyone, then kill the VIP. Also, there is chaos." Close?

Stephen: Pretty good! You sort of captured the weird bit about depleting the team's collective health bar to then turn one of them into a VIP. But you had no room to mention the bonkers detail that, the more powerful weapon you bring to the match, the more damaging your deaths are to your team's health bar.

Kirk: Yeah. So each match counts kills as depleting the collective health bar, and once it's down someone turns into either Pit or Dark Pit. And yeah, the weapon strength thing.

Stephen: What. A. Game.

Kirk: Yeah. That's really all there is to say.

Stephen: And I haven't even figured out these AR cards completely. I just snapped pictures of them. Characters sprouted out of them and…

Kirk: I pity the man who has to write a comprehensive FAQ for this game.

Stephen: Kirk, am I having a fever dream right now? That's all I want to know.

Kirk: It's entirely possible.

Stephen: OK. Well with that, I'm going to get some rest. Let's have you do a proper review of this game for release day.

Kirk: Sounds good. I'm going to go make some soup.

We will have a full review of Kid Icarus: Uprising this weekend. The game launches in North America for the Nintendo 3DS on March 23.

It may have Lucas' blessing, but a Star Wars product isn't a true Star Wars product until the fans accept it into their hearts, or their costuming communities. Both the Light and Dark sides of international Star Wars costuming organizations are now allowing applicants to submit outifts based on BioWare's massively-multiplayer online role-playing game.

While it may seem like an insignificant development to the outsider, the fact that The Jedi Assembly and The Dark Empire are both accepting applications from costumers decked out in the latest The Old Republic gear is a huge step in legitimizing the game in the eyes of the more fervent fans. These are groups that are incredibly strict about the costumes they allow to represent their organizations (the Jedi more so than the Dark Side, appropriately enough).

The Jedi Code of The Jedi Assembly has been modified to include: "Star Wars The Old Republic: "Basic customizable characters" - that is, those you would start out with at the beginning of the game, must only be in earth tone colors. No highly customized characters are allowed. Your costume must have a basic Jedi look to it."

So yes, rather strict, but then a Jedi needs not love, adventure, or high-gear. Let's see what the Dark Side has to say.

"The Dark Empire international dark side costume club is pleased to announce that it will accept for full membership within the organization any costume representing the dark side from the new SWTOR game, including non force-users such as Sith Troopers, Imperial Agents, and Bounty Hunters. Costumes may be canon or customized. Custom dark side costuming is a major component of TDE, and we welcome all dark side costumes, canon or custom, that conform to our costuming standards."

In other words, come to the Dark Side, they have cookies and incredibly flexible costuming rules.

Jedi Assembly Now Accepting TOR Characters [TheForce.net]

I got to play a video game that came back from the dead and feel pretty hopeful about its resurrection. That's because Sleeping Dogs might just fulfill a very specific desire of mine, which is to play through a video game that takes its cues from the movies of, say, Johnnie To or Chan-Wook Park.

Desperation, vengeance and duty all come together in hypnotic fashion when you watch a crime thriller from countries like Hong Kong or Korea and the recipe for crazy action is one that's ripe for translation into video games. For all its stylized gunplay, the buggy Stranglehold didn't scratch that itch for me, no matter if John Woo worked on it. So I've been waiting, patiently, for something that will.

Sleeping Dogs started life as True Crime Hong Kong—developed by Vancouver-based United Front—and was unveiled to the world in a splashy fashion during the 2010 Spike Video Game Awards. Despite that high-profile reveal, Activision unceremoniously scuttled that game. Square Enix acquired the title last year and has been hyping it with gritty mini-movies meant to evoke the Asian crime cinema oeuvre up that the game's drawing on.

The two levels I recently played definitely could've been outtakes from an Infernal Affairs movie. One starts in the kitchen of a bustling restaurant as lead character Wei's getting orders to pound on some fool who's run afoul of the mob boss he's working for.

As I steered the undercover cop through a frantic foot-chase in Hong Kong's chaotic crowded streets, I hurtled food stands, scrambled up neon signs and jumped across rooftops. This city felt alive in a different way. Catching up to my target, I then had to face waves of thugs from his rival gang. The fighting felt responsive and came across with a brutality that surprised me. Another sequence I played had Wei street-racing against another Hong Kong wise guy with two girls along for the ride.

It's here that I need to say that Sleeping Dogs isn't going to be a revolutionary game. The fighting recalls the one-button fisticuffs of Rocksteady's Batman games, explained by the fact that members of the Square Enix London dev team worked on Batman: Arkham Asylum. And the driving will be familiar to anyone who's played recent racing games from EA's Black Box studio, since some United Front members came from that collective.

