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Netherealm Studios's Mortal Kombat 11 provides a breadth of content for its player base, from the massive Krypt to daily changing Towers of Time, and its Online Kombat League. The 11th title in the legacy Fighting Game series provides one of the most visually impressive entries in the genre ever. And with deep and technical systems and mechanics Mortal Kombat 11 has garnered a massive casual and competitive scene. With the release of Aftermath, Mortal Kombat 11 gains a huge expansion to its campaign, introduces new fighters to the title, provides every player with free Friendships and Stage Fatalities, and more. Mortal Kombat 11 is not only one of the best titles in the controversial series, but one of the best fighting games on the market.
One of the newest characters added to Mortal Kombat's massive roster is the 90's cult classic action hero, Robocop. The inclusion of Robocop is one that was a surprise for many fans of the legacy series. Alongside the likes of the Terminator and Spawn, Mortal Kombat 11's guest characters have added to the titles mass appeal and Robocop's inclusion is no different. He provides a well rounded and hard-hitting playstyle with 3 variations that each have their own amount of utility and versatility. However, the most coveted aspect of Robocop is to learn and memorize his fatalities, a major staple of the series. This guide will assist the player in learning Robocop's fatality in order to brutally defeat their opponents online or offline.
Just like any other character in the roster, Robocop's fatalities require players to learn the finisher's input and the distance required to perform the fatality. To perform either of Robocop's brutal fatalities players will need to memorize the provided inputs and their respective distance.
After you defeat your opponent players will have to perform either of the provided inputs to enact the fatality.
To perform Robocop's first fatality, Dead or Alive, you have to input Down, Down, Down then 1 (square on Playstation 4 or X on Xbox One) while standing close to your staggered opponent.
Robocop's Second fatality, Thank You For Your Cooperation is performed by pressing Forward, Down, Forward, 1 (square on Playstation 4 or X on Xbox One). To successfully perform this fatality players must stand from a mid-position, or in the middle of the provided screen space.
Mortal Kombat 11 is available on PC, PS4, and Xbox One.
Harley Quinn and Punchline are set to have a possibly deadly fight when they come face-to-face in the upcoming issue of Batman #93. In a new preview of the showdown, Joker's new girlfriend gets the better of Harley, slicing her throat and leaving her for dead.
Punchline has proven to be an immediately popular character, with her debut issue selling out and getting second printings. Described as the "Anti-Harley Quinn," Punchline is deadly jealous of Joker's old flame. While we'll learn more about her origin in the upcoming Joker 80th-Anniversary Special, DC Comics revealed Punchline's first meeting with Harley is going to be extremely violent and now we know it could be possibly deadly for Harleen Quinzel.
In new previews for Batman #93 by James Tynion IV, Guillem March and Javier Fernandez, Punchline and Harley duke it out. Punchline slices the handle of Harley's trademark hammer in half and when Quinn grabs a gun to shoot her, Joker's new girlfriend manages to slit her throat. As Harley falls to her knees, Punchline and her henchman wrap her up in and throw her body into sewer waters. While it would be shocking for Quinn to actually die, the fact that she had her neck cut open, was bleeding out, and tossed into water isn't a great sign for her wellbeing. Check out the preview pages below.
It's a shocking scene that shows just how deadly Joker's new girlfriend is. Punchline wants Harley dead and she might have finally got her wish.
DC Comics also revealed preview pages of Batman's fight with the Designer from the same issue. In the preview, the Designer seemingly waits for Batman before the two engage in a sword fight. It's safe to say Batman handles his weapon better, as he quickly knocks the sword out of his opponent's hands.
The issue is set to be a violent affair. How will Harley Quinn survive getting her throat slit and her body dumped into the water? Will Batman take down the Designer for good? We'll find out when Batman #93 hits stores later next month. Check out the cover for the issue as well as the solicit below.
- Batman #93
- Written by James Tynion IV
- Art by Guillem March and Javier Fernandez
- Colors by Tomeu Morey and David Baron
- Cover by Tony S. Daniel
- Batman faces off with the Designer as “Their Dark Designs” reaches its epic climax! In the last year, Batman has lost more than he could have imagined, and now he faces a cost so dear it will change the course of his life. And there is worse on the horizon. In the midst of all the horror, he can feel the drumbeat of battle. “Joker War” is coming, and Gotham City will never be the same.
- In comic book stores, June 23, 2020.
Two Dungeons and Dragons books released with mature audience warning labels on their cover. The Dungeons & Dragons books that are sold in hobby shops around the world are generally intended for people of all ages, but there was a time when Wizards of the Coast experimented with adult-themed content.
There was a long period where Dungeons & Dragons was dogged by controversy, as parent groups and religious organizations accused the game of promoting Satanism and deviant behavior. The outcry was so strong the developers of the game had to be careful about the content they included, in order to diffuse any further complaints that could keep Dungeons & Dragons out of stores. One symptom of these changes was changing the names of demons and devils in Dungeons & Dragons, in a way that was meant to make them seem more like extra-dimensional beings than biblical fiends.
