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  • How Kiwis players rated in Pacific Championships win over Tonga

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  • Jillaroos beat Kiwi Ferns in tense Pacific Championships clash

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  • Willis denies RBNZ cover-up; insists she pushed for transparency

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  • David Pisor Faces Foreclosure Suit Over Aya Pastry in West Town

    David Pisor Faces Foreclosure Suit Over Aya Pastry in West Town

    As the new owner of Etta Collective attempts to distance itself from the bankruptcy filings of former owner David Pisor, the banks are pressing forward with efforts to collect debts. Records show Pisor has defaulted on the $1.4 million mortgage for the West Town building that houses Aya Pastry.

    Wintrust Bank has filed a lawsuit against Pisor and also lists his former business partner, Jim Lasky, in the complaint. Lasky’s attorneys have reiterated that their client has been long removed from Aya’s operations stemming from an acrimonious split between the parties in 2023. The two also founded Maple & Ash in Gold Coast and Etta. The latter had multiple locations while a Bucktown restaurant remains open under the new ownership of a Texas tech company. Johann Moonesinghe is the founder of InKind and took over Aya Pastry earlier this year after he won an auction for Etta Collective’s assets. Moonesinghe is now the tenant at 1332 W. Grand Avenue and tells Crain’s he’d be interested in buying the Aya building if it were made available. In Scottsdale, Arizona, an Etta outpost was recently sold to RDM Hospitality, an Austin, Texas company. The restaurant will relaunch in late September with renovations and a new modern Italian menu, according to a news release.

    Back in Chicago, Aya Pastry’s namesake, acclaimed pastry chef Aya Fukai, left the bakery in 2023, but her name remains on all the branding. Fukai, who worked with Laksy and Pisor at Maple & Ash, opened the bakery with the pair in 2017. Her recipes also remain and several local coffee shops stock their pastry cases with doughnuts and croissants from the bakery. Fukai isn’t listed as a defendant in Wintrust’s lawsuit, filed Tuesday, September 10 in Cook County circuit court. Pisor kept Fukai’s departure quiet while dealing with the fallout from separating from Lasky. Over the summer, Lasky and chef Danny Grant announced expansion plans for the bar inside Maple & Ash, called Eight Bar. There’s hope of opening multiple locations across the country, and the duo has plans for Maple & Ash and Eight Bar combo in Miami. The steakhouse holds the cachet of being one of Restaurant Business Online’s highest-grossing independent restaurants in the country and tops in Chicago.

    Last year, several former Etta workers protested, citing lapses in healthcare coverage and other operational concerns with Pisor. Meanwhile, Pisor tells Crain’s that he looks forward to resolving the matter concerning Wintrust quickly, describing the bank’s lawsuit as a baseless attack and a “technical default.”

    Ashok Selvam

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  • Molokhia Is Comfort to Palestinian Americans in a Time of Profound Grief

    Molokhia Is Comfort to Palestinian Americans in a Time of Profound Grief

    Manal Farhan lost her appetite. It was November of 2023, more than a month since the October 7 attack by Hamas in Israel, killing 1,139 civilians and members of the Israeli military and taking more than 200 hostages. The violence that day sparked an Israeli siege on the Gaza Strip that had already killed more than 14,000 Gazans (the toll has climbed astronomically since), flattening buildings, and creating a dire humanitarian crisis. Farhan, a Palestinian American in the throes of intense grief, hand-stitched a Palestinian flag and hung it outside her home in Logan Square. Then, she says she received a call from the management company representing landlord Mark Fishman telling her to remove it — if she didn’t, she’d be evicted. “I said ‘I’m Palestinian and there’s a genocide.’ They said, ‘You have to remain neutral,’” Farhan recounts.

    Between anxiety about the eviction and the horror of witnessing Palestinians slaughtered and dismembered by bombs daily on social media, Farhan struggled to eat. “When you’re carrying that level of stress, your body stops responding to hunger. Hunger becomes a secondary concern,” she says. But hunger would often return when her mother Karima would make molokhia (ملوخية), a leafy stew with roots in Egypt that today represents a unifying dish across the Arab world. Molokhia, the national dish of Egypt, is ancient. The pre-Arabized roots of its name means “for the royals” or “for the gods.” The leaves, also called jute mallow, spread from Egypt across the Arab world with migration and trade. It’s seasoned simply with salt, garlic, and lemon, boiled in chicken broth, and often served with chicken or lamb.

    This humble soup, made with greens and often chicken broth, has become a soothing symbol of solidarity amidst violence in Gaza.

    In times of turmoil, we turn to the dishes that make us feel safe, and more and more these days, people in Chicago — home to one of the nation’s largest and oldest Palestinian immigrant communities — are seeking solace in a bowl of molokhia. As one count estimates at least 186,000 Palestinians may have been killed by Israeli forces — according to a letter published by researchers in the British medical journal the Lancet — Arab Americans are searching for comfort and solidarity by any means. In that climate, the dish is taking on a new political significance for many Arabs introduced to it for the first time. Almost every weekend, organizations like the U.S. Palestinian Community Network and Students for Justice in Palestine organize large protests downtown. On Thursday, August 22, groups assembled outside the United Center to protest the exclusion of a Palestinian American speaker at the DNC. Autonomous groups blockade streets in Wicker Park, protest weapons manufacturers like Boeing in the Loop, and even dyed Buckingham Fountain blood-red, spray-painting “Gaza is bleeding.” And now, as the Democratic National Convention descends upon Chicago, protestors march and disrupt politicians’ speeches, condemning them for funding Israel’s army. To ignore the political reality of the people who love this dish, then, would be to tell an incomplete story of molokhia’s place in Chicago.

    “I don’t know a Palestinian who doesn’t love molokhia,” Farhan says as we eat and discuss her case at the Palestinian-owned Salam Restaurant in Albany Park. The same Palestinian flag Farhan made in November remains hanging outside her home as she continues to fight what she contends is an unlawful eviction. (The landlord argues that a lease agreement bans any article from being displayed out of a window.) Palestinian Chicagoans and allies have protested the eviction, boycotting the Logan Theater, which Fishman owns. Being evicted here in Chicago for “expressing love and pride” for her heritage, as her federal lawsuit against Fishman states, is ironic for Farhan. Her maternal grandmother’s home in occupied Palestine is now inhabited by Israeli settlers. (Farhan’s lawsuit, which argued neutrality was never the objective — other tenants could fly Christmas and Hanukkah decorations out their windows, according to Farhan’s lawsuit — was dismissed in March and Farhan awaits an appeal.)

    Alongside graphic photos of corpses and rubble, I see displaced Palestinians making molokhia in Gaza on social media. “Mloukhieh is one of the most popular dishes loved and made by Gazans. Usually, it is made with chicken or chicken broth, but since no protein source is currently available, we are making it with processed chicken broth. As usual made with love, amidst the war,” Renad, a 10-year-old content creator from Gaza, writes in a caption. The lack of chicken is glaring; meat being nearly impossible to find or buy due to Israeli blockades of food, hygiene products, and medicine. Many, especially in North Gaza, have died of starvation. Still, the dish seems to retain its celebratory and comforting meaning, even in the depths of hell. “Palestinian food is one of the foundational aspects of socialization in our culture … regardless of the fact that [the refugees] were displaced and dispossessed,” says Lubnah Shomali, the advocacy director of Badil, a human rights organization for Palestinian refugees.

    Lubnah, a Palestinian Christian, was raised in the Chicago suburbs before moving her family, including her daughter, my friend Rachel, to the West Bank to connect with their culture, even though life was harder under occupation. Lubnah says refugees often pick up different methods of making molokhia from each other, the same debates I hear in Chicago melded. “Within the refugee camps, there persists this need to host, invite people, and make meals,” Lubnah says.

    For Mizrahi Jews, Jewish people of Middle Eastern descent, molokhia is part of their memory too, even though the Nakba severed these ties. Hisham Khalifeh, owner of Middle East Bakery in Andersonville, recalls meeting an 80-year-old Mizrahi Jewish man there in Chicago. “He still had his Palestinian ID in his pocket,” Khalifeh says. The man wanted to talk about the food he’d loved in Palestine and all that had changed since he was cleaved from his Muslim and Christian neighbors by Israel’s formation, apartheid, and ethnic cleansing. Khalifeh says the man told him in Arabic, their shared ancestral language, “Naaood lal tareekh.” Let us go back to history.


    “White people love tacos [and] enchiladas… but I remember being a kid, eating molokhia at school and everybody being like, ‘Ew, this is slimy green stew,’” recalls Iman, a Mexican Palestinian Chicagoan. Iman agrees molokhia is a core part of Chicago but is doubtful others will see it that way — which she doesn’t mind. “It’s one of those things I feel is so loved but hasn’t been claimed or taken over by white culture yet.”

    The first Palestinians arrived in Chicago in the 1800s, long before the modern Israeli state was established, according to Loren Lybarger, a professor at Ohio University and author of Palestine in Chicago: Identity in Exile. He recalls eating molokhia frequently at the homes of Palestinian community leaders in Chicago during his research.

    Molokhia, the national dish of Egypt, is ancient. The pre-Arabized roots of its name means “for the royals” or “for the gods.” A 13th-century Syrian cookbook lists four different versions; one that calls for charred onions ground into paste and another with meatballs. It’s a food that’s inspired myth and religious fervor, as it’s said that the soup nursed 10th-century Egyptian ruler Fatimid Caliph al-Hakim bi-Amr Allah back to health — hence the name. (It’s also sometimes called Jew’s mallow, referring to a claim that Jewish rabbis were the first to discover and cultivate it.) The Druze, an ethno-religious group in West Asia, believed and still believe the caliph was God. So many Druze do not eat molokhia even now, obeying his command. For most people, though, molokhia is no longer solely for kings or gods anymore. But making it can be an affair fit for royalty.

    Cooked molokhia leaves have a “viscous quality, similar to nopales in Mexican cuisine,” Lebanese chef Sabrina Beydoun says. Molokhia is comfort food, something teeming and right in the deep greens, the grassy and earthy smell. “My mom would prepare it with a lot of pride,” she says. “As I’ve gotten older, I look back on [it] with fondness and nostalgia.”

