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‘Paper Mario: Sticker Star’ – A Case Study in Failing your Franchise



Super Paper Mario’s main gameplay hook involved swapping dimensions to show how different perspectives can yield two fundamentally different realities. In the 2D view, a series of blocks surrounding a door would hinder your progress, while the 3D view reveals that the blocks are actually disjointed and you can easily slip through the cracks. This mechanic ends up being tragically fitting when looking at that game’s successor. While Paper Mario: Sticker Star may have the looks and sounds of a Paper Mario game, that illusion is paper thin and fails to mask the broken mess this game truly is.

To be clear, a broken game is not necessarily one that’s unplayable or filled with bad ideas, but rather can be the result of those ideas not working together. In isolation, some of the design decisions made in Sticker Star could have made for a compelling game. Unfortunately, the source of Sticker Star’s problems stem from this weird attempt of trying to cater to both those who seek innovation and those preferring to stick to formula. In the process, it needlessly discards some of the series’ defining attributes and overly relies on a poorly thought out new game mechanic that doesn’t gel with what remained.

The most notable omission from Sticker Star has to be its near total lack of plot and character. This was supposedly influenced by the legendary Shigeru Miyamoto, whose major design philosophy is that the gameplay itself should be fun enough that a story would be inessential. While this is an understandable position, it’s worth remembering what role character-fueled narratives fulfilled in RPGs to understand what happens when they’re removed.

While traditional Mario games tend to have finely-crafted engagement curves thanks to its linear level design, traditional RPGs are longer and more open-ended. Consequently, that level of freedom and scale means it’s much harder to make every single section of the game interesting regardless of how fast or slow you play it. Inevitably, the player will be put in a position where they must perform tasks that are intrinsically not fun (be it backtracking, grinding, or completing repetitive quests). One way to avoid these pitfalls is to provide that sense of context found in narrative-rich games. Done correctly, they can instill a sense of purpose in the player, lessen repetition thanks to varied character interactions, and give the players something meaningful to contemplate as they play through less exciting sections.

Fortunately, the Mario RPG series has been generally quite reliable at telling engaging stories with an intriguing cast by taking the familiar staples of the mushroom kingdom and cleverly subverting them. The original Paper Mario began with the typical premise of Bowser ruining Mario and Peach’s love life, but then twists it by not only having the player fight Bowser at the beginning of the game, but actually end up losing to him. That moment is crucial because it suddenly changes what you expect to see in a Mario game, and prepares you for the weirdness the game throws at you. You get to meet actual personified versions of Bowser’s minions who’ll fight alongside you. You get to see what being the kidnapped princess is actually like in Peach’s playable sections. There are even surprisingly dark storylines involving an invincible monster who eats Boos, or Mario being the primary suspect in a murder for which you must clear his name. Its sequel, Paper Mario: The Thousand Year Door, managed to up the ante further with even more fleshed-out characters and so many wickedly imaginative plotlines that made it seem like anything was possible. This level of subversion goes beyond the games merely having a sense of humour. Sticker Star may still have funny writing, but with no plot or character for that dialogue to be in service towards, it becomes meaningless filler.


Providing meaning to both plot and character is one of the pillars to ensure the player is motivated to want to pursue and complete any game. It mattered beating Bowser at the end of Paper Mario because of how badly he trounced you at the beginning. It mattered beating the Shadow Queen because she’s possessed Peach (who you’ve spent time with, and hence care for her well-being) and is threatening to destroy the world populated with all the colorful individuals you came across on your adventure. What possible reason is there to care about getting to the end of Sticker Star? To save Peach? She does nothing in the entire game and it’s not like this is the first time she’s been kidnapped… To defeat Bowser? He doesn’t even have a line of dialogue, and isn’t exactly having much of a negative effect on the world. To save the people you met on your travels? What people? Apart from that Wiggler, every other character is just some boring colour variation of the same snarky and cowardly toad.

