wie ben ik
the walking dead
the legend of zelda review
welcome to the world of esports
Wie ben ik? Dwight Casin
Ik ben een 21 jaar oude grafische designer. Naar het einde van mijn middelbare schoolcarriĂŤre kreeg ik meer en meer intresse in het grafische en leerde ik mezelf heel wat via tutorials en youtube. Ik heb beslist dat ik hier verder iets mee moest doen en daarom heb ik een opleiding gevolgd te syntra west. In de tussentijd heb ik ook contacten kunnen leggen in de opkomende e-sports wereld. Zo heb ik de opportuniteit gehad om meer ervaring op te doen maar ook enkele kleine tot grotere freelance jobs te kunnen doen. Naast ervaring op grafisch vlak heeft dit mij ook leren in team werken en met deadlines leren omgaan. Ik heb kunnen samenwerken met ĂŠĂŠn van de grotere maar ook kleinere e-sport organisaties. Zo heb ik kunnen samenwerken met: Origen, Room on Fire, ePunks, Team Kinguin.
Equipment Every designer needs a good pair of equipment for the best possible workflow. Besides designing i also game on my computer so my gear is also catered to that. Of course youâ€™ll need a decent computer thatâ€™s capable of running your software at the same pace as your brain. Whilst Macs have traditionally been the choice of graphic designers, I prefer to work on a windows computer, I am used to the ecosystem..
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Olly Moss grafisch designer
Olly Moss was born in 1987 in the UK. He graduated from Birmingham University in 2008 with a degree in English literature and is now one of the worldâ€™s most sought-after graphic designers. His illustration work began as a hobby, but showing it on the internet lead to further commissions for his illustrations and his works now sell for hundreds of pounds. Moss is most well known known for redesigning movie posters. Much of his work has been for the poster company Mondo. He has produced illustrations for The Guardian, The New York Times and his designs are regularly featured in Empire magazine. Moss has also produced covers for the comic book Before Watchmen and the video game Resistance 3. Moss is a self-confessed video game addict. In September 2013 he joined with a new game studio called Campo Santo to produce a video game.
Moss now says that he can be more selective about what he does, accepting only that work which really interests him, including designing a poster for The Oscars in February 2012. This poster features 85 Oscar statuettes. Each one is a different design and was inspired by the winner of the Best Picture Oscar from the years 1927 to 2012.
The Real Reason Why Mondo’s Posters Look So Much Cooler Than Regular Movie Posters What’s the secret of Mondo’s success? We sat down with creative director Justin Ishmael and poster artist Olly Moss (whose work we’ve featured before) to find out how they do it. In general with Mondo, you often take on things that have had a lot of iconography in the past. What kind of steps do you go through to try and figure out how to create a fresh spin? Olly Moss: I think for me the main thing is to not ignore it, not try to do something totally different, because I think that’s a mistake. Things are iconic for a reason, but the trick is to kind of exploit that. Well, maybe “exploit” is the wrong word — it’s more about putting a twist on it, showing something to somebody that they’ve seen a million times, but looking at it in a slightly different way. And especially with films that already have great posters, sometimes I like to throw a nod in to those. I remember American Werewolf in London had a great poster originally, so I used the typography from it. Or I was working on an A Clockwork Orange thing that’s probably not happening now, but having a triangular composition in it, that evokes the original, but gives a new twist on it. Justin Ishmael: It’s hard. For instance, probly the hardest one that we’ve actually had several people take a crack at, and it hasn’t worked, is Jaws. I mean, Star Wars and this and that, those are
classic, but Jaws is something you really can’t mess with. Yeah, there’s one image of the shark, and it’s like, that’s what Jaws is. Ishmael: You can do this for Star Wars and you can do this for Ghibli or whatever, and you still kind of get the same feel for the movie, but if you just had dudes sitting on a boat, with no water, it makes it feel different. Moss: I was thinking about that, and I was thinking there would be a way to do it with two boats in the water, as long as you made the ocean look completely terrifying without having a hint of the shark. Ishmael: So, when we get these licenses, normally — and this is the case with Jaws — the likenesses don’t come. So you can’t go drawing all the characters. [But luckily] we have the Robert Shaw likeness now — so maybe let’s do a Quint, because he’s the coolest character, right? So maybe we’ll do some-