    And everyone has a different way they like their molokhia — the variations and debates are practically part of the experience. “Everyone does it their way, and everyone is convinced their way is better,” Beydoun says, laughing.

    My friend Rachel, a former player on Palestine’s national basketball team, prefers molokhia leaves whole (Beydoun says this is common amongst Lebanese people), while my other Palestinian friend Rayean grew up with ground leaves. Farhan’s mother Karima’s special ingredient is a bit of citric acid.

    A bowl of molokhia with chicken and rice in the back.

    Molokhia is prepared differently depending on the household and restaurant.

    An adult father-and-son team wearing the same shirts and smiling while sitting down.

    The father-and-son team of Ahmed and Mohammed Saleh at their restaurant, Cairo Kebab.

    At Cairo Kebab, the city’s only Egyptian restaurant, molokhia became the second-most requested dish among its Arab diners since the spot began serving it daily in 2023 off Chicago’s fabled Maxwell Street in University Village, according to co-owner Mohammed Saleh. “Home foods ground us and make us into who we are,” he says. Molokhia is arguably part of a larger shift, where restaurants owned by marginalized ethnic groups are increasingly serving dishes once relegated to the home, due to both wider awareness through media, desire for the dishes among immigrant communities longing for familiar foods, and chefs feeling empowered to explore their identities in a deeper way.

    “A lot of our customers who are Palestinian or Jordanian will ask for a bunch of lemon, or will ask for us to not cook it with garlic,” says Mohammed.

    Ahmed, the owner and head chef of Cairo Kebab and Mohammed’s father, adds that unless they’ve had molokhia before, “Americans eat it however we serve it.”

    Ahmed makes the restaurant’s version with lots of garlic in sizzling butter, while Raeyan’s family goes light on garlic. I love the chicken with crispy, roasted skin, and frequently alternate between spooning the molokhia onto the rice and chicken, and spooning rice and chicken into the molokhia. Some like it skinless and boiled. Most of my friends eat it with rice; Ahmed says many prefer sopping it up with bread, and some eat it plain like soup, with a spoon or light sips from the bowl. Usually, it’s served with squeeze after squeeze of fresh lemon.

    Khalifeh has fond memories of molokhia with quail. Ahmed says in Egypt’s second-largest city, the port town of Alexandria, it’s often made with shrimp, and some use rabbit. In Tunisia, the molokhia is dried and ground into a powder, resulting in a silky, nearly black-colored stew with lamb. Sudanese people, because of their shared history with Egypt, also love molokhia. It’s spelled molokhia, mlokheya, molokhia… The differences are endless and dizzying.

    “When I was a kid in Egypt, molokhia wasn’t just a food, it was an event,” Eman Abdelhadi, an Egyptian Palestinian writer and sociology professor at the University of Chicago, wrote in an email. “A whole day would be spent in the arduous processes of washing, drying, and cutting it. It was something we all looked forward to.” Ahmed says that during Ramadan iftars, a time of gathering after fasting all day in the Muslim holy month, many customers request at least two plates of molokhia when breaking fast.

    A man in a red shirt holds up two pots and pours green soup into a bowl.

    Ahmed Saleh, who owns Cairo Kebab, moved to Chicago in 1990.

    For Arab Chicagoans who didn’t grow up with molokhia, Chicago is often the place they first tried it. “We don’t have molokhia in Morocco. But I heard of it because we used to watch old [Egyptian] movies,” says Imane Abekhane, an employee at Cairo Kebab. “Then I came to Chicago, tried the Egyptian molokhia, and I loved that.”

    When I first started investigating molokhia for this piece, so many of my Arab friends told me Cairo Kebab’s was the best place to try it in Chicago — a bowl made me understand why. Tender roasted chicken, bright green molokhia balanced with just enough garlic and salt, vermicelli noodles in the rice, and a side of homemade tomato-based hot sauce with chile flakes, chile pepper, and black pepper — all delicious. Ahmed made the molokhia at my table the way it’s sometimes made in Egypt, with flair and performance, a gloopy river of green cascading from one saucepan into another before pooling in my bowl. Mohammed notes that he’s seen more Palestinians and Arabs come into Cairo Kebab for home dishes like molokhia since the devastation began in Palestine last year.

    Even if everyone cannot agree on how to make it, everyone I spoke to agrees that molokhia is an Egyptian dish. But because of the large population of Palestinians in Chicago, many’s first meeting with molokhia — including mine — is at a Palestinian friend’s home, or at Palestinian-owned grocers like Middle East Bakery, where Khalifeh says non-Arabs often come in after seeing it online as part of a growing advocacy for Palestinian cuisine and the Palestinian cause — their resistance against Israeli occupation. That gives the dish a certain political significance.


    When we made molokhia, Rachel used dried leaves her grandmother brought her from Palestine, an experience Mohammed Saleh says is common. “When we go to Egypt, my parents are always gonna bring back at least one suitcase full of dry pre-packaged goods, including molokhia,” he says.

    Frozen and dried leaves are also readily available in Chicago, at Middle East Bakery, Sahar’s International Market, or Feyrous Pastries and Groceries in Albany Park. Both Raeyan and Rachel insist that dried — which produces a darker color than frozen — is better. Ahmed says dried has its merits, but frozen leaves preserve molokhia in its original state more effectively, the process of drying giving it a different taste and color. “Frozen is as close to molokhia leaves harvested in Egypt by hand as you can get,” he says. Khalifeh, in contrast, is adamant that dried is always better, saying it has a flavor and texture that frozen can never achieve. One of his tactics is to put a little bit of frozen leaves into the dried, helping with color and consistency. But he and Ahmed both say that not everyone can make dried molokhia correctly.

    And perhaps something is lost in the modernity of freezing, something exchanged when sifting through the molokhia leaves is forgone. “My mom and aunts sit on the floor, removing stems and remnants of other harvest[s] like tobacco leaves,” Beydoun says. “It’s a communal practice. It is a poetic thing to witness.” In dried leaves, I see survival — a way to transport ancestral plants for scattered diasporas. Frozen molokhia must be shipped. But dried can be carried; it is not dependent on any company, just those who have a relationship with the plant.

    Still, almost everyone agrees fresh leaves are best — if you can find them. Sahar’s has fresh molokhia leaves this summer, but “they go fast and we sometimes don’t know when they’ll come in,” a grocer told me over the phone. Hisham also directed me to Việt Hoa Plaza, where I found fresh leaves that the grocers there also said are rarely stocked due to the growing popularity of molokhia in East Asian cuisine. According to the Markaz Review, Japanese farmers started growing the plant after advertisements in the ’80s pushed molokhia with slogans like “the secret of longevity and the favorite vegetable of Cleopatra!”

    “[It’s] very popular in Japanese grocery stores as well as Korean grocery stores,” says Kate Kim-Park, CEO of HIS Hospitality, adding that their version is slightly stickier. “The plant is called 아욱 (ah-ohk) in Korean,” she says.

    Chef Sangtae Park of Omakase Yume in the West Loop has fond memories of cooking molokhia and eating it with friends and family. “I add it in traditional [Korean] miso soup or as side dishes [banchan] by blanching the leaves and sometimes mixing sesame oil, sugar, and Korean red pepper flakes,” Park says.

    A man in a red shirt holds a plate of a chicken and rice while standing in the middle of the his kitchen.

    Ahmed Saleh holds a plate of chicken and rice, which is one of many ways folks enjoy molokhia.

    You can also grow them yourself. Iman decided to start planting molokhia and other plants used in Palestinian cuisine like wild thyme (sometimes called za’atar, though it is applied differently than the spice mix of the same name) this March. “I felt like it was an act of preservation and resistance when people are trying to erase Palestinians,” Iman says. Globally, Indigenous cultures stress the importance of seed-keeping, and Palestinians are no different. But planting molokhia was difficult in cold Chicago. “[Molokhia] prefers temperatures between 70 degrees Fahrenheit (21 degrees Celsius) and 90 degrees Fahrenheit (32 degrees Celsius) and well-drained, loamy soil rich in organic matter,” says Luay Ghafari, Palestinian gardener and founder of Urban Farm and Kitchen, adding that Chicagoans should start planting the seeds indoors under grow lights “four weeks before the last frost date,” transplanting them into the garden when the chance of frost is over and the soil has warmed.

    “It would get really hot and then it would get really cold again, so I was constantly running them in and out of the apartment when they were little seedlings,” Iman says. Now, the molokhia plants are healthy and mature, nothing like the yield Iman sees from Palestinian fields, but something she’s proud of. Ghafari says molokhia is an annual that can grow several feet tall in optimal conditions. “During harvest season, you often find it sold in large bales because it takes a large quantity of leaves to yield enough quantities for consumption.” But home plants in Chicago like Iman’s don’t yield enough leaves for much besides smaller pots of stew. Iman’s Mexican mother tends to the plants at their family home near the suburbs. “It’s our bonding thing,” Iman says.

    Raeyan’s mother Nancy Roberts, an Arabic translator, typed up Raeyan’s grandmother’s molokhia recipe — the recipe we cooked from — that was passed down through generations. This, too, is a kind of sacred seed-keeping.

    “I plan to pass [recipes] to my children until liberation,” Abdelhadi says. “Mahmoud Darwish said the occupiers fear memories, and Palestinians have made memory a national pastime.”

    After running around in the summer heat of Chicago in search of stories about this plant, what were my memories of molokhia? They weren’t Rachel’s, Raeyan’s, Iman’s, or Laith’s — memories of childhood, family, heritage. But I was building a relationship with molokhia.


    A colleague once said, “Palestine lines my mind.” I never forgot it because it so aptly described these past 10 months for me. Now, somehow, molokhia had settled there too, becoming part of my memory of this brutal time, intertwining with Palestine, with Gaza. “It was very bad today,” Hisham says quietly when I mentioned Gaza during our interview, referring to the Israeli airstrike that day in al-Mawassi, a designated “safe zone,” that killed over 100 people in a matter of minutes, most of them children. In every interview I did for this article, the genocide either kept coming up or the tension was thick as it was talked around. So how could writing about molokhia ever just be about food? How could researching, eating, and making molokhia not make Palestine fill my mind, and enter my dreams?

    One night I dreamt that Rachel, Raeyan, and I were bustling around my kitchen making molokhia, me sifting the leaves with henna-stained hands, Raeyan stirring by the stove, Rachel chopping garlic. My friend Omar was in the kitchen too, watching. It was almost an exact replica of how we had looked when we cooked it.