By the year 2000, the fervor surrounding Dungeons & Dragons had died down, which meant that the third edition of the game could experiment with new kinds of content without fear of controversy. In 2002, Wizards of the Coast decided to release the first-ever Dungeons & Dragons book with a mature audience label - the Book of Vile Darkness.
The Book of Vile Darkness was named after a powerful artifact players could find in Dungeons & Dragons. The real-life version of the book gave rules for things like alcohol and drug addiction, cannibalism, mutilation, sacrifice, and sexual fetishes. The intention was for the DM to be able to go to extremes with their villains, rather than relying on the cookie-cutter definition of evil present in the Player's Handbook. The book also gave advice on running games with evil characters, though this generally won't be to everyone's' tastes, as it can lead to some nasty and selfish behavior on the part of the players.
There are some elements of the Book of Vile Darkness that haven't aged well, with some players objecting to the idea that all drug use or interest in sadomasochism makes a person inherently evil, but the content in the book was unlike anything that had been seen in print up until that point. Dungeons & Dragons players had been used to being treated with kid gloves over the years, which even stretched to the creators, such as Ed Greenwood having to tone down sexual elements in the Forgotten Realms, so it was refreshing to see this kind of content dealt with in an official capacity A second version of the Book of Vile Darkness was released for the fourth edition of Dungeons & Dragons in 2011, but there is currently no word regarding a new version for the current edition of the game.
In the same way that the Book of Vile Darkness exists as an item within the world of Dungeons & Dragons, there is an opposite equivalent for good characters, called the Book of Exalted Deeds. In 2003, Wizards of the Coast announced that the Book of Exalted Deeds was also being turned into a rule book and that it would deal with the extreme elements of the good alignment. The fans were surprised to hear that this book would also ship with a mature audience warning label, even though its content wasn't going to be anywhere near as extreme as the Book of Vile Darkness.
The introduction for the Book of Exalted Deeds deals with the meaning behind the warning label on its cover. The Book of Exalted Deeds doesn't describe extreme acts of violence or deviant behavior, but it does deal with ethical questions that most players might not be comfortable with including in their game. The average Dungeons & Dragons group has no problem slaughtering a group of orcs they might encounter on the road and they probably wouldn't blink an eye at torturing any surviving orcs for information after the battle. These are common acts in Dungeons & Dragons and few DMs or players concern themselves with the morality of doing these things, yet the Book of Exalted Deeds takes a hard look at the actions of the player in order to see if they truly qualify as being good characters. The Book of Exalted Deeds also dealt with aspects of real-world religion and tried to use them in the context of Dungeons & Dragons, such as stigmata. As such, the creators felt that the Book of Exalted Deeds also warranted a mature audience label, but for very different reasons than the Book of Vile Darkness.
One of the misconceptions about Dungeons & Dragons is that every game is just a power fantasy and that the stories never deal with tough ethical questions. There has been a growing trend with tabletop RPGs (especially with Vampire: The Masquerade) for DMs and players to establish ground rules before starting a new game, where everyone can hash out what kind of material that they are comfortable/uncomfortable with dealing. Rule books like the Book of Exalted Deeds and the Book of Vile Darkness paved the way for those kinds of discussions, which have become more necessary than ever as Dungeons & Dragons has grown as a hobby. A lot of the content present in the books is easy enough to work into the current edition of Dungeons & Dragons, but the warning labels on the cover should still be taken into consideration, depending on the kind of game players want to take part in.
This article contains spoilers for Marauders #10.
The X-Men have developed a brand new way to make whiskey. The entire mutant race has gathered on the living island of Krakoa, and this newfound unity is affording the mutants a chance to build a culture and society all of their own - including the chance to make their own whiskey.
The mutant inventor named Forge has been using the opportunity to innovate new technologies. He started out by simply adapting existing tech, installing technology in the Blackbird Jet that allowed Cyclops to project his optic blasts through the weapons system. He's then moved on to developing organic weapons based on Krakoan bioorganisms, while synergizing mutant powers to spectacular effect. But some of his ideas are more than a little amusing.
Take the example of this week's Marauders #10. It seems Forge has founded Port Genosha, the first distillery on Krakoa. Forge set himself the challenge of making the world's best whiskey, a goal that should really have taken years. Technically, it only takes days to distill a barrel of whiskey, but the drink is at its best when it has matured over months, years, or even decades. Traditionally, whiskey is aged in oak barrels that are either toasted or charred when they are built, creating a layer of charcoal that filters out the drink's unwanted flavors. Meanwhile, the wood adds flavor, infusing the liquor with lignin and vanillin (for vanilla flavors), lactones (for buttery taste), and tannins or 'wood spice' to make the whiskey dry. Realistically, then, Forge should only have been able to achieve his goal in about 50 years' time.