thing with him. But yeah, when did the Star Wars, when we went into it, we’re fans first, so we know there’s a lot of stuff out there. Like, a ton. Yeah, there’s so much Star Wars art, it’s insane. Ishmael: So like, what can we do to this that is different? And it’s really the artists that we chose to work on it, they have this distinct style that really hasn’t been seen with that property... So we decided to go more illustrated, graphic, with the screen-printing stuff, so it has a distinct look. Moss: I still love my first idea for that series, that turned out to be completely impossible Ishmael: What was it again? Moss: It was like a blank piece of paper. No, it was gonna be, like, a really thin typographic piece, but it was going to have a carbonite Han embossed into it, coming out from underneath... So when you frame it up, you’d only catch it from certain angles. [There’s] 3D coming out of the paper. Ishmael: Totally white? Moss: Yeah, cream background, little bit of type at the bottom. Maybe in big type it would say “I Love You.” “I Know.” So, why do you guys think the minimalist poster style is so popular right now? Moss: Because it looks easy to do. Yeah, I think that’s a big part of it, a lot of people do the minimalist poster style, and they see it and they look at
it and they think it’s the style that’s important, like, “I like this!”, and they don’t really understand. Ishmael: Is it a lot of that “Why didnt I think of that!?” Is it that kind of thing? Moss: Yeah, that’s what you want. There’s a reason you do minimalism, and it’s because you’re using it to get across a core idea. But a lot of the minimalist posters completely ignore the idea, they just focus on the style, and the style is completely the least important part of it. It’s about the thought behind it, what are you trying to communicate, and a lot of those posters don’t really communicate anything, and it’s just a picture of something from a movie. So do you think it’s gotten kind of overplayed now? Moss: Oh yeah, I think it’s definitely a little overplayed. But you say that, “I think it’s a little overplayed,” but at the same time something can come up and its like, “Shit that’s amazing.” A good idea is never, ever going to go out of style. If it’s something that makes you laugh, or makes you think “Shit, that’s clever.” ... Personally, recently, I’ve been doing less and less of the minimalist stuff, and been trying to add more and more to my work, and that’s almost a little reactionary to how many minimalist posters we see all over the place. Why are regular movie posters, from the major studios, why are they so crappy? It feels like part of why you guys are so popular.
Moss: Because it’s really, really, really hard to make a decent poster. And that’s the one thing that I really object to, people going “Oh man, if only [the studios] could use your posters.” And it’s like, no — because these guys, if you know what it takes to make a movie poster, it’s ridiculous. It’s always really last-minute, you have to get it through so many levels of approval, and the culture is that you are encouraged to submit a book of like fifty ideas. And no one will ever pick one idea and just run with it. They’ve got to see like every single variation of a theme, every single possible iteration of an idea, and it eventually ends up being floating heads because that is what will get approved. It’s like a checklist: you’ve got the guy with the gun, and then you’ve got the perp, and they’re all facing the same way, and you can tell Brad Pitt’s in it, and that’s what they want, it gets to the point where you’re not really pleasing anyone, you’re just not offending anyone. It’s acceptable, but it’s never going to blow anyone’s mind.
Because it’s really, really hard to make a decent poster. Ishmael: A lot of the problem is, too, its kind of [done] by committee. It’s not one person’s vision on something, it’s like, “Well, Jim really liked this title treatment, and Frank really liked this piece —” Moss: “— and Scott would like to see a version that’s with blue —” Ishmael: — and then they put it all together. Moss: And the other thing is, there’s big legal things as well. If you have Sean Penn’s face on the poster, it needs to be the same size as, I don’t know, Don Cheadle’s or something. So that kind of limits what you can do in terms of composition, if you’ve got to have two completely even sized heads. Ishmael: The head thing too is [also because] you want to show off what you bought, in a way... I mean, you paid all this money for Tom Cruise, you want to show people you’ve got Tom Cruise. You dont want some drawing that has nothing to do with anything, you want people to be like, “We got Tom Cruise, look what we did!” And here’s the thing people say about us, they’re like, “Oh man, I wish Mondo would really do the real movie posters.” ... And it’s like, you know, just because it’s illustrated doesn’t mean its good. Look at 60s movies posters. Theres all these shitty 60 movie posters, and 70s movie posters, that are drawn. So thats not really a fix, thats not gonna fix anything, that’s just the state, that’s just how it is. I honestly think it’s getting better.