    Except Omar doesn’t live in Chicago. He is in Gaza.

    The day of the dream, Omar told me the bombing was heavy; he might not live through the night.I hope you live. May Allah protect you,I messaged back. The next sunrise, I got a reply. Alhamdulillah. Thank God. Omar was still alive. For months, this has been the cadence of our messages. I may not live through this night. I hope you live. May Allah protect you. Alhamdulillah.

    There was a night when, after we all saw yet another horrific image of a Palestinian person’s body mutilated by Israeli attacks and U.S. weapons, it was suggested, I forget by whom, that we go to Lake Michigan and scream. When we got there, we were silent for a long time. It wasn’t embarrassment, but the fear that God had stopped listening to our screams. What evidence did we have otherwise? Then, almost in unison, we screamed, the sound carrying over the water. And I have to believe we were heard.

    Naaood lal tareekh. Let us go back to history. Nataqadam lal horeya. Let us go forward into freedom.

    Nylah Iqbal Muhammad is a James Beard-nominated travel, food, and entertainment writer with bylines in New York Magazine, Travel + Leisure, and Vogue. You can follow her on Instagram, Substack, and Twitter/X.

    Nylah Iqbal Muhammad

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  • Why Conor Oberst Learned the Conor Oberst Songbook All Over Again

    Why Conor Oberst Learned the Conor Oberst Songbook All Over Again

    On Thursday, Conor Oberst will complete his latest attempt to shake up the routines that develop when you’ve been making music for over 30 years. Every week throughout March and April, the prolific, Omaha-born songwriter assembled a new band, spent four days rehearsing with them, and then performed a distinct, career-spanning show with a set list filled with his lesser-known songs. Billed as “Conor Oberst and Friends,” the run was split into two locations: The first four installments happened at the Teragram Ballroom in Los Angeles, while the following New York appearances took place at the Bowery Ballroom.

    Oberst estimates he’s written about 500 songs in his lifetime, and at these eight shows, he’s played over 100 of them, plus a smattering of covers by the likes of the Replacements and Daniel Johnston. He’s had to relearn tracks he’s released both under his own name and as Bright Eyes, his pseudonymous solo endeavor that developed into a group with Mike Mogis and Nate Walcott. Some of his albums got more love than others (lots of I’m Wide Awake, It’s Morning and his self-titled, full-length album from 2008; not so much Cassadaga or anything from Desaparecidos, unfortunately). Each assembled band had its own musical director and its own flavor, from the turn-of-the-millennium New York cool of Nick Zinner of Yeah Yeah Yeahs, to the rootsy approach of James Felice of the Felice Brothers, to the ramshackle, early Saddle Creek vibes of Maria Taylor of Azure Ray—all of which correlate to a sonic element of Oberst’s music.

    Oberst has been a key influence on younger artists including Hurray for the Riff Raff, Waxahatchee, and Phoebe Bridgers, his Better Oblivion Community Center partner who joined him for three songs at the third Los Angeles date. In turn, those artists’ fans have started discovering Oberst’s music, and these residencies were their first chance to see him attempt some of these rarer songs live.

    Just before the last Conor Oberst and Friends show, The Ringer spoke to him about how the whole thing came together and how he feels now that it’s almost done. This interview has been edited and condensed for clarity.

    Why did you decide to do this now?

    This guy Eric [Dimenstein], who’s been my booking agent for like 20 years, we’ve on and off talked about the idea, but the timing was never right. There’s always a record or something else to do. So, yeah, it kind of worked out timing-wise. And New York and L.A. are the most obvious spots, but they’re also two places where I have lived in my life and have a lot of friends, so there’s a lot of musicians and people to draw from, as far as the bands.

    Why did this idea intrigue you in the first place?

    It was honestly just trying something new. Sometimes when you go on tour, it’s great and you get really close with the people you’re with, but after a while, it becomes routine, unfortunately. I’m not really in a jam band, so you end up doing similar sets. You might change a couple songs a night, but for the most part, once you get the show up and running, that’s the show and that’s what you present in every town you go to. It seemed fun to just change that dynamic, where it’s just once a week, but every week I don’t really know what’s going to happen. That’s exciting because I’ve been doing this a long time. And then it’s just a chance to revisit a lot of past material and random songs I haven’t played in a long time.

    Each week, one of the people in the band acted as the musical director and helped pick the songs and organize the band. Even with Bright Eyes, besides Mike and Nate, we always had different people on tour with us, so I’m used to playing with a lot of different people, but I’m not used to doing it so consecutively and quickly. It’s the closest I feel like I’ve had to a real job for a long time. Because it’s rehearse Sunday, Monday, Tuesday, Wednesday, play the show Thursday, and then Friday and Saturday are my days off. But even those days, I have to try and listen to the next week’s songs and remember stuff.

    Are the bands practicing together beforehand without you, or is it really that week when you all start playing together for the first time?

    Maybe some of them were practicing on their own, but no, not really. Another thing was, I didn’t want any songs to repeat in New York or L.A. The ones we played in L.A., we could play in New York, but that was the rule: For the city, don’t repeat any songs. That’s a lot of songs. Once I figured out who was going to be the band leader for all the weeks, we had to get square with the set list because some people wanted to do the same song.

    Some negotiating had to happen.

    Yeah, exactly. But I’m a natural-born diplomat, so it’s fine.

    Were there songs that they would pitch that you were particularly excited about revisiting?

    Nick Zinner from Yeah Yeah Yeahs was last week. We made the Digital Ash [in a Digital Urn] record, and he was in the band for that tour. So I knew we were going to do a bunch of those songs, or I assumed that would be the case. He picked this song “True Blue,” which I wrote for my nephew when he was, like, 4 years old. It’s just the weirdest song for Nick to pick. He’s like a vampire, so I just think he’s going to pick the darkest ones, but he picked this. It just made me laugh. I was like, “You really want to do that one?” So there was stuff like that along the way that was surprising.

    Were there songs that you had never played live that came up?

    I don’t know about that, but there’s definitely ones where it had been years [since I had revisited them]. There were some covers that were brand new to me. I’m pretty sure I played all the songs of mine at some point in my life, but like I said, I’ve been doing this a long time, and I don’t have the greatest memory.

    Were there any songs where you were like, “I’m not doing that one?”

    I really shied away from the ones that I’ve played so much, like “First Day of My Life” and “Lua.” Those didn’t feel as exciting. I guess we did play “First Day” on Maria’s week. [Editor’s note: He also played “Lua” that night as a duet with Phoebe Bridgers.] I was definitely leaning a little bit away from the ones that we’ve done in the last couple years.

    Some of these songs are over 20 years old. When you revisit a song like that, do you still relate to the person who wrote it?

    To be honest, sometimes not really at all. But I do have memories connected with them. There’s this song that we’ve actually played quite a bit over the years called “Falling Out of Love at This Volume,” which is on the very first Bright Eyes record, and I was literally 15 years old when I wrote it. So yeah, I’m not at all the same person, but I do connect it with the memories of that time in my life. It’s not like doing a cover song. There’s an aspect of it I can relate to, but it’s a very distant memory. What I was feeling when I wrote it or whatever, that’s long gone.

    I’ve been a journalist for a while, and sometimes I’ll read articles I wrote when I was just starting, and I’m like, “What was that guy thinking?” And sometimes I’m like, “Oh yeah, that’s pretty smart, kid. Good job.”

    Right. This is actually weirdly connected to this whole thing in a way, which is Bright Eyes did this whole set of EPs that were companion pieces for all the records. I don’t know why I put myself through these fucking challenges, but we rerecorded a bunch of our old songs in new ways. I was very particular about which ones I wanted to sing, and they were the ones obviously that I still felt held up and that I felt some connection to, emotionally or mentally. You want that to be there or else it can feel like you’re just doing karaoke or something.

    Why do you put yourself through these complicated challenges?

    It’s like when people get older and they want to stave off early-onset dementia so they do a lot of crossword puzzles or something. I do shit like this, try to keep what brain cells I have left active.

    Have the shows felt different between L.A. and New York?

    New York, this has been really a real trip down memory lane because I lived in the East Village. I paid rent in New York for like 13 years, although I was on tour a lot of that time and in Omaha and stuff. I had probably five different apartments over the years, but they were all in the East Village. And now I got this apartment sublet thing for the month, so I’m really deep in. Obviously, some things have changed, but there’s ghosts everywhere. I can walk from the apartment to the practice space to the Bowery [Ballroom]. I don’t know if I’ve even gotten in a car here at all. It’s a trip because I have things I had forgotten about.

    I still live in L.A., and there we were just rehearsing at my house. So that was very comfortable and cool, but it was a little closer to my actual current life.

    As far as crowds and stuff, I don’t know, I don’t think they’re that different. All the crowds have been super gracious and nice and excited. We’ve made a point of not letting people know ahead of time what was up each week. Of course there are some diehards that are trying to go to every show, but a lot of people, they just pick the show and that’s what they got. I hope they had a good time though. I’m sure there’s some people that are like, “Aww, I wish I would’ve gone to that week.” But that’s the nature of the experiment.

    For these shows, are you reinterpreting songs in a different way than how you recorded them?

    Not really vastly reinterpreting, but we’ve extended a lot of parts. Like Miwi [La Lupa]’s week, we had a four-piece horn section, so there were parts that we extended to make room for that. Nick’s week, Lee Ranaldo [of Sonic Youth] was in the band, so you’ve got to make some time for him to solo and stuff. And then Nate Walcott’s week, which was the second week in L.A., was with Jeff Parker, the guitar player. It was all jazz musicians. I would say that week was the furthest from the way I would normally perform a song.

    How do you feel about playing live these days?

    You and me and everyone that follows music knows that it’s much harder to make a living off of record sales, so playing live is part of the job in that sense. I don’t have kids, but the guys in my band have kids and bills. It’s like, you got to keep making money. That’s the unromantic part about it, but there is truth to that. But I still like playing live. Honestly, I feel like when you’re on tour, you’re getting paid for all the bullshit you have to do, like check into the hotels and go to the airport and get on the bus and find food and do this and whatever. Actually being onstage performing music, for the most part, not always, that’s the best part of the day. Unless the show is total trash.