Yet, open-world games suffer by having too many things to present all under the same engine, but Sleeping Dogs looks like its various activities will be operating on the same level. You're not going to groan when a driving mission comes up and won't feel clumsy when it's time for a fistfight.

But what's really piqued my interest about Sleeping Dogs is the punchiness of its dialogue and the sharpness of its presentation. The delivery of the threats and cussing made me pay attention and didn't feel like phoned-in line readings. The rival I raced against was sleazy and believably reptilian, muttering under his breath as we lined to drag. It's the attention to these little touches—along with a solid gameplay skeleton—that makes me think Sleeping Dogs deserves its second shot at life. I can only hope that I can nail a crotchety old Triad leader into a wooden crate and kick it down a hill, like in Johnnie To's Election. If the game can capture the morally aloof outlaw cool of the world's best gangster movies, then its August debut can't come soon enough.

Another round of Guild Wars 2 beta testing begins soon, and this time I around am arming myself with your questions before taking the plunge into Tyria once again. What can I do for you?

Having already learned much of what I wanted to know during my Guild Wars 2 weekend experience last month, I'm free to play through the next event with an eye on you folks' questions and concerns.

Do you want to know how well specific classes handle specific circumstances? I can do that. Do you want me to create a character according to your specifications? We'll see what I can do.

Do you want to know when this next beta event is? That I cannot say, but look for answers to the questions you post in the comment section of this post next week.

So, what do you want to know?

The open Beta test for RAGNAROK Online 2: Legend of the Second started in Korea on Feb. 22 of this year. With completely new graphics, systems, and quests, the only thing intact from the original RAGNAROK Online is its settings and world.

Here's some insight on what is going on currently with the open beta test of RAGNAROK Online 2.

Character Customization
One of the game's biggest feature is its Dual Life system, in which your character is based off of two classes. In the character creation, you have the option of deciding on a combat class and a creator class. The former comprises of Swordsmen, Acolytes, Archers, Mages, and Thieves. The latter comprises of Chefs, Alchemists, Blacksmiths, and Artisans.

Aside from the new game mechanics, you have a deeper control of your character's aesthetics. There are 15 different hair styles for each gender, 15 different colors for their hair and eyes, 9 facial patterns, 5 voice actors for each gender, and 10 different eye patterns. Furthermore, unlike its predecessor where the characters' were three heads-high , the characters of RAGNAROK Online 2 are six to seven heads high.

Actual Gameplay
The gameplay is fairly orthodox. The game allows you to move with the WASD keys and jump with the space bar as though you are playing a TPS game. The good-old fashioned shortcut keys that you must place for skills and usable items, as you would expect from a RPG game, is still part of the game as well.

There is a skill tree that you can progress as you level up, with a secondary class upgrade when you turn level 25, allowing you to further concentrate on certain perks.

Quests and Story
Though most of the game's quests consist of fetch quests and kill quests, the difficulties for each of them are set so that you can play alone at your own pace. Some quests have some voiced cut scenes, but the majority of the quests seem to comprise of a typical RPG elements with a lot of repetition. There seems to be a deeper plot to the game, but it is not accessible until you are level 30. Of course, still being in beta, the game itself is still being improved on.

Card System & Color System
Aside from changing your character's aesthetics, there are two ways to make your character unique. The Card and Color systems.

The card system is based off of the first RAGNAROK game's system, where defeated monsters drop collectible cards that you can equip onto your character to strengthen him/her. There are 306 unique cards that drop from monsters, and 250 cards that can be created from fusing the dropped cards. As for the color system, it is a tile of color that you equip, and it appears next to your character's name. Each color provides unique attributes, and it can only be obtained from its corresponding quests.

And as the game is still in its beta, there are a lot of improvements to be made, but the game seems to be steadily coming to completion.

More pictures on the link below.

「RAGNAROK Online 2: Legend of the Second」をプレイ。 [4Gamer]

Late last week, a new candy commercial featuring girl group AKB48 began broadcasting on Japanese television.

In the commercial, young idols passed the chewy Puccho candy via mouth-to-mouth. Online in Japan, there were the typical, "Oh, this turns me on" or "I want to join in" type of comments, but also harsh criticism, too.

"I'd feel awkward if this came on TV while my family was around," wrote one. "This is anything but cute," added another. "It's unsettling and sending chills through my body."