Moss: There’s a bunch of great posters. I remember, like, Moon is one that I liked... The Dark Knight had a fucking fantastic poster campaign. It’s their style, but it’s still good. It’s just, okay, the problem is that moist of the time it’s committee design. And people assume that because we’re doing the collectible things that we’d want to be doing the other ones, and I’ve been asked a few times and gone through the process, and it’s so horrible. It’s such a nasty, nasty thing to be a part of, and I have a lot of respect for the poster designers that go through it, because it’s tough. It’s a tough business. Ishmael: I think time has a lot to do with it, too. Because the little time I had to walk the floor, I was looking and this guy had the boards with the posters on it, the newer ones, and I saw a poster from Spider-Man, it was the one with the two towers and the eye? And I remember seeing it when it first came out, I was like “Oh, okay, whatever.” And then I looked at it again, revisiting it, I was like, “This is kind of cool.” Sometimes your posters will sell out in an hour or whatever, and do you ever think about bigger print runs? Why keep your runs so small? Ishmael: There’s a lot of reasons. The biggest one is what kind of contract we have, or agreement we have with the studios. It’s really boring, but there’s tons of different licensing programs. It just depends on what they let you do. And some people have the bigger ones and some have the smaller ones or whatever. It’s also [the fact that] the way we produce the posters doesn’t really lend itself to mass [production], like twenty thousand, that type of thing. If you’re doing lithograph Twilight posters you can crank millions of those out. Moss: You just press the button and they just come out. Ishmael: The hardest part on doing that is the setup, and then it just cranks em out. But with screen printing, you’re grabbing a squeezie... Moss: ...and you’re doing every color individually. Ishmael: It takes so long. You have no idea... So that’s the really big reason, we like to keep the quality up. It’s a very specific thing with screen-printing that you can’t do with other types — Glow in the dark, or metallic flake in the ink, or overprinting. There’s tons of stuff. There’s lots of reasons, but those are some of the big glaring ones that I see. Moss: It’s difficult, if you never had experience with either screenprinting or owning screenprints or collecting to understand what makes them good, as well, because of the way that it’s a very analog process. The point of a run is that once you’ve done that run and sold out, you can’t really go back and replicate it, it will always be slightly different. Like, the colors will be mixed differently, because it’s done with hand-mixing the colors, or like, each print will have a little bit of its own character, like they’ll be slight imperfections or things with it that make it such nice things to own. And when you get
Sheriff Deputy Rick Grimes gets shot and falls into a coma. When awoken he finds himself in a Zombie Apocalypse. Not knowing what to do he sets out to find his family, after heâ€™s done that he gets connected to a group to become the leader. He takes charge and tries to help this group of people survive, find a place to live, and get them food. This show is all about survival, the risks, and the things youâ€™ll have to do to survive.
The Walking Dead Tv series
Season 7, Episode 14, ‘The Other Side’ “The Walking Dead” continues to creep toward a confrontation with the Saviors and may have even kicked off the initial phase of the clash at the end of Sunday night’s episode. But first there was more preparation, of both the tactical and emotional varieties. Knives were thrown, weapons forged, amends made and forgiveness was offered. There were tears and hugs as Glenn and Abraham were mourned anew, because apparently we need to see every major character process their deaths as completely as possible.
Continue reading the main story That said, the return to more Glenbraham misery and predictable events made for a mostly shrug-worthy hour with the occasional wrinkle — has Eugene truly flipped? — and almost zero suspense. The good news is, Rosita might have managed to get someone else killed with a foolhardy rush to action, while remaining alive herself with yet another reason to mope and moan.
(No wait — that’s actually the opposite of good news.) True to this season’s peripatetic tendencies, we changed venues again, landing in the Hilltop after last week’s tragic goings-on in the Kingdom. The colony was abuzz with the war effort, as Maggie the Riveter and friends made maps and supply lists, and led the neophyte Hilltoppers through combat drills. Elsewhere, Sasha visited Abraham’s grave and Daryl sulked in the dark, unable to make eye contact with the woman he helped turn into a widow in the Season 7 premiere. (You’ll recall that his punching Negan was what provoked the Savior boss to kill Glenn.) It’s been a rough 13 weeks for Daryl, who escaped from his Sanctuary cell but not from his cage of guilt. Like Rosita, he’s still making decisions with his pain instead of his head. Hiding from a central-casting Savior thug, Daryl nearly attacked him, and in the process jeopardized the nascent rebellion and revealed that he and Maggie were at the Hilltop. (Remember, the Saviors think she’s dead.) Unlike Rosita, however, Daryl had Maggie around to chill him out and stay his knife. “It wasn’t your fault,” she told him later, referring