    Has this experience made you more or less excited to go on tour?

    It’s been so interesting and different, just because that stuff I’m talking about is gone. I don’t have to get on a bus or a plane or a hotel, but I have to rehearse all the time. The only thing I’ve been stressing on is just my voice holding up. People think, Well, it’s once a week; that should be easy. But the truth is, if you’re on tour, you’re singing maybe two hours a day. I’m singing eight hours a day for four days in a row [at rehearsals] and then doing the show. So I’ve been trying to be careful. I barely smoked cigarettes for these past couple months. I’m trying my best. Lots of tea, lots of Throat Coat, lots of Halls, whatever, all the tricks. From a physical standpoint, that’s the biggest difference. But on the other hand, you don’t have all the stress of travel. You’re in the same city and with your friends, so it’s great.

    Would you ever do this again?

    I don’t know. I guess it depends how long I live. Maybe it’ll sound fun in five years or something. One of our guitar techs and good friends, even when we’re having a shitty day, he’s like, “Beats sweeping the floor.” I’m like, “That’s true.” It has been a lot of work. I knew it was going to be a lot, but it’s been more than I thought it would be. I would have to be very rejuvenated to want to do this thing again.

    Eric Ducker is a writer and editor in Los Angeles.

    Eric Ducker

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  • Doctor Who time traveled back to 2008 to save the show in 2023

    Doctor Who time traveled back to 2008 to save the show in 2023

    The hero of BBC’s long-running sci-fi series Doctor Who is, famously, not a real medical doctor, but they have been a bit ill. What should have been a promising changing of the guard in 2018 — with new showrunner Chris Chibnall and the first woman cast as The Doctor since the series’ 1963 debut — only served to accelerate a gradual downward slide that began in the latter half of previous showrunner Steven Moffat’s seven-year tenure.

    In response, the BBC has decided the cure to The Doctor’s ails lies with the man who revived the show from a 15-year coma in 2005: Russell T. Davies. And with his first episode, last weekend’s hour-long special “The Star Beast,” Davies has delivered the goods. “The Star Beast” isn’t quite the reboot Davies is here to deliver — that’ll come in 2024 when Ncuti Gatwa takes over as The Fifteenth Doctor. Instead, “The Star Beast” is meant as catnip for lapsed and disappointed fans that were introduced during Davies’ first Who revival. It’s a blatant nostalgia play that, hilariously, carries on as if nothing has happened since Davies left the show in 2008. And you know what? It kills.

    Loosely based on “Doctor Who and The Star Beast,” a comics serial by Pat Mills and Watchmen co-creator Dave Gibbons, the new special pulls triple duty: delivering a snappy, classic Doctor Who adventure, introducing an overarching mystery that will tie “The Star Beast” to two more specials coming in following weeks, and briefly introducing the Doctor to newcomers. It excels at its first two tasks, and stumbles pretty extravagantly at the third. Luckily, there’s so much charm here that “The Star Beast” never feels anything other than delightful, even at its clumsiest.

    That charm is essential, because Davies’ first Doctor Who episode in 15 years is lampshading what, in most circumstances, would read as desperation. The mystery at the center of “The Star Beast” and the specials that follow is why — and how — did The Thirteenth Doctor (Jodie Comer) regenerate back into the same body she had as the Tenth Doctor (fan-favorite David Tennant). For a show built around a time-traveling humanoid alien who never dies but instead “regenerates” into a new body with a new personality so the show can explain away recasting its lead, “continuity” has always been more a suggestion than a rule. But Davies bringing back Tennant as the newly-christened Fourteenth Doctor and also Catherine Tate as beloved companion Donna Noble is extravagantly cheeky, even for this show.

    Image: Disney Plus

    What reunites them is the eponymous Star Beast, a giant Furby-lookin’ guy called The Meep, who crashes on Earth and befriends Donna’s daughter, Rose. The Meep is being hunted by insectoid soldiers who look like Power Rangers villains, catching Donna and her family in the crossfire and bringing The Doctor back into their lives again.

    It’s all very silly, and an astonishing display from two actors who do not seem to have missed a beat since they last played these roles in 2008. Even with its messy exposition and open, lavish courtship of fans that grew to love the show during the first Davies era, “The Star Beast” is a good reminder that Donna and The Tenth Doctor were popular for a very good reason. Doctor Who has never had the biggest budget or the slickest sensibilities; it was and remains a childrens’ show that fans happily carried into adulthood. The most beloved of Doctors — Tom Baker, Matt Smith, David Tennant, and a few wild card picks — made this text, imbuing the character with a childlike whimsy, playing a very old man who never stopped believing there was magic to be found in the universe.

    David Tennant is still remarkably good at this, and “The Star Beast” makes as good a case for The Doctor as any. He’s endlessly curious, always a little odd, and trusts that kindness and intelligence will win the day over violent antagonists. Tennant’s Doctor is not afraid to treat every square inch of ground as a stage from which he will play to the back of the room. There is no line too silly for him to bellow with conviction. There is no creature too strange for him to care about.

    The Doctor and Donna in the 60th Anniversary Doctor Who specials

    Image: Disney Plus

    “The Star Beast” takes a little bit longer to recapture what makes Donna Noble such a great presence, but when she finally gets going, Catherine Tate is a force of nature: Never that impressed with The Doctor, happy to argue with him even with armageddon on the line, and fully capable of steamrolling anyone who looks askance at her or her loved ones.

    It is hard not to love these two characters, to not want to travel all of time and space with them again. In a way we have, from 2008 to 2023, in a transition so seamless it’s shocking. Perhaps this shouldn’t be such a surprise. When Doctor Who is at its best, it’s like The Doctor has always been there: an old imaginary friend that still charms you as an adult. The earnest wonder and curiosity the character represents never really gets old. This is why the show endures: You don’t need a season of Doctor Who to be won over, you just need a moment. Those moments can come at any time, during runs both maligned and excellent. The Tenth Doctor and Donna Noble were incredibly good at making those moments in their time together. Here’s to a few more, before it’s someone else’s turn.

    The Doctor Who 60th Anniversary specials are on Disney Plus, with the first now streaming and two more premiering weekly. Previous seasons of Doctor Who are available to stream on Max.

    Joshua Rivera

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  • A Legal Battle Over Injections in SLC?! Plus ‘Salt Lake City,’ ‘Beverly Hills,’ and ‘Potomac.’

    A Legal Battle Over Injections in SLC?! Plus ‘Salt Lake City,’ ‘Beverly Hills,’ and ‘Potomac.’

    Rachel Lindsay and Jodi Walker kick off today’s Morally Corrupt with a breakdown of the piping hot tea concerning Heather Gay’s Beauty Lab + Laser and Monica Garcia’s legal battle over injections (14:09), followed by an in depth discussion of The Real Housewives of Salt Lake City Season 4, Episode 9 (20:52). Then, Jodi and Rachel recap The Real Housewives of Beverly Hills Season 13, Episode 3 (42:08), before Callie Curry returns to the pod to dish about the Real Housewives of Potomac Season 8 premiere (1:04:16).

    Host: Rachel Lindsay
    Guests: Jodi Walker and Callie Curry
    Producers: Devon Manze
    Theme Song: Devon Renaldo

    Subscribe: Spotify

    Jodi Walker

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  • Prime Whanganui CBD real estate hits market for first time in 60 years – Medical Marijuana Program Connection

    Prime Whanganui CBD real estate hits market for first time in 60 years – Medical Marijuana Program Connection

    Wanganui Furnishers purchased the Victoria Ave part of the property in 1959. Photo / Bevan Conley

    A prime piece of real estate on lower Victoria Ave is on the market for the first time in over half a century.

    Wanganui Furnishers has been an institution in the city for over 100

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    Original Author Link click here to read complete story..

    MMP News Author

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  • Take Care Of This House Now That I’m Leaving, OK?

    Take Care Of This House Now That I’m Leaving, OK?

    Before I became a game reviewer, an investigative reporter, and an all-around troublemaker, I was an award-nominated game designer who put stories in video games. Alas, that didn’t pay very well or consistently. So, as I ran out of my parents’ healthcare, I moseyed over to this website thinking I might give this “blogging” thing a shot. After all, as a freelancer I’d managed to trick no fewer than two Kotaku EICs into believing that I could write, and I did know how to put some words together. How hard could actually working here possibly be?

    Nearly two years later, I have no choice but to laugh. And cry a little bit. But mostly laugh.

    Today will be my last day at Kotaku. Soon, you all will be free of my diabolical takes about how Stray is an embarrassment of orientalist tropes, or how One Piece is clearly a leftist text that should be taught in socialist book clubs everywhere. I’ll no longer be here writing about Candy Crush moms and how game developers are affected by real-world political issues. Or how video game studios too often treat employees who generate their massive profits.

    No matter what legacy media executives think about covering our massive ecosystem, there are so many incredible and important stories about video games that are happening every day. You just need smart and motivated people who know where to look. Despite the horrible things that are constantly happening in the community, there’s a big beautiful world out there. I just wish that I got to chronicle it all. When I arrived at Kotaku, I wanted to make readers more curious about things they assumed they knew. I wrote stories about the biggest franchise that gamers have never heard of. I interviewed whales about their spending habits. I actually played the mobile games with terrifying social media ads. Never settle for what you already know about gaming, y’all. Always keep running towards the horizon.

    Despite the confidence I project on here out of necessity, it’s hard to feel like the smartest person in the room when I work with the smartest nerds in the industry, and we’re subject to some of the harshest criticism. Of course, public outrage is part of the prestige: Readers are vocal because they take video games, and our website about them, seriously. While my reported features demanded a ton of persistence, the hardest part of being a Kotaku writer was simply showing up every single day and being held to the highest standards in gaming journalism. I think most people would have buckled under the pressure. We turned it into diamonds. And we did it again, and again, and again.

    Now, I realize that every single blog is a miracle. Yes, even the ones about Animal Crossing porn or the surgeon who allegedly fought a console war in the middle of an operation. Nonetheless, I fought for readers and I fought for my colleagues. While the New York Times battled progressives over whether or not transphobia is a legitimate stance, I was an openly nonbinary and Chinese reporter in a country where it’s increasingly dangerous to be any single one of those things. I did my time in the culture war, and it’s someone else’s fight now. Godspeed.