Others seemed to think this was AKB48 stooping pretty low. I just think surely they can pass the wrapped candy around with their hands. Puccho that's already been in somebody's mouth? No thanks!

AKB48出演の「ぷっちょ」CMに「悪寒」「気まずい」とツイッターユーザーが困惑 [Livedoor]

Two young men in Yueqing, Zhejiang Province China, were taken in by police earlier last week for pick-pocketing. The two young men in question, Xiao Pan and Xiao Bing, are only 17 and 14 years-old respectively.

Xiao Pan had ran away from home and had been living on the streets for a while, surviving by stealing bags and pick-pocketing, police said. Xiao Bing, originally from Anhui province, also ran away from home, and met Xiao Pan in Yueqing. There, Xiao Pan took Xiao Bing under his wing.

The two could not find jobs as Xiao Bing was only a minor, so they resorted to stealing. According to police, Xiao Pan and Xiao Bing would sleep at internet cafes, which often run 24 hours. They would sleep in the internet cafe because purchasing an hour of time was cheaper than paying for a hotel room.

According to Yueqing police, the duo's MO was hitting unlocked cars and tricycles for valuables and spare change and sleeping at the internet cafe at night. On the night of March 12, the two were apprehended heading into an internet cafe with 55RMB ($8.65) in hand.

Xiao Pan is charged with two counts of theft, and one count of drug possession. Xiao Bin on the other hand was not charged, but still remains in police custody because he is a minor.

17岁大哥带14岁小弟 白天睡网吧晚上去偷窃 [Wangyou]

Meet Mei Wei. She's one of China's top coplayers (or "coser" as they're called there). She appears in Chinese cosplay mags, at game promotions, and at event after event.

Mei Wei's image appeared on the flier for China Joy's cosplay event; China Joy, of course, is the country's biggest game event. Hailing from Tianjin, she's been cosplaying since 1999.

Kotaku previously posted her work while featuring photographer MengJie Luan and his photos of her Athena cosplay.

Today, let's have a closer work at what other cosplays she has done. More in the links below.

Mei Wai (美歪) [Facebook]
美歪 [QQ.com]

Game development in China is no longer just a domestic thing. Foreign power houses such as EA, Zynga, and Ubisoft have major studios working on big titles in China. However, many of their best console titles won't reach Chinese players until either the game is released in PC in Chinese or pirated by Chinese hackers. Small foreign developers are springing up all over China, looking to make it big here by doing something many foreign developers haven't been able to do: make a game in China that can reach the world.

One such developer, Balance Worlds, was started in China to do pretty much what its name says, "to make games in China for the global market". Christopher M. Pfeiffer the CEO of BW, and a friend of mine, talked to Kotaku about some of the reasons why he came out to China to make video games.

Pfeiffer, originally from the States, had worked on big titles such as Resistance Fall of Man and the Ratchet and Clank series. He came to China with his partner Max Garber in 2007. Wanting to open their own studio, the two of them decided to open it in Beijing China.

"The reality is, I like it here," said Pfeiffer. "It's kind of like how life imitates art in the sense that I got into game development, and I really loved the process of development—you know, game design is like this chaotic rush to something great.

"China was in development on a country sized level, and it was kind of an intoxicating feeling."

When they first started, Balance Worlds was a team of only 5 guys. Pfeiffer recounted having problems hiring and getting people in China on-board. As they matured and started to do more work, they've been able to hire more people and build up the company. Currently, BW has 35 employees, 28 of which are Chinese.

Many of them, like Pfeiffer, explained how China's long history as an art outsourcing factory and the cheap cost of living and labor was a big draw. American McGee, the famed game designer of American McGee's Alice and American McGee's Grim, also said similar things when I interviewed in him in in 2010.

But with cheaper cost of living, cheaper labor, and a workforce capable of producing artwork, why base yourself in China, I asked. Pfeiffer explained it as being more than just cheap labor but also different approach in game design and sales models that has him looking towards China as place where he can make his games.

"What I think of China, is that it's more experienced in game design in terms of online free-to-play and also when you talk about social game expereiences I think China is in the lead in that area," said Pfeiffer. "The West because of the console world has been ahead in production values, and what BW is trying to do is take Western production values and mix it with Chinese game design and monetization which is where they are superior right now."

The free-to-play business model that Pfeiffer referred to originated in Korea and really took off in China, so much so that many of the top games in China apart from World of Warcraft are indeed free to play.