to Glenn’s death. “I want to string them all up and watch them die, but we have to win. Help me win.” The message seemed to sink in, though the last moments of the episode threw some doubt on the matter. (More on that in a minute.) Here’s hoping that Daryl is ready to be a productive member of the team again. I know the green grass has only just begun to grow o’er their graves, per a lingering shot early in the episode, but I can’t be the only “Walking Dead” viewer weary of mourning Glenn and Abraham. Speaking of the latter, Sasha tried to offer similarly sage counsel to Rosita, but she was having none of it. Soon they were hot-wiring cars and holing up in a sniper perch, hashing out conflicted feelings about their mustachioed common interest and waiting for a clean shot at Negan. That never arose, so they decided to infiltrate the Sanctuary, and for some reason, Sasha charged in by herself so Rosita could live. I can’t pretend to care much about any of it. Look, “The Walking Dead” has created an impressive number of engaging characters, but Rosita is not one of them. The retroactive explanation of how she knows “how to do everything,” as Sasha put it, didn’t change that, nor was it terribly satisfying. (Roughly: She took up with a series of skilled dudes.) It’s not her fault. Rosita has always been a marginal character, a throw-in who arrived as part of the Abraham and Eugene group. Christian Serratos does a fine job with what she’s given but it’s never been all that much — this season it’s amounted to: “Be angry and impatient.” The problem is compounded by the fact that Rosita’s relationship with Abraham was never all that moving in the first place. Sasha’s — which lasted what, three weeks? — was even less so. But that was apparently enough to send her on a “one-way” mission to avenge his death with a surly former romantic rival. We saw Sasha feeling the weight of her decision early on,
the pull of the community at the Hilltop growing versus her desire to go after Negan. But her bonding with Rosita and angry mulling of Abraham’s fate — he “would have wanted to go out fighting” — seemed to convince her to not only “go out with a point,” but to sacrifice herself so that Rosita might live. I didn’t buy it, but here we are. We last saw Sasha disappear into the Sanctuary as automatic gunfire crackled inside, and we’ll see next week, I guess, whether she makes it and whether her invasion is what lights the fuse on the Savior war. (Rick and friends will need those Oceanside guns first.) Until then, we’re left to ponder a couple of questions raised in the final moments. Has Dr. Eugene Porter, Chief Engineer gone over to the other side? I theorized a few weeks ago that he was bluffing, but he sure seemed comfortable on Sunday, overseeing the fence with his grimbly-gunk, and he even turned down a chance to escape. (For the record, I’m not convinced he’s gone full Savior.) And who was that shadowy figure with the crossbow? We saw Daryl learn about the Negan mission, but isn’t there a certain iron-faced bow-wielder who might himself be ready to cross over to the other side?
Mura Masa Music Artist
Onder de naam Mura Masa blies producer Alex Crossan in 2014 de Britse musicosfeer op. Begin 2015 inviteerde Lefto hem al eens bij Democrazy, en nu staat hij klaar om de rest van de wereld te veroveren. Naast producer is het 19-jarig wonderkind ook songwriter en multi-instrumentalist. Hij combineert zwoele samples op een unieke en frisse manier met energieke elektronica uit de club. Zijn debuutalbum Someday Somewhere kwam uit in 2015 en de track ‘Firefly’ stond meteen in
de New Music We Trust playlist van BBC Radio 1. Ook Studio Brussel smulde van ‘Firefly’ en opvolger ‘What If I Go’. Ondertussen heeft hij zijn plek opgeëist tussen artiesten als Cashmere Cat, Hudson Mohawke en Lido.
KAMAU Music Artist
Ten thousand new moons have come since the first; we now stand before the dawn of the wolf! I see you Bma—my Iginvtli, You’ve come as son. Shhh, quietly—the Warrior howls tonight! KAMAU Mbonisi Kwame Agyeman—which literally means quiet warrior, affectionately called, little brother by his father, has always been a passionate and creative soul. His path in life seemed to be almost certain from birth. As a child KAMAU was very original and slightly unorthodox. Little brother was known to be always friendly with a wacky, witty sense of humor; deeply meditative, and possessing a strong sense of intellectual independence. Ironically, the beautiful, odd and abstract sounds of gibberish we hear in KAMAU’s music, was at times, a source of parental irritation, at least around the dinner table. A native of Washington, D.C., currently residing in Brooklyn, New York, KAMAU was raised in Upper Marlboro, a subdivision of Prince Georges County, Maryland. At home, his parents emphasized the importance and value of family and culture. These two concepts would form the cornerstone of KAMAU’s musical philosophy. Later, these principles would be reinforced by his initial academic experience at Ujamaa Shule (school), an independent private school in Washington, D.C., founded upon the ideas and basic values of the Nguzo Saba (seven principles). At Ujamaa, KAMAU experienced culture and family outside of the home, as well as the sound and rhythm of the African drums. KAMAU and his siblings would eventually graduate from Frederick Douglass high school in Upper Marlboro, MD; but remained a part of the Ujamaa family, attending and participating in local community celebrations, which exposed them to a variety of African instrumentals like the djembe, fontomfrom, dundun and donno— the calabash, bara and gita gourd—the mbira, balaphone—and of course, the high pitch vocals of ululation. As a child, KAMAU found daily inspiration within his home. Always tuned in to his surroundings, even while at play, he could hear his mother’s voice singing in the background— She would become his first favorite singer. The Sunday morning atmosphere in the Agyeman home was a jubilant time. His parents would rise early, filling the atmosphere with the spicy-sweet aroma of freshly prepared vegetarian meals. Dad would invigorate the household with joyful,