    Just kidding. See, one of the curious things that happens to people who work at this website is that they start to care an absurd amount about journalism. The industry is moving in a direction where corporations and influencers are shaping how games are being talked about, rather than writers bound to a professional ethics code. Corporate fuckshit continues with alarming regularity. Layoffs have hit or shuttered multiple gaming news outlets over the past year. Yes, reporting on games is more important than ever, but it seems that, right when we need it most, fewer opportunities exist compared to when I first started writing.

    I don’t know how to fix any of it right now. There’s no band-aid solution to the problems that plague digital media, which extend far beyond the gaming realm. But I know that what doesn’t help is when gamers decide that their favorite brands and influencers ought to monopolize the narrative on why video games are important. Gaming is not mainly a relationship between product and consumer. Games are art, community, and politics. Gameplay allows us a mirror into ourselves, provides a vessel for our collective apocalyptic grief, and forces us into delightful contradictions. Please find your own reasons to value video games, rather than doggedly adhering to corporate and parasocial loyalties. Otherwise, the culture will become truly and irredeemably rotten. One day, games journalism as a whole will make its comeback. I’m just hoping the good parts of gaming culture will still be intact by then.

    Okay, enough doom and gloom. Despite working one of the hardest jobs in the entire industry, I had some truly baller opportunities here. In between writing “The News,” I got to interview developers from outside of North America/Western Europe/Japan. I talked to people who played games nearly every single day, but didn’t consider themselves to be “gamers.” I got game makers to give us the no-bullshit view into AI automation in gaming. I didn’t need a gaming company to give me the go-ahead. All it takes is the instinct to go “Oh, really?” when a claim goes against personal truth.

    I’m near the end of my writing time, and I just realized that I need to talk about my colleagues. I forgot to talk about the time I tried to convince Jalopnik’s Steve to not to run over his colleague for automobile science. Or the countless times that Ethan walked me through investigating companies’ dirty laundry despite how terrifying it was at the time for a baby reporter. Or when I was losing steam for a blog idea, but one of Isaiah’s inspired Photoshops sent me flying to my Google Docs. I should talk about all the times that Ari was my Emotional Support White Guy, but that might give him an even more swollen head than he currently has. Carolyn, you absolutely spoiled me for review editing. Thanks for never allowing me to have fewer than 5-10 thoughts for anything that I wanted to say about a video game. Alyssa! Alyssa, Alyssa, Alyssa. You are probably the most chaotic goblin I’ve ever worked with anywhere, and I hope that energy never leaves you. Thank you for saying yes to my most diabolical ideas, and sorry that you were forced to edit them. Patricia, thank you for hiring me and going to bat for my stories. Sorry about the times I went into your office and pretended that I was in charge of Kotaku.

    And to my readers: Thank you so much for giving your time to my silly little articles. Stay curious, and don’t let gaming culture go to shit while I’m out. Smell ya later.

    Sisi Jiang

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  • I Must Know What Video Game Erling Haaland Is Playing

    I Must Know What Video Game Erling Haaland Is Playing

    Norwegian giant Erling Haaland broke the single-season Premier League goal-scoring record earlier this week, scoring his 35th of the campaign—which still has four games left—in a 3-0 win over West Ham. He was interviewed by Sky afterwards, and said something that has been stuck in my head ever since.

    Asked what he thinks about securing this record, and possibly getting his hands on even more, the 22-year-old said “I don’t think of this, I will go home now and play some video games, eat something and then sleep, that’s what I will do”.

    After which he’s prompted by the presenter “which video games are you playing at the moment”, to which Haaland replies “I can’t say, it’s too embarrassing”.

    Really.

    Firstly, my guy, I’d like to say there is no video game you should be embarrassed about playing. It’s 2023, there are games for all lifestyles and platforms and budgets, and so whatever kind of game you want to play you’re able to go out and play it.

    Secondly, though, I will guess that despite this, he is embarrassed because he’s a professional footballer, and maybe figures the lads (and/or assholes on social media) will take the absolute piss out of him if they find out. If this is the case, I am intrigued.

    What possible game could a man that stands 1.95m tall (6’5″), makes £375,000 (USD$470,000) a week and is one of the five best footballers on the planet be too embarrassed to talk about?

    It’s not going to be FIFA or Call of Duty, and likely wouldn’t be something like Fortnite either. Athletes across sports and all over the world are streaming games like that all the time, there’d be nothing out of the ordinary there.

    Which has led to suggestions it might be something a bit gentler, a game that Haaland—rightly or wrongly—maybe doesn’t feel is the kind of game a big footballing man should be playing. Animal Crossing, perhaps. Maybe something European, like a farming or truck-driving simulator. Maybe he’s spending $470,000 a week on Robux. Maybe it’s Honkai: Star Rail. Maybe it’s Redfall.

    Or, maybe it is FIFA, and he’s just playing as himself. Which you wouldn’t need to embarrassed about all dude, if I was in the game and had stats that good I would do exactly the same thing.

    If anyone has any good guesses—or even any inside info—let us know!

    Luke Plunkett

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  • Elden Ring Player Murks Malenia In 15 Seconds On Hardest Difficulty

    Elden Ring Player Murks Malenia In 15 Seconds On Hardest Difficulty

    Elden Ring legend Let Me Solo Her might want to watch his back, as another Tarnished is out here making a name for themselves by killing Malenia, Blade of Miquella in record time. Sure, Let Me Solo Her might have beaten her over 1,000 times, but this guy has killed Malenia in roughly 15 seconds. It’s one of the quickest times I’ve seen yet.

    Read More: Elden Ring’s Malenia Tells The Fairytale I Always Wanted To Hear

    Scarlet Rot Queen Malenia is an optional boss in FromSoftware’s most popular Souls game yet. Encountered in Elphael, Brace of the Haligtree, a legacy dungeon located in the northernmost part of The Lands Between, Malenia is notorious for her difficulty and one-hit kill potential. In stats FromSoft dropped earlier this month, it was revealed that Malenia was attempted some 329 million times. While that number doesn’t reflect player deaths, I’ve no doubt Malenia’s body count is in the millions at this point—though struggling Tarnished could always call up Let Me Solo Her via his summon sign to get a little help with the two-phased fight.

    Or they could just watch redditor RS_Lionheart for useful tips, who absolutely murked the Goddess of Rot in 15 seconds on, get this, New Game+7, the highest difficulty Elden Ring has to offer after you’ve beaten it eight times over. That’s a lot of journeys through The Lands Between.

    Beating Malenia the fast way

    In an April 20 YouTube video, RS_Lionheart showed off exactly how he bodied Malenia. He starts the clip with a dizzying array of buffs and consumables ranging from the Golden Vow (an incantation that increases attack and defense) and the Frenzyflame Stone (a consumable that continuously restores your HP), among others. After almost 50 seconds of getting swole via performance-enhancing goodies and rotting steroids in front of Malenia’s fog gate, RS_Lionheart walks into the depths of the Haligtree to begin the fight. He skips the intro cutscene and finishes the first phase of the battle in seven seconds, using the cross jumping slash attack of two Bandit’s Curved Swords.

    RS_Lionheart

    Once her famed second phase begins, RS_Lionheart throws a Freezing Pot consumable to ground Malenia, then proceeds to jump-attack the winged queen to death. The total time it took? Just a little over 15 seconds.

    The Elden Ring build for beating Malenia’s ass

    In Reddit messages with Kotaku, RS_Lionheart, who has 15 different characters across two accounts and nearly 2,100 hours in Elden Ring, explained that he stacked a few different buffs onto the character he mained in order to beat the brakes off Malenia so quickly.

    “Before the start of the video, I used Seppuku twice to bring down my health and sorted my inventory by recent acquisition,” RS_Lionheart said. “Then, I used a Frenzyflame Stone to start the buildup of madness, followed by Golden Vow. After that, I drink a Cerulean Flask and used the Ash of War: Cragblade on my left-handed Bandit’s Curved Sword. I then switched my Dragon Communion Seal to an Antspur Rapier and used Bloodboil Aromatic. After this, madness should be inflicted, so I swapped the Black Dumpling Helm to the Mushroom Crown and drank another Cerulean Flask, followed by my Physick (Thorny Cracked Tear and Stonebarb Cracked Tear). Then, I inflicted poison on myself with two Roped Fetid Pots, swapped the Mushroom Crown to the White Mask, and inflicted blood loss using Seppuku again with the Antspur Rapier. Once blood loss was inflicted, I swapped the Kindred of Rot’s Exultation and the Lord of Blood’s Exultation to the Red-Feathered Branchsword and Claw Talisman. After that, I switched the Antspur Rapier to my other Bandit’s Curved Sword and applied Cragblade again before heading through the fog gate. Also, it’s important to note that the other talismans I used were Millicent’s Prosthesis and Rotten Winged Sword Insignia to boost successive attack damage. I also wore the Raptor’s Black Feathers to increase my jump attack damage.”

    According to RS_Lionheart, he’s helped a good number of other players struggling against Malenia either by placing his summon sign near her gate or offering advice on his YouTube channel. She already has a massive health pool, but in New Game+7, her HP is increased by nearly 40 percent, making her all the more challenging. While he couldn’t recall exactly how many players he’s lent his dizzying buff-based strategy to, it’s not something RS_Lionheart is particularly fond of doing for one simple reason: Lag.

    “I have a more simplified version I’ve used at a lower level (around 150) which has higher survivability (considering co-op can be unpredictable at times with lag and latency),” RS_Lionheart explained.

    Lag aside, co-op is difficult for another reason: enemy scaling due to the number of additional players. Bosses take less damage, have more health, and hit way harder when playing Elden Ring with a friend or two. That’s part of why RS_Lionheart would prefer not to embark on such a challenge in multiplayer—and understands why many players may not want to attempt besting Malenia at all.

    “The reason I enjoy a challenge like this so much is because it’s a thrill to try to do something that hasn’t been done before,” RS_Lionheart said. “That’s all the motivation I need when I’m doing research on a boss to figure out exactly how much damage I need to do before I do it. It’s very fun to me and in my opinion, takes a very full and complete knowledge of Elden Ring to attempt in full.”