Pfeiffer also pointed to a cultural benefits of being here. He gave an example about "arts daily", a daily critique of artwork by designers and artists during the early part of game development, as being one of the ways Chinese culture has helped him run a smoother ship.

"People would do arts daily where everybody sits down in front of a big theatrical screen and have all the artists picking on someone's art in the West," said Pfeiffer. "You can't do that here, here people first of all don't want to publicly humiliate their friends, and they won't be too comfortable receiving the feedback.

"The way we get feedback in China is that we will get anonymous emails to the creative director," he added, " and if we use someone's ideas it gets used and if we don't no one feels stupid about it."

Pfeiffer also lists lower taxes as another Chinese advantage.

Pfeiffer and his team at BW are working on their first game, Bomb Buddies, a Bomberman-esque free-to-play online browser game that can be played all over the world. He says that the team basically played every version of Bomberman available to see if they could make a better game, in the end Pfeiffer believes BW can create a similar game with better graphics, gameplay, social and fun factors.

While Bomb Buddies is their first game that will be released, BW was previously working on a shooter but they had to change gears and turn it into Bomb Buddies.

About BW [Balanced Worlds]

Game development in China is no longer just a domestic thing. Foreign power houses such as EA, Zynga, and Ubisoft have major studios working on big titles in China. However, many of their best console titles won't reach Chinese players until either the game is released in PC in Chinese or pirated by Chinese hackers. Small foreign developers are springing up all over China, looking to make it big here by doing something many foreign developers haven't been able to do: make a game in China that can reach the world.

One such developer, Balance Worlds, was started in China to do pretty much what its name says, "to make games in China for the global market". Christopher M. Pfeiffer the CEO of BW, and a friend of mine, talked to Kotaku about some of the reasons why he came out to China to make video games.

Pfeiffer, originally from the States, had worked on big titles such as Resistance Fall of Man and the Ratchet and Clank series. He came to China with his partner Max Garber in 2007. Wanting to open their own studio, the two of them decided to open it in Beijing China.

"The reality is, I like it here," said Pfeiffer. "It's kind of like how life imitates art in the sense that I got into game development, and I really loved the process of development—you know, game design is like this chaotic rush to something great.

"China was in development on a country sized level, and it was kind of an intoxicating feeling."

When they first started, Balanced Worlds was a team of only 5 guys. Pfeiffer recounted having problems hiring and getting people in China on-board. As they matured and started to do more work, they've been able to hire more people and build up the company. Currently, BW has 35 employees, 28 of which are Chinese.

Many of them, like Pfeiffer, explained how China's long history as an art outsourcing factory and the cheap cost of living and labor was a big draw. American McGee, the famed game designer of American McGee's Alice and American McGee's Grim, also said similar things when I interviewed in him in in 2010.

But with cheaper cost of living, cheaper labor, and a workforce capable of producing artwork, why base yourself in China, I asked. Pfeiffer explained it as being more than just cheap labor but also different approach in game design and sales models that has him looking towards China as place where he can make his games.

"What I think of China, is that it's more experienced in game design in terms of online free-to-play and also when you talk about social game expereiences I think China is in the lead in that area," said Pfeiffer. "The West because of the console world has been ahead in production values, and what BW is trying to do is take Western production values and mix it with Chinese game design and monetization which is where they are superior right now."

The free-to-play business model that Pfeiffer referred to originated in Korea and really took off in China, so much so that many of the top games in China apart from World of Warcraft are indeed free to play.

Pfeiffer also pointed to a cultural benefits of being here. He gave an example about "arts daily", a daily critique of artwork by designers and artists during the early part of game development, as being one of the ways Chinese culture has helped him run a smoother ship.

"People would do arts daily where everybody sits down in front of a big theatrical screen and have all the artists picking on someone's art in the West," said Pfeiffer. "You can't do that here, here people first of all don't want to publicly humiliate their friends, and they won't be too comfortable receiving the feedback.

"The way we get feedback in China is that we will get anonymous emails to the creative director," he added, " and if we use someone's ideas it gets used and if we don't no one feels stupid about it."

Pfeiffer also lists lower taxes as another Chinese advantage.

Pfeiffer and his team at BW are working on their first game, Bomb Buddies, a Bomberman-esque free-to-play online browser game that can be played all over the world. He says that the team basically played every version of Bomberman available to see if they could make a better game, in the end Pfeiffer believes BW can create a similar game with better graphics, gameplay, social and fun factors.

While Bomb Buddies is their first game that will be released, BW was previously working on a shooter but they had to change gears and turn it into Bomb Buddies.

About BW [Balanced Worlds]