inspiring and often passionate music from around the world. Hugh Masakela, Vieux Diop, Tracy Chapman, Bob Marley, Des’ree, and numerous other renowned artist would serenade the family’s breakfast time. The volume always set at a festive level. Creativity and imagination were always encouraged and nurtured by his parents. As a child, KAMAU and his siblings were captivated by the personalized extemporaneous bedtime stories narrated by their father—featuring KAMAU and his siblings as heroes. Like most children’s stories, the setting was always some far off land—mystical, exotic and adventurous. KAMAU is the expression and extension of a strong loving family that commonly offered abode to friends and relatives through the years. It was during his time of occupancy, that Cordell, KAMAU’s cousin helped him to conceive rap as a craft. The relationship KAMAU shares with his siblings were among his strongest adolescent influence. The three Agyeman siblings were very popular in high school sports as well. His elder brother Kwasi, a resilient, savvy minded sibling is an accomplished artist in his own right, who works closely with his brother. N’jeri, KAMAU’s tenacious, tough-mined little sister, holds a BS degree in business from Manhattanville College in White Plains, New York. N’jeri is a model, fashion stylist and owner of ArtsyJunkie.com. KAMAU and his siblings were always urged to reason for themselves, to find the answers. With a father that loved the outdoors, nature was frequently proposed as a great place to learn. Philosophy, history and poetry were common themes in KAMAU’s natal environment, however, practical truths were the rule. There was no substitute for a strong work ethic. KAMAU’s mother worked a number of traditional jobs. His father served as a career firefighter, arson investigator and real-estate investor, who sought practical hands-on methods, as well as simple, fun educational tools, such as family board games (Cash Flow, Monopoly, etc.) and books to convey basic business concepts in the home. While there are a number of artist and musi-
cians who have had an impact on KAMAU’s music, it would be a mistake to limit his musical and artistic expression to a single field of influence. KAMAU has always had an intuitive sense—capable of extracting sounds and images from his environment to create his unique style of music. His love for warrior cultures of the world, universal principle, nature, family and ancestral legacy, are also a part of his musical make-up. His often playful and light-hearted sounds convey thought provoking messages. As a graduate with a BA degree in film, from Pratt institute in Brooklyn, New York, KAMAU has a way of integrating various genres of theater into his sound. His appreciation for all forms of art is evident in both his music and his person. KAMAU’s voice spans a range of instrumental and natural sounds that lay the framework of his music. His intricate use of free vocal expression, unique sounds outside of spoken word, percussion, beatbox, integrated vocal gibberish, doo-wop and stacked ad-libs within verse, all lend themselves to a very unique and spirited style of musical expression. The music of KAMAU’s childhood, though heavily indigenous, African/African-American, also reflected the sounds and rhythms of many other cultures, including the serene, peaceful sounds of nature. Morning meditation, frankincense and myrrh, yoga and martial arts, the spirit of the quiet warrior—KAMAU’s music reflects both past and present, offering encouragement for the future—a natural multicultural fusion of sound. It is, at its core, an attempt to bring balance and unite all things.
Artist influence Some of the more noticeable influences on KAMAU’s music are Vieux Diop, Hugh Masakela, Lauryn Hill, Tracy Chapman, Miles Davis, Louis Armstrong, Sam Cooke, Andre 3000, Roop Kumar Rathod, Tupac Shakur, Heavy D, Sade, Lupe Fiasco, Asa, Hans Zimmer, Ipi Ntombi, The Temptations, Des’ree, Donnie McClurkin, Al Jarreau, Sammy Davis Jr., Vieux Farka Toure, Issa Bagayogo, Boby Mcferrin, Mystic Warriors, Keiko Matsui, Yanni, Arrested Development, 50 cent, John Legend, Peter Tosh, Bob Marley, Stevie Wonder, K-os, Two Steps from Hell and K’naan and many others. While KAMAU’s love and broad concept of family is reflected in his music, it is demonstrated in his practice. In college he founded the RoNiN CiRCLE, a kinship of creatives that support each other and cultivates communal and individual growth within crafts and life in general. KAMAU’s ultimate, collective desire is summed up in his special brand of kuumba (creativity): to consciously contribute some-
thing as great and beautiful as our existence to the world and “to do always as much as we can, in the way we can, in order to leave our community [and world] more beautiful and beneficial than we inherited it.”