    Read More: Elden Ring Player Will Keep Crushing Malenia With New Builds Until DLC Comes

    That said, while the feat is very impressive, just one day later on April 21, a friend of RS_Lionheart smashed his 15-second record kill on Malenia, defeating the notorious Queen of Rot in a little over 10 seconds! Though his friend did not defeat the Queen of Rot on New Game+7, aside from a different weapon choice he went in with the exact same build as RS_Lionheart.

    Sax Slave Gael

    “He is a very skilled creator who runs the Sax Slave Gael YouTube channel,” RS_Lionheart said of the 10-second-killer. “I’ve learned a lot from him as I’m sure he’s learned from me through the past few months. I think competition like this is great because it pushes the boundaries of what is possible in Elden Ring.”

    Elden Ring is already a punishing experience. Being one of the most difficult bosses in the game, Malenia strikes fear in the hearts of many players, myself included. But now that we’ve got a solid buffing strategy for breaking her down, maybe she isn’t so scary anymore?

     

    Levi Winslow

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  • Crime Boss: Rockay City Is So Bad The Culture Has Rejected It Entirely

    Crime Boss: Rockay City Is So Bad The Culture Has Rejected It Entirely

    Crime Boss: Rockay City, a game announced last year with a trailer that seemed like the world’s most ill-timed April Fool’s Joke (it was December), is out! You may not know this, though, because nobody is talking about it.

    If a game is good, people will talk about it. If a game is bad, people will also talk about it. If a game is bad in ways that also make it interesting, it gets talked about, and if a game is bad in ways that are incredibly funny then, once again, it gets talked about. Maybe it’s a 1000-word impressions piece on Kotaku.com, maybe it’s a bunch of tweets, maybe it’s a video series about bloopers and mishaps, these are all ways you—or someone, anyone—can talk about a video game.

    This is important, because talking about a video game is the only way we, as a culture, keep a game alive. I don’t want to get too into it on this post—which does not have the bandwidth for it—but discs on a shelf are just hunks of plastic, and code on a HDD just 1s and 0s, lying around. It’s us experiencing them, building memories/opinions on them then sharing those with other people, that make video games what they are. What is all this, what I’m writing, what you’re reading, the communities you form and are a part of, if not just one big way for us to share our thoughts on video games?

    Anyway, what I’m getting at here is that there’s space and scope to talk about almost every video game on the planet, love them or hate them. Except Crime Boss: Rockay City. Which nobody (except me, here, under great distress) is talking about, even though it’s been out for almost a month now. And now I know why.

    I have “played” this, in so much as you can subject yourself to sitting down and experiencing this game. And have found myself unable to review it, or even give my impressions on it, in the standard “hey check this out” kinda way. I was so repulsed by its packaging, so in awe at the way it gets absolutely everything it sets out to do wrong that I feel like I have to write this and publish it on the site just so someone else can reassure me that any of this actually happened.

    Rockay City is a fever dream. It’s the outline of a video game, coloured in by tortured ghosts from the 80s and 90s. It’s like a scammy powerpoint presentation for a blockchain game, only with sections containing actual gameplay. Here is the game’s launch trailer—it’s out, you can buy it, and even play it—to show I’m not making any of this up:

    Crime Boss: Rockay City – Official Launch Trailer

    Michael Madsen carried the burdens of 1000 lifetimes into the recording studio for this, and none of them turned in a good performance. Serial asshole Chuck Norris is so lifeless that an 80’s text-to-speech system could have done a better job delivering his lines. Kim Basinger and Danny Glover’s agents should be fired into the sun for this. And Vanilla Ice…well, Vanilla Ice is actually great here, I have nothing bad to say about Vanilla Ice.

    There’s writing in Rockay City in the most qualifying sense, in that there are words in the English language that come after other words, but whether these form complete and coherent sentences is up for debate. There is also a plot, in the same way the key art and promo tweet for a Grand Theft Auto Online mission has a plot.

    There’s no vision here beyond “here’s some stuff that might seem cool to guys who got too into the Johnny Depp trial and whose two favourite movies are Resorvoir Dogs and Scarface”. There’s no context or cohesion either, even though visually everything has the same generic crime game sheen you’d have expected from a clone of a clone of a GTA clone on the Xbox 360. To look at Rockay City is to be shaken around the inside of a shipping container full of Ed Hardy jeans and Steven Seagal movies.

    6 Minutes of Crime Boss: Rockay City Official Gameplay

    What’s it actually like to play? See above. You sneak around for a bit, you shoot some guys—who are often just innocent people, and who take a lot of bullets—then you shoot a lot more, because Rockay City never knows when to turn the volume down. It’s a “Level 99 Crime Boss” mobile game with the violent aspirations (or absence of a moral compass) of a late 90’s PC shooter.

    Rockay City had real money spent on it, paid for genuine Hollywood involvement. It was a crime game, it had guns, it spent enough marketing money that it somehow turned up in a Kotaku.com announcement post, it should have meant something to someone. Yet we have, to our collective credit, rejected this game wholesale. The game doesn’t just suck, even the idea of it sucks. It’s a disaster at a conceptual level. Nobody talks about it, nobody plays it; the game is only available on PC, yet isn’t on Steam, and its official subreddit has…242 members.

    I can’t say Rockay City is good. I can’t say it’s bad beyond the ways I’ve already described it (though here’s its Metacritic page if you’d like to broaden your horizons). I can’t say it’s so bad it’s good. I honestly don’t think traditional video game quantifiers work here. This isn’t a 2023 game release, it’s a black hole in the middle of it, sucking light and energy and washed up old actors into its void.

    Luke Plunkett

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  • 15+ Games We Simply Must Install On Every New PC

    15+ Games We Simply Must Install On Every New PC

    Image: Square Enix / Kotaku

    My life changed forever when I got a copy of Final Fantasy VII in 1997 (losing those discs has haunted me ever since). While I enjoy much of the 2020 Remake, the original experience is irreplaceably special to me. I start a new playthrough of it at least once a year, every year. Other times, I’ll just jump into a random save file I was working my way through at some point. It must be on anything I own that can run it.

    Since 2015, the remaster (not Remake) has made the experience much smoother; and it’s always fun to occasionally mess around with mods that tweak character models or apply AI upscaled backgrounds to clean up the image.

    The story, the characters, the landmark soundtrack with gorgeous compositions and tear-jerking melodies surpass the limitations of the rather humdrum sounds the midi-controlled sequencer on the PSX produced, it culminates into not just one of my favorite video games of all time, it’s one of my favorite media experiences, period.

    Watch: Let’s Mosey: A Slow Translation Of Final Fantasy VII

    Final Fantasy VII, in its original form, is an epic story of identity, friendship, love, and struggle in the face of insurmountable odds against seemingly unstoppable foes. I delight, as I did in my youth, blissfully getting lost in it. Its world, with blocky polygonal models might seem primordial by today’s standards, but to me its graphical limitations are an abstract that paints a bigger picture in my head—one that no amount of modern, hyper powerful game engines with all the bells and whistles will ever be able to touch.

    And, yeah, you were right, Aeris; it was always the only way.

    Claire Jackson

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  • T-Pain Changed Music Forever, Now He’s Coming For Twitch

    T-Pain Changed Music Forever, Now He’s Coming For Twitch

    2016 was T-Pain’s Twitch channel’s inaugural year, and it’s also the first time Pain remembers getting trolled. “At the time, my music career was kind of on a downward spiral,” he says during our Zoom call this Monday. “People were coming into my chat and telling me stuff like, ‘You’re only streaming because you don’t have any more music money.’ It wasn’t true, but it kind of hit home because I was thinking that same shit.”

    T-Pain is now the CEO of Nappy Boy Gaming, a passionate piece of his 2006-founded media empire Nappy Boy Entertainment. He runs and selects the members of its stream team, which includes BigCheese and Granny. When NBG started, he wasn’t used to getting trolled. But he does have experience with backlash—you might remember some of it from when you knew him best, when he was the guy on the radio singing with Auto-Tune.

    Born Faheem Najm in Tallahassee, Florida (his artist name means “Tallahassee Pain,” because he struggled while living there), T-Pain started making music as soon as his 10-year-old hands would let him. He was only 20 when his debut single “I’m Sprung,” certified platinum in 2006, came out. That song makes Pain’s voice glossy with extreme pitch-correction, and later hits like 2007’s “Bartender” and “Buy U A Drank (Shawty Snappin’)” feature the same Auto-Tuned vocal cascades.

    He was always committed to the art of it. He used to sample games like Streets of Rage 2 and GoldenEye 007 (he reminisces about working with the former back in “oh my God, 1998, this was way back,” he says, laughing). In using Auto-Tune, he never sounds robotic (“Kids today wouldn’t understand what it’s like to sing into a fan and try to sound like T-Pain,” says a YouTube comment with over 20 thousand upvotes), he sounds like T-Pain, pleasantly metallic, the sound you get from clinking together a couple of $400,000 diamond necklaces. It became a covetable sound, reproduced by other 2000’s club rulers like the Black Eyed Peas and Kesha, and even still by huge rappers and alt-pop stars, like Travis Scott, Lil Yachty, and Charli XCX.

    But, in the beginning, Pain’s peers were unwilling to give him credit. Usher, at one point, told him that he fucked music up, and Jay-Z bitterly called for “D.O.A. (Death of Auto-Tune)” with his 2009 song (“this shit violent / This is death of Auto-Tune, moment of silence”). The collective backlash led to a depressive period “that left [T-Pain] unmotivated to make any more music,” a New Yorker profile from 2014 says, but the fog lifted around that time, which happens to coincide with when Pain was first exposed to Twitch streaming at a PlayStation event in 2013.

    Read More: Your Favorite Musician Just Went Live On Twitch

    He became attached to “this feeling that I wasn’t alone,” and realized streaming was a social, gratifying alternative to gaming alone in his room, or being stuck on a plane or stage without another human being to connect with.

    He tells me he “took the reins into [his] hands” in 2016, starting his own channel and eventually forming his own stream team because he felt like it.

    “I saw Markiplier watching BigCheese,” T-Pain says, “and I immediately got this feeling that I need to create something where I can use my name and my platform to get this guy seen. I need to get more eyes on this guy. I was like, ‘I need to create a gaming organization.’”

    “It was kind of on a whim,” he admits, but he sticks with it partially because he likes being on his stream team, too, and protecting the sense of wonder that video games give him.