But Forge has an advantage; he lives on an island of mutants. One of those is Tempo, a former terrorist and member of the Mutant Liberation Front, who has the power to manipulate the flow of time. Forge had Tempo use her powers to age the barrels of whiskey by 50 years after it was newly made. In Marauders #10, Forge then has the whiskey tested by Sebastian Shaw, who rightly considers himself something of a connoisseur. "You two, working in concert, are the true miracle workers of Krakoa," Shaw decided after tasting a batch. In Shaw's view, this is truly mutantdom's finest work.
This may seem like something of a joke, but it's actually quite cool seeing a society using superpowers in such a mundane way. This is exactly what you would expect from an island like Krakoa, where the X-Men's powers are a rich natural resource. Frankly, this has always seemed one of the strangest aspects of superhero comics; why wouldn't this happen? It's nice to see it change, even if - ironically - Tempo herself is no fan of whiskey, and thus is unimpressed at Sebastian Shaw's praise.
One of the most persistent discussions about the video game medium is whether or not it can be considered an art form. Detractors insist that video games are nothing more than cheap, mindless entertainment, while supporters of the medium argue that they have just as much potential as books or paintings to convey emotional depth and creativity. Most of the games that are commonly considered art are deep and poignant experiences, ones that are held up as masterpieces of the genre and ones that players can even shed tears over. But to consider these games the only ones worthy of being called art does a disservice to both art and video games. Not all art is deep, moving, and meditative, and not all video games are either. Some art is brash, rude, confrontational, and, frankly, confusing. And for a perfect example of that form of art in the video game space, one should look no further than Sludge Life.
If nothing else can be said about Sludge Life, at least it lives up to its name. The game takes place on a tiny, heavily industrialized island sitting in a vast, endless ocean of thick black sludge. It is a very surreal place, with cyclopes and animal-people freely intermingling with the more human NPCs the player can encounter. The more one explores the space the more bizarre it gets, and like many other pieces of modern art, Sludge Life has no interest in explaining itself. Why is there a titanic baby taking up half of an apartment? Why is there a cat with two buttholes? Why does the player character eat banana slugs? All these questions, and more, are ones that Sludge Life stoically refuses to answer. It is a very crass game, with a penchant for toilet humor and a dedicated fart button. Squeamish gamers should consider themselves warned.
As for gameplay, Sludge Life could arguably be called a 3D platformer. The game takes place from a first-person perspective and environment navigation is key to the experience. Jumping isn't always the most precise, and it isn't always clear how tall a structure can be before the player is unable to surmount it. The first person perspective doesn't help mitigate this. Fortunately, as frustrating as traversal can be, the stakes are never too high. The game is generous with its fall damage, and if the player dies they are revived at the nearest "Lifeloop" clinic, with the only consequence being largely meaningless medical bills that the player cannot actually pay off.
The player character, Ghost, is a graffiti artist, and the core gameplay revolves around scaling the various urban buildings around the island and "tagging" certain walls that are both hard to reach and easy to see. The more spots you tag, the more reputation you earn and the more respect you gain from your fellow graffiti artists, all of which are just as outlandish as the rest of the game. The player is given free reign of the island from the start, and is perfectly free to explore wherever they wish in search of strange characters to encounter or walls to tag. In addition to graffiti, there are numerous collectibles throughout the game to encourage exploration, like packs of cigarettes which Ghost can smoke on command or apps they can install on the laptop they carry with them. These apps range from functional services like a list of objectives or a map of the island, to distractions, like small games within the game. There are also four useful items the player can collect which will make navigating the island and finding valuable tagging spots easier to do.
The game boasts multiple endings, which one may find surprising given the almost total lack of story-based content. These endings can be found, as with most other things in the game, through thorough exploration. Sludge Life is in every way an open world game, and its nonlinear nature is apparent after only a few seconds of playtime. Unlike most of the titans of the open world genre, who seem locked in a race to produce the largest game world possible, Sludge Life is an incredibly small game. One can get a sense of just about everything the game has to offer after only an hour or two of playtime, and can even find one of the endings as well.
It feels strange to judge Sludge Life as a video game, because that's really only part of its identity. As a video game, Sludge Life works. It doesn't achieve any remarkable, never-before-seen feats of gameplay, it doesn't reinvent a graphical style, but it works. It's fine. Considering Sludge Life as an art piece is much more interesting. Like all pieces of art, the game is mostly subjective. It won't appeal to everyone. Its filthy sense of humor will be a turnoff for many people, and its surreal style will likely be more off-putting still. But if you enjoy the message of the game, appreciate its confusing imagery, and are a fan of graffiti, you'll probably derive a lot of meaning and joy out of Sludge Life.
Sludge Life releases for PC and Switch this spring. A digital PC code was provided to Screen Rant for purposes of review.