Support and personal thanks Aside from his biological family, there have been a number stepping stones along KAMAU’s musical path—who without, the journey would have been nearly impossible. The artistic precision and patience of Erick Cespedes has been invaluable to my development as an artist. My friendship with Abudu Nininger has been indispensable in maintaining my personal equilibrium. Michael Marantz was instrumental in reinforcing a love of cinema through music. The individual persistence of Chet Green along with the insight of BiGCiTYBiGCiTY helped to revolutionize the way I viewed and presented words. No Wyld was instrumental in reminding me of the importance of openness in collaboration. At a very crucial time in my thought process, a serendipitous encounter with Oddisee, led to a binding friendship, support and refuge that reminded me of the importance of family and that, true growth involves the entire body. The wisdom he shared evoked values I grew up with, and the emphasis on family resonated deeply. There are so many others not mentioned but who have equally contributed to my journey. No duty is more urgent than returning thanks. – James Allen
The legend of zelda: Breath of the Wild REVIEW Nintendo tricked us all. For years, it gave the impression that it was content to live in its own little corner of the gaming world, making well-received updates to its own franchises, without really caring about what the wider industry was doing.
Now we know that for all that time, it was watching and learning. The Legend of Zelda: Breath of the Wild is the result of that examination: a game that marries the best bits of the franchise’s long history with the best bits of the rest of the gaming world, and produces something even greater than the sum of its parts. At its heart, Breath of the Wild is an open-world exploration game, in the vein of titles such as Skyrim, The Witcher 3, and FarCry 4. After completing the small starting area (and these things are, of course, relative: that area feels about as large as the entire Hyrule Field from Ocarina of Time), Link is thrown into a world scattered with quests to complete, people to meet and monsters to defeat. He can find and climb towers to mark new areas on the map and travel at speed between them. He can break in wild horses and ride them, collect foodstuffs and cook them, collect new weapons and kill new things with them. He can also find, hidden or in plain sight, shrines which expand his life pool for each four completed; he can attack, or be attacked by, boss-level monsters wandering around the world, and solve environmental puzzles to collect Korok seeds that will expand his inventory. And then there’s the other stuff dotted around the place that defies categorisation: the Great Fairies, the rare non-boss
monsters, the small hints at the past of the world of Hyrule, and the strange characters you’ll sometimes meet, half way up a mountain playing an accordion or in the middle of a ruined castle being attacked by Bokoblins. There’s a danger, when describing a game of this scale, to get lost in the checklists. Yes, there’s a lot to do, but that’s meaningless if doing it isn’t fun in its own right. Thankfully, that’s not a problem Breath of the Wild has.
In fact, I can’t think of a previous Zelda game which gets the core gameplay loop so right. Let’s pull back for a second, though, and look at the overall structure of the game. Once Link leaves the Great Plateau, in short order he finds the heart of his quest: to find and free the four “divine beasts”, techno-magical creations that are key to defeating regular series villain Ganon and saving Princess Zelda and the land of Hyrule from destruction. As Zelda plots go, it’s fairly standard, considerably enlivened by the cast of characters involved, and the fully voice-acted cutscenes interspersed throughout (Link himself, however, remains a mute protagonist). Those four divine beasts are located at roughly the four corners of the map, encouraging full exploration even before the completionism and sidequests kick in. They occupy roughly the same role in as the classical dungeons and temples of previous Zelda games, with a series of puzzles culminating in a boss fight, and form absolutely spectacular set pieces. Each of the beasts have their own radically different storyline leading up to the confrontation. Photograph: Nintendo The first of the beasts I fought – and you can approach them in any order you see fit, but the game gently nudges you to tackle them in a roughly anti-clockwise order – started with a trip to Zora’s Domain, battling through a long path to reach the land of the fish people. Once there, Link is enlisted to collect lightning-infused Shock Arrows (the Zora, being a watery folk, can’t even touch them), before he teams up with the prince of the Zora to attack the divine beast, using the arrows to take out weak points on its outer shell and calm it enough to land on it. And that’s only the beginning of the fight, which draws a clear inspiration from titles like PS2 classic Shadow of the Colossus and manga hit Attack on Titan. Each of the beasts have their own radically different storyline leading up to the confrontation, and even in a more conventionally-structured Zelda, they’d be noteworthy for their impeccable mixture of puzzles, combat and flair. But Breath of the Wild is not conventionally structured - at least, not for this series. Gamecube-era classic The Wind Waker comes closest, with its seafaring world, but where the open ocean that game offered was largely a wide blue expanse with the occasional semirandom encounter, Breath of the Wild’s world is, and I can’t repeat this enough, bursting at the seams. If you’re thinking, for instance, that four dungeons seems slim – even Ocarina of Time had nine – then let’s talk about