    It was difficult initially. It turned out that internet commenters inherited Jay-Z’s objections to T-Pain’s career.

    “The negativity sticks out so much,” he says about receiving his first round of hate comments. “I was screaming in my house, and I was getting mad at my wife for nothing because these fucking assholes on Twitter talking shit. Telling everybody, ‘don’t talk to me today, this one guy on Twitch said I was a fucking has-been.’”

    But he learned, as everyone online must learn, that the anonymous losers in your comments section can’t be trusted.

    “This is when I was getting 200 viewers, like, that was my top, that was big for me. When a lot of those viewers were saying ‘you’re on the stream because you don’t have money anymore,’ […] I started feeling like that. […] But I realized that those were just terrible people.”

    Once he came to conclusion that “fuck those guys. Nevermind. Back to our regularly scheduled program,” like he says, he committed to streaming and nourishing that wonder. He cites TimTheTatman, Moistcritikal (“that’s the fucking homie”), and virtual YouTuber CodeMiko (“there’s a whole $10,000 system sitting in my game room doing nothing because I found out [motion capture] was more instructions than I thought it was”) as streamers he’s a fan of. It’s obvious that he loves streaming as a discipline.

    You can also tell from decades of interviews, podcast appearances, and music—I noticed it, too, during our call—that T-Pain loves laughing. He slips into booming ha ha ha!’s as cheerily as you wiggle off a sweater when you’re warm, which could be why he found so much success on Twitch, where he now has close to 900 thousand followers. He is palpably nice.

    Tabloids and DeuxMoi have mostly trained us out of believing celebrities can be so nice, no strings attached, but T-Pain exudes undeniable charisma. He has so many interesting stories to tell, and I’m happy to sit and let time pass as I listen.

    Like, in 2021, he told his viewers about meeting Prince’s bass player. He called him on the phone so that T-Pain and Prince could introduce themselves, but Prince instead shouted “where the fuck you been at, man, we’ve been trying to jam for an hour!” as soon as he picked up.

    The bass player “said ‘hey man, I’m sorry about that, but, man, I got T-Pain right here.’ Prince said, ‘I don’t want to talk to no motherfucking T-Pain,’” T-Pain recalls, cackling so hard he needs to rip his headphones off for a second. It starts a chain reaction—everyone in the room is cracking up, and so is everyone watching at home. “I was like, ‘bro, it’s fine!’”

    He talks to viewers like we’re all at the bar together; he doesn’t operate with the untouchability of someone who influenced two decades of popular music, though he’s willing to demystify that world for everyone. He does it a lot—he just streamed for six hours the other day, scrolling through YouTube and analyzing his music while chat asked him innocent questions, children talking to their teacher. “What’s your favorite music video?”

    He’s willing to entertain in infinite ways, giving subscriber insider looks at how he makes music, playing Battlefield 1, Fortnite, racing games with a steering wheel controller, Call of Duty…whatever he can get his hands on, really. The NBG team is similarly eclectic, playing Red Dead Redemption in full grandma drag or, like Cardboard Cowboy, showing viewers hours of custom animations before finally deciding to play The Last of Us.

    That impulse T-Pain had once, to support and amplify creators he admires, has proven to be long lasting. It continues to guide Nappy Boy Gaming. When it comes to adding new streamers to NBG’s roster, “I still look for people who would otherwise not be seen,” he says.

    T-Pain likes streamers who seem like pure fun. Good people. “I scour Twitch, and I watch people, and if I stumble upon you and see you may need some help, or you got low views, and I feel like you deserve more…there you go. That’s how you get signed to Nappy Boy Gaming.”

    “You don’t have to be really good at games [to get signed to NBG],” he continues. “You just got to be a good person that likes to make people laugh and lift people up. Just don’t be a dick.”

    T-Pain has a genuine joy for streaming, but there are materials to be gained from it, too. He told famous jackass Steve-O on his podcast last year that he makes a lot of money on Twitch, and actually, “I’m making more money off of video games than I’ve made in the last four years,” he said. But he’s not sticking to Nappy Boy Gaming—continuously adding streamers to his roster, chatting for hours with subscribers—solely because he needs the money. Not to brag, but he’s good.

    “This isn’t, like, my main thing. I have other ways of making money. It’s fine,” he says, though, if he did dedicate all his time to streaming, it would work out to something like $60,000 per hour, he claims, and that doesn’t hurt. But what might matter more to T-Pain is that NBG is helping him fulfill a long quest for overdue legitimization. He says that the NBG accomplishment he’s most proud of is getting recognized by the games industry at large.

    “We just did an activation last night with Ubisoft. Just having Ubisoft not say, ‘We got T-Pain to play our game,’ they said, ‘We got Nappy Boy Gaming to play our game,’ you know, to be recognized as an organization and not just having people be like, ‘We’re cool now, we got a rapper to play our shit,’ […] is the crowning achievement,” he says. “It’s not just somebody that we think is famous. It’s not just a celebrity endorsement. It’s Nappy Boy Gaming. That’s the crowning achievement for me, just having that thing be separate.”

    Gaming has helped T-Pain, once spitefully shouldered out by his industry, reach an unconventional, but still triumphant, apex. That, in addition to using the fame he kindled anyway for a good cause, is enough for him.

    “When I ultimately leave this earth, I want people to be able to say, ‘That was fun. That was a good goddamn dude, he helped a lot of people,” he says, his comfortable laugh rolling out again like spilled marbles.

    “That’s really all I want. I don’t really have any other achievements, or anything like that, that I want. I want the people that I helped to feel the way that I feel.”

     

    Ashley Bardhan

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  • Video Game Gear: 10 Things We Got In 2022 That We Now Can’t Live Without

    Video Game Gear: 10 Things We Got In 2022 That We Now Can’t Live Without

    What do you mean you don’t know what this is? Isn’t it obvious?

    What do you mean you don’t know what this is? Isn’t it obvious?
    Image: Impact Acoustics / Kotaku / LUMIKK555 (Shutterstock)

    2022 was the year I decided to get serious about my retrogaming setup. I was tired of having a 104lb CRT dominating half my computer desk and a PlayStation 2, MiSTer, and whatever other consoles I was currently interested in always in peripheral vision. After a bit of thought I concluded that the TV and all the consoles would be better off on a wheeled cart. A retro cart, if you would. It could live in my closet, or be wheeled out to wherever seemed fun. So I started speccing that out.

    The best form factor ended up having two lower shelves—for the consoles, a smaller TATE-friendly/PAL-compatible PVM-1354Q CRT a friend had recently sold me, and bookshelf speakers—with the big-ass 29” TV up on the third, top tier. Both CRTs could accept RGB or YPbPr/component video…which to standardize on? Component seemed easier for a couple reasons, so I went with that. Then I just needed a switcher to not only flip between MiSTer, PS2, Dreamcast, Nintendo 64, Wii, and Xbox, but to route any of those sources to either of the two screens.

    That’s six in, two out. I wanted optical audio switching, too, for MiSTer, Xbox, and possibly PS2. Combined, those requirements take us far beyond the feature set of any basic switcher you’ll find on Amazon or Ali these days. Thus I turned to the bright, shining past of the mid-aughts, when component video adoption peaked and specialty A/V products catered to the more esoteric YPbPr-wrangling needs of the era’s home theater enthusiasts.

    A few promising candidates surfaced. One high-end mid-2000s switcher was very fancy indeed and could actually transcode between analog and optical audio (wow!). But ultimately I was won over by the still-fancy but slightly more modest Impact Acoustics Deluxe Component Video / Digital Audio 6 In / 2 Out Matrix Switch, aka the “40697″. You can see it above. Not only can it route those six inputs to either screen, it can output to both screens simultaneously…the same source, or two different sources. Oh dear, am I blushing?

    After a week or two I managed to snag a NOS (new old stock) one on eBay, and it proved just as performant as hoped: Any console on any display is now just a button-push away. The cart project is still in progress as I seek a working Xbox, look into appropriate Wii hax, and transition to a new display up top (kinda wishing I had gone with RGB now, actually!) but I’ve already been enjoying having all my beloved old games in a single, self-contained, no-compromises tower of power. Even got a beanbag! Hell yeah.

    Alexandra Hall, Senior Editor

    Claire Jackson

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  • Four Features That I Must Insist Every Game Includes

    Four Features That I Must Insist Every Game Includes

    Image for article titled Four Features That I Must Insist Every Game Includes

    I’ve played a lot of games in my lifetimes. I say ‘lifetimes’ because I have lived many different lives, all of which have been incredibly uneventful and have mostly revolved around playing different games.

    Features are what make a game. Many people are saying this. If you talk to any game developer and ask them, “What makes up a video game?”, they will tell you, “Features.” Go on, ask any of them. If they don’t have this answer, I don’t know what to tell you. I’m just spitballing here. Sometimes, I just say stuff. It’s whatever.

    If you haven’t got a game with features, what have you got? I dunno, a movie? But even movies have special features if you buy the DVD, Blu-Ray, or Ultra HD 4K Blu-Ray. Sometimes in those special features, you’ll find games. It’s funny how life works like that.

    Anyway, I’ve played a lot of games and enjoyed a lot of features in games. On that note, I’d like to tell you the features that I think every game should strive to have included in their experience, based on the games that I have played in my many, many lifetimes.

    I don’t ask for much from you, I simply just ask for the love of God that you take a look.


    An ugly little guy that is annoying and everybody hates

    Image for article titled Four Features That I Must Insist Every Game Includes

    You see this in video games all the time. A little guy that is just terrible to look at, usually with a grating voice, and always with a lot to say. I believe that while it already exists in many games, a horrible little asshole should exist in every video game.

    I propose this guy. His name is Beremy, and he would be the most common character in the game. He is incredibly rude, always around, will give you advice that doesn’t actually help in any way, and there is literally no part of the game that he is not in. Also, he is in love with you.

    Pressing a button to scream

    Image for article titled Four Features That I Must Insist Every Game Includes

    Do you know how in Dog’s Life, there’s a button that lets you shit/fart? I think that’s great. However, I think it’s definitely gotten a bit old, and every game having a shit/fart button would probably be a little isolating for anybody that doesn’t shit/fart.

