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Everyone has a story. No matter how dull you think your life is, how totally run-of-the-mill things seem, there's something from your history that would captivate a room. I'm serious. Everyone's life experiences are different, and whether it's the time the fire department stormed your house because you'd overcooked a pie, or the time you overcame your phobia of feather dusters, there's at least one tale in you that's worth telling.
Everyone has a story. But these days it seems no one's interested in hearing them.
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And so, a year on, the can of worms continues to wriggle. Ever since US film critic Roger Ebert declared that videogames could not be considered a valid art form, debate on the topic has failed to simmer down. Every man and his beret — from game critics, to artists, to developers — has had something to say about Ebert's stance. The issue of games as art is not the focus of this piece (though it's probably unavoidable that the two will intertwine) but its recent readdressing by Ebert highlighted an aspect of videogames that's been simultaneously revered and reviled.
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I'm watching a trailer for Die Hard 4.0 and I'm seeing a certain comic side-kick and thinking
about some of his other work.
Stupid ads. Stupid Warren Cheswick (Justin Long) being all hip and unassuming and unthreating,
and John Hodgman being brilliant as the scene-stealing dry as dust PC, who you can't help but
like even as you wish him on your worst enemy.
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There are some names that I'm absolutely sick of seeing. Paris Hilton. Jack Thompson. Katie Holmes and her Xenu-spawn. I suspect I'll be able to add another name to the list fairly soon: Krystal Forscutt.
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It's been a true battle of the wits lawyers in gaming circles the past few weeks, with an interesting predicament coming to the fore between publisher Vivendi and development studio Monolith. The cause: a little game called FEAR.
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