those shrines. Nintendo says there’s 120 of them, dotted all around the map, and each of them is a complete mini-dungeon in its own right. Some are simple one-room puzzles, offering everything from a test of timing with your bow and arrow to a motion-controlled game of pachinko. Others expand that, up to a full multi-room series of Zelda puzzles, taking an idea (“transport the fire”, for instance) and iterating on it. There are combat-focused shrines, with one singular boss-tier enemy, and there are even shrines where the entire puzzle is simply finding the damn thing, or making your way to its front door. If you’re matching the description to your memory of Zelda games past, you’ll notice something: those shrines aren’t – and can’t be – ability gated. If you can do anything in any order, the game can’t require items that drop from one dungeon to complete the next, as almost every previous Zelda game has. Instead, you’ll secure the vast majority of your skills in the opening area, including bombs, a time-freeze skill, and the ability to manipulate metal objects. There are still times you’ll find yourself in a shrine and unable to complete it, particularly some of the harder combat shrines, but even that happens less often than you might think, thanks to the game’s unique approach to collectibles. Every weapon (and shield) is breakable. Not in a World of Warcraft, or Witcher 3, way, where they have durability scores to encourage you to head to a blacksmith periodically. No, these weapons will break, permanently, after a certain amount of use, and there’s nothing you can do about it. That means rather than a steady power increase, common to most RPGs, you’ll find yourself yoyoing around: a brilliant sword dropped by a boss will give you a huge burst of damage, but only until it shatters. It’s a canny concept, which has you playing around with a far wider proportion of the game’s armoury than most of its peers, which forces you to treat the vast majority of loot as junk. Keeping tabs on which weapon to use can become complicated. Photograph: Nintendo The downside is pairing that approach with an extremely limited inventory space, and the rapid desire to keep a few types of weapon on hand for specific uses (a metal blade for making sparks to light fires, for instance, and an icy weapon for killing fiery enemies), can quickly feel cramped. At times, I’ve found myself with only one weapon I was actually comfortable using against common mobs, rapidly having to pick up a new club every time my old one shattered lest I wear down my Ancient Sword++ or Giant Thunderblade. Just as your weaponry and inventory no longer act as a constraint on where you can go, so too does the world itself offer few barriers. “You can go anywhere” is a common selling point in open world games, but it’s rarely so true as here. Eve-
ry wall, cliff, and tower can be climbed, with only Link’s stamina limiting how far you can go. And that stamina can be refilled, with food eaten halfway up a mountain, and enhanced, with items won from shrines, meaning that the sky really is the limit. And you’ll want to climb high, because the other major addition to Link’s motability is a paraglider, similar to the Deku Leaf from Wind Waker, which can take him a considerable distance if he jumps off a high-enough point. All these things combine together to form that best-in-class core gameplay loop. In the back of your mind, you know you should make your way to the Zora Domain, to find the divine beast. So you climb a mountain to see if you can spy the way to the tower that will give you the map. You do see the tower, but you also spot a shrine halfway there. Pausing only to consider the landscape – it really is pretty, isn’t it? – you mark the shrine’s location, jump off a cliff, and float towards it, but find your way blocked by a camp of Bokoblins. Fighting your way through them shatters the claymore you’ve been carrying, and costs precious arrows, but the chest at the end contains a hundred rupees, and you pick up a spear one of them dropped, so it nets out. Once you find the shrine, you complete the puzzle by setting your own wooden spear on fire, and then leave, with the intention of heading on to the tower. But the shrine is a fast travel point, offering you the ability to divert from the trek and easily resume it at a later date. And now you’ve got a hundred rupees, you can entice a Great Fairy out of her hiding place. So you head over there, and chat to her, discovering that she’ll enhance your armour. But you need a few more Hightail Lizards to do so – and so you put the trip to Zora’s Domain on hold again, just for a few more minutes … You look up, and it’s five hours later, and you don’t care.
E-SPORT a new generation
I’m going in for the kill. I can feel how close I am, yet my prey is staying just out of my grasp. They are so close to death, yet no matter how hard I am trying, I can’t seem to end the chase. I’ve almost gone too far, and it’s beginning to get dangerous for me to be here. I take one last shot as a last ditch effort, by throwing my hammer at them as hard as I have ever thrown anything, as accurately as it could be after taking aim for only a second and a half. Luckily, I hit my target, and I see the enemy Agni fall to the ground, now dead for 28 seconds. I take my medal for a player elimination, and I creep quietly through the jungle and try to “back” to base without being seen. At the last moment, I am seen by the enemy Serqet, but luckily she misses her taunt and I get away by the skin of my teeth. I spend my 2350 in-hand gold that I have, buy a Jotunn’s Wrath, and yell “I’m the Greatest!” over and over until I get VGS spam blocked. What the heck was that, you might ask? Well, that was a situation one might be in during a match of SMITE, a massive online battle arena (MOBA) that is very quickly making its way up in the world of professional gaming. Professional gaming, also known to many as ESports, is completely taking over the world with gaming tournaments and championships. ESports has been growing at an incredible rate over the last few years, with the industry of professional gaming now worth $720 million. While that number may seem ridiculous to most, and reasonably so, at this rate it is going to keep growing more and more each year. It is projected by some economic experts that the industry will bill pass $1 billion by 2018, not counting the sponsors of both players and events by major, non-gaming companies. Before the release of the colorful shooter Overwatch, Coke ESports (a new division of the Coca-Cola Company), sent multiple online personalities and professional players gift packages sponsoring the game, as well as limited-edition prizes, novelties, and items to give away to viewers for promotion. HP constantly sponsors League of Legends tournaments, as well as the top professional players and personalities within that community.