    That being said, I think that every game should have a Scream button. Why not? There isn’t a single game that wouldn’t benefit from having the option to just start screaming. Not only would it be a relief in games that are stressful, but it could also be used to scare things away in a desperate time of need.

    Realistic auto-play

    Image for article titled Four Features That I Must Insist Every Game Includes

    Idle games are all over the Auto-Play feature, and I think it’s really overdone and unrealistic. These Auto-Play modes seem to always benefit the player, and most of the time do not reflect how a player would actually play the game.

    Due to this, I believe that games with and without an Auto-Play feature should have Realistic Auto-Play, which automatically plays the game really badly. I also think that there should be a warning beforehand that says, “WARNING: This is how we believe you would play the game. If you are hurt by this, maybe you should give playing the game a try.”

    Unavoidable calls to your personal mobile from the worst character in the game

    Image for article titled Four Features That I Must Insist Every Game Includes

    Remember how Overwatch 2 wanted people to be required to add their mobile numbers to their accounts? I think this is a great idea, purely for the purpose of this feature. I think all games should include 3-hour unavoidable phone calls on your real-life phone with the worst character in the game (refer to Feature 1).

    In this phone call, you have to respond audibly to the character with things like, “Wow!” and “That’s really insightful!”, and you have to mean it. The 3-hour phone call will consist of the character talking about a putrid growth that has appeared on their inner thigh, and they will go into great detail about all the ‘natural remedies’ they have been using on it that have not been working. You cannot hang up.

    This story originally appeared on Kotaku Australia.

    Ruby Innes

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  • Gotham Knights Is Kinda Mid

    Gotham Knights Is Kinda Mid

    Robin looks out over a middling open world.

    Screenshot: Warner Bros. Games

    Gotham Knights came out a week ago and I’ve found it exceedingly difficult to find anything to love about the open-world loot brawler. Red Hood’s snickerdoodle recipe, maybe? The latest Batman game borrows from a ton of other, mostly better rivals, and struggles to craft a clear identity in the process. Kotaku’s Levi Winslow also spent the last week trying to save Gotham city from feuding gangs and supervillains, and the two of us sat down to try and hash out what the game does well, what it does poorly, and all the ways it left us confused.

    Image for article titled Gotham Knights Is Kinda Mid

    Levi Winslow: Ok. So, like, I feel Gotham Knights is a bifurcated game, something that has two separate identities living within itself. First, there’s the narrative action-adventure stuff where you’re solving crimes, meeting the villains, beating up goons before getting a cutscene taking you back to The Belfry. That is a solid gameplay loop. Then you hit the open world. I don’t dislike it, There’s some enjoyment in grapple-hook-jumping from one rooftop to another, but the RNG RPG-ness of it, the Diablo-like nature to the unnecessary loot grind, makes for some of the most tedious parts of the whole game. What do you think? How do you feel about the linear narrative juxtaposed with the open-world grind?

    Ethan Gach: I’m incredibly underwhelmed by both so far. Everything just fits together so awkwardly, and I mean everything. The individual scripted cutscenes? Great. Love ’em. Completely fine. But everything else, going room-to-room in a story mission, crime-to-crime in the open world, and even enemy-to-enemy during the big brawls, all just feels rough and uneven and not good. Like you could describe the back-of-the-box bullet points of this game, and I’d go, sure, that sounds fine. It’s not the new Arkham I want, but I love the Batman comics, I love the universe, lets go jump off some rooftops and solve some mysteries. And yet almost nothing in this game feels actually good to do in my opinion.

    The gang solves crimes using a super computer.

    Screenshot: Warner Bros. Games / Kotaku

    Levi: Can’t argue with you there. The gameplay is especially clunky and imprecise. I don’t mind the combat. It isn’t as smooth as Marvel’s Spider-Man or as impactful as the Arkham games, but it definitely carries more weight and feels way better than Marvel’s Avengers, which is the closest comparison I could give. Like you said, something about it all just feels off and awkward. I really can’t stand the stealth and how sticky and slippery the characters are. You wanna open this chest after busting some skulls, but you gotta stand in this exact spot to trigger the contextual button input. Deviate from it just a little bit, like barely even a centimeter, and the prompt will disappear. Or you’re perched on this ledge to scope the area, looking for some stealth takedowns but, whoops, you accidentally flicked the left stick forward and now your vigilante has just jumped off and lands in front of the enemies you were trying to stealth. It’s frustrating.

    Ethan: Yeah I basically haven’t even bothered with stealth for that reason, especially because the rest of the incentives feel like they are pushing me toward just complete chaos. Who have you been playing as? I’ve rotated every mission, but so far I think Red Hood is my favorite, mostly because he feels the most substantial and least slippery. Batgirl is a close second.

    Levi: Lol, I’m just a perfectionist who wants to complete all the challenges. So when it’s like “Perfect whatever number stealth takedowns,” I’m like, “Bet.” But yeah I started with Nightwing, then switched to Batgirl, who’s been my main ever since. She’s just so OP, it’s insane. I’ve heard Red Hood is pretty good so I’m gonna have to give him a try. What do you think of Robin? Considering how frustrating stealth is, I couldn’t imagine playing him because of how stealth-focused he is. His bo staff’s looks cool.

    Batgirl takes to the streets on her motorcycle.

    Screenshot: Warner Bros. Games / Kotaku

    Ethan: There are too many big enemies and dudes that will come at you from off-screen, to the point that I just didn’t want to bother with Robin after the first time I tried him. I also really don’t like Gotham Knights’ version of the character. I’m a huge fan of The Animated Series’ take on Tim Drake, and this feels more like a weird cross between Spider-Man’s Peter Parker and Star Wars Jedi: Fallen Order’s Cal Kestis, if that makes any sense.

    I also don’t really feel any compulsion to grind, which is weird, but I think mostly stems from just how diffuse everything is. There are not nearly enough villains in this world to beat up to sustain an entire upgrade and crafting loop.

    Levi: Very that, both on Robin’s timidity and the unsatisfying number of villains in the open world. Gotham here truly feels lifeless. Sure, there are citizens wandering the streets and GCPD patrolling their headquarters (or getting bullied by some dudes), but there’s no energy to the city. I know I compared Gotham Knights to Marvel’s Avengers—which I admittedly did like for a hot minute—but I can’t help but wanna play Marvel’s Spider-Man every time I’m protecting Gotham. There’s something about the bland color palette and the sameness of the districts that strips Gotham of its character.

    Ethan: I think the city itself looks cool, and I like the way they tried to play off the four heroes’ iconic color palettes with the neon lights and how steam and fog hang on the skyline. But I also kept thinking of Spider-Man, mostly because I was always frustrated I couldn’t chain the grappling hook together like I was web slinging.

    Nightwing encounters an important clue marked "top secret."

    Screenshot: Warner Bros. Games / Kotaku

    I think a large part of that is how much space you have to cover because of how scattered the actual things for you to do are. I would have preferred a much smaller but denser section of the city than having to hopscotch around all the dead space. Usually, open-world games thrive on constantly finding things on the way to your objective that distract, intrigue, and send you down an entirely separate rabbit hole. Here it really does feel like moonlighting as an Uber driver in the worst-paved metropolis in the world.

    Levi: Yeah, like, there really isn’t a whole lot to do in this world. And what’s available to do is incredibly repetitive: Go here, beat up some guys, check out a clue, escape before GCPD shows up, rinse and repeat. Don’t get me wrong, I’m having fun dominating dudes as Batgirl. But the fun isn’t as satisfying as in other, better superhero action games that have come out recently.

    Ethan: I also feel like the game is in a very weird place tonally. Batman’s family is left to figure out what their relationships are without him to orient them, but they are all pretty unfazed by the actual fact that he’s dead. And despite the dramatic premise, things get off to a very slow start. I will say I prefer aspects of Gotham Knights’ gameplay to Marvel’s Avengers’—whose combat felt indistinct and very much in the licensed game bucket—but the way the latter was shot felt like a much better approximation of the feel of the MCU than Gotham Knights is for the DCU.

    Batgirl demolishes a guy.

    Screenshot: Warner Bros. Games / Kotaku

    As a Destiny guy who loves a mindless gameloop I can sink into at the end of the day, I thought I was primed to see the glass half full in Gotham Knights, but that’s just not what’s happened.

    Levi: Same. I really wanted a mindless loop that offered solid gameplay with an intriguing story, and Gotham Knights misses the landing. There are good elements here, don’t get it twisted. The combat is fine, serviceable actually. And the sometimes tender, sometimes tense moments between characters during cutscenes is captivating. But the actual meat and potatoes of the game, the core gameplay loop, just isn’t as satisfying as I was hoping. I’ll finish it, though. I’ve completed Nightwing’s Knighthood challenges to get his Mechanical Glider, so I gotta do the same for Batgirl. And I wanna play some co-op to see just how untethered the experience is, but I can’t imagine thinking too much about Gotham once I finished the story. It isn’t sticking in the same way Marvel’s Spider-Man did.

    Maybe that’s an unfair comparison, but truly, in my head canon, Gotham Knights is somewhere between Marvel’s Spider-Man and Marvel’s Avengers. It’s fine, but I don’t know if that’s necessarily a good spot to be in.

    Nightwing is tired of patrolling Gotham like a gig worker on Fiverr.

    Screenshot: Warner Bros. Games / Kotaku

    Ethan: I’m still only about halfway through the game, but feeling much less generous. It’s an indecisive mix of a bunch of games without any one solid thing to hold onto. The co-op that I’ve tried so far is very decent overall, and I think certainly sets a kind of standard for games like Far Cry—which have traditionally struggled with multiplayer that feels consistent and rewarding—to aim for.

    But man, every aspect of the Batman mythos recreated here feels like it’s done better elsewhere. Maybe when the four-player mode comes out it’ll be closer to the 3D brawler it should have been. At this point I almost wish it were a live-service game. At least then there might be a shot at a better 2.0 version a year from now.

    Levi: Right? Gotham Knights certainly feels like it could’ve been a live-service game. I’m hoping that four-play co-op mode Hero Assault extends to the open-world stuff too. There are four heroes. This game should be chaotic as hell, kinda like that underground Harley Quinn mission with that punk rendition of “Livin’ La Vida Loca.” That, so far, has been the most memorable part of the whole game.

    Ethan Gach and Levi Winslow

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