I hope you all had a great Memorial Day holiday. I hope you also took a moment to remember what it’s all about. To start this week I’d like to thank all of those that have served or are still bravely serving our great country.
There’s so much I want to talk to you about this week, but there’s a dark cloud hanging over this show right now and it’s really hard to talk about anything other than Bentley. I’m going to put him on the back burner for a moment and talk about a few other things before we deal with him. The first thing we did this week was move the guys into the mansion. Usually this is a very easy, uneventful morning and this time was much the same, except for one small problem. Once I talked to the guys in the driveway and sent them in, I noticed there was something – rather, someone –was missing. Jeff “The Mask” rode alone with a producer to the house and he was still in the car when I moved the rest of the guys in the mansion. We quickly realized “The Mask” was missing and we did it over again. READ FULL STORY »
There is one word that comes to mind when you’re playing through L.A. Noire: Ambition. It was ambitious for Brendan McNamara and Team Bondi to take the game’s main technical innovation — a new form of motion-capture performance that makes the population of Noire look vastly more “humanlike” than most digi-people — and turn it into a central aspect of the gameplay: You have to stare into the eyes of the game’s characters and decide if they are lying or telling the truth. But the true ambition of Noire only really becomes clear after you’ve been playing the game for awhile. When 