ESports has become a huge business for players, with some of the best players earning millions of dollars each year. But why has everyone the world over become so obsessed with professional gaming over the last few years? Let’s start with this: Some 205 million people watched or played ESports in 2014, according to market research firm Newzoo -- meaning that if the ESports nation were actually a nation, it would be the fifth largest in the world. And while ESports have long been biggest in Asia, especially in Korea, North America and Europe now claim 28 million ESports fans. And it’s been growing at 21% annually for the last three years, which is one of the fastest growing industries in history. So not only is it one of the biggest industries in the world, with a ridiculously giant following for hundreds of games, but it is seems to be growing exponentially each year. And it shows no signs of slowing down or letting up. Now, let’s get down to what really matters: the green (and no, I’m not talking about my SMITE gems). Esports offers an incredible amount of money to those who are good enough to earn it, with some of the best players earning millions of dollars each year. This year, the Defense of the Ancients
(DOTA 2) World Championship prize pool is currently sitting at $10.9 million and is expected to be raised to $18 million by the time the tournament actually starts. To put that into perspective, the Super Bowl here in the US offers only $8 million, and the ICC Cricket World Cup offers $10 million. So there is serious money to be had in the world of Esports (if you can make it). In fact, so much money and effort is put into these competitions that the US government has begun issuing sports visas for professional gamers to visit countries, and for gamers from other countries to come to the US. (So, not only is there serious money and skill involved on a gaming level, but even on an actual sports level.) When the government of one of the most powerful countries in the world acknowledges you as an athlete, I think you’ve done pretty well for yourself. So not only does Esports have an incredibly intense and loyal fan base, rivaling that of any physical sport, but it has been officially recognized by the government as a sport. The best players can make millions of dollars, and create a brand of their own to further expand their influence and name beyond just gaming. Take Nadeshot for example, one of the runner-ups from the 2013 Call of Duty (COD) World Championship. He started out as just another COD internet personality, yet now he has a loyal fan base of people who watch his vlogs religiously, buy his merch, which he has a ton of I might add, and use the services which sponsor him. He is now an “Internet Celebrity” because of his video gaming career, and he is making just over $1 million a year, even though he doesn’t play professionally anymore. So something that seemed childish before, getting paid to play video games all day long, is now a serious business, and it can branch off into multiple career paths online, which can be just as successful.
The world is moving forward, and it’s becoming more digital. So doesn’t it seem natural that our favorite pastimes and sports do as well?
Welcome to the world of e-sports Fnatic is a leader of the global professional eSports movement. Founded by Sam Mathews in 2004 in the early days of the professional video gaming industry, Fnatic has since helped shape the new world sport into a fast-growing phenomenon. At its core are Fnaticâ€™s talented professional gamers, who have won have thousands of tournaments and inspired a community of tens of millions of fans. Our world class players represent Fnatic in all corners of the globe, attending more than 75 international events per year across 20 different games including League of Legends, Dota 2, Battlefield 4 and CS:GO. With over a decade of big wins, the Fnatic team continues to take its place at the forefront of the industry. More than just a team, Fnaticâ€™s mission to bring eSports into every household. Headquartered in London, the Fnatic operation spans across San
Francisco, Berlin, Belgrade and Kuala Lumpur. From designing hardware gear and apparel to launching community experiences, we at Fnatic are dedicated to building the first globally-recognised lifestyle brand to emerge from the world of eSportsâ€“ and continuing to entertain new audiences far and wide.
P O R T F O L I O
Dwight Casin Â©
Dwight Casin Â©
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CASIN DWIGHT Graphic Designer
Sint-rembert Lichtervelde 2008-2010
kantoor Sivi Torhout 2010-2014
kantoor specialisatie jaar Sivi Torhout 2014-2015
Grafische media vormgver Syntra West 2015-2017
Wie ben ik Ik ben een 21 jaar oude grafische designer. Naar het einde van mijn middelbare schoolcarriĂŤre kreeg ik meer en meer intresse in het grafische en leerde ik mezelf heel wat via tutorials en youtube. Ik heb beslist dat ik hier verder iets mee moest doen en daarom heb ik een opleiding gevolgd te syntra west.
Stage boekhkouden Boekhoudkantoor Six Torhout 2013-2014
Stage receptionist Garage Goehtals torhout 2014-2015
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