It’s not like they had any fellow party members to get attached to. In the past, they each represented a specific part of the world and had unique skills and attributes. They wouldn’t just randomly join you; you had to earn their favour. They all had distinct personalities and generally felt like people that’d be fun to hang out with. This is what made their use in combat so potent, because not only did their unique characteristics carry over to battle, but the nature of the gameplay itself creates opportunities such that you’ll both help each other during dire moments. While Kersti (your sole companion in Sticker Star) isn’t a terrible character by any means, she’s so uninvolved with the moment-to-moment gameplay that it makes it really hard to care for her even when she goes to the length of sacrificing herself in the final fight. Without that bond between player and character organically forming during the battles, partners hold no further purpose than granting the player an extra turn in battle.

While the omission of these contexts certainly takes away from the mood of the combat, this doesn’t necessarily doom the gameplay. Miyamoto’s principle does ring true for other games after all, and the Mario RPG series has always benefited by having a more active battle system than many of its peers.  And at first glance, there don’t appear to be nearly as many missing features from it. Turn-based combat returns, with the traditional assortment of basic and advanced attacks to be used strategically against enemies based on their different strengths and weaknesses. Yet in their attempt to innovate with their new sticker mechanic but hold on these RPG trappings, a fatal defect emerges. By tying into the amount of stickers collected with the amount of times you can attack in battle, you become hopelessly powerless without them.

This problem may not have been highly prioritized since stickers can be found nearly everywhere and are relatively cheap to buy. Though you cannot endlessly hoard them, actually running out of them should be unlikely. In practice, while ending up with zero stickers seldom happens, ending up with zero useful stickers happens all too often. Consider that there’s no way of knowing what type of enemies will be fought next, and hence little way of knowing which stickers should be saved and which can be dispensed of now.  To compensate for this, it’s only natural to use basic jump and hammer attacks since they’re the most commonly found. This is similar to how traditional Paper Mario games approached combat, but differs by providing the player with fewer options.


Paper Mario
had default attacks with jumping and hammering that could always be used. They were designed to be a failsafe if you were out of resources, or if it happened to be the most efficient tactic at your disposal. Stronger and more strategically viable attacks, however, all consumed either Flower or Star points. This allowed them to communicate the idea that powerful moves should be used sparingly, but not limit what choices you could make provided you could afford it. The way Sticker Star makes every attack consumable though is as if they made every single move at your disposal come with one of those point bars. Or, to put it another way, like they decided to replace all of your abilities with the single use items found in the first two games. This sort of resource consumption mechanic has more in common with Resident Evil 4 than a Paper Mario game. It’d be one thing if the game was designed around instilling tension and fear in the player, but in an upbeat game like this one, all it does is add an unnecessary amount of stress on the player. It’s enough to make one want to avoid the combat altogether.

Incidentally, much like how the game provides no incentive to seeing the end of the game, it provides no incentive to even fight the enemies along the way. Battles no longer reward you with experience points, as the only means of improving your stats stems from beating chapters and finding special hearts. Instead, winning fights rewards you with coins, and the occasional sticker. Coins are used to buy stickers which, apart from being found nearly everywhere for free, have one main use; to be used in combat. But since only a handful of fights are actually mandatory, it makes one wonder about just avoiding all the fights and keeping whatever stickers were lying around. You can even still earn coins just by beating a chapter in case you were worried about not being able to fund the in-battle slot machine for when you actually do have to battle. It should never be a viable strategy for the player to skip a primary component of the game’s content.

The only truly new idea that Sticker Star has to offer lies with the poorly named “thing stickers”. These are rarer than regular battle stickers and more versatile, since they’re also used for puzzle solving. Truthfully, there are moments when this mechanic shines. Sticker Star is a refreshingly ruthless game that does not feel the need to plainly outline how to solve its puzzles, which makes the discovery of the solution all the more satisfying. Their diverse battle animations also add a much needed visual variety to combat which can freshen up otherwise dull encounters. Unfortunately, these highs are spread few and far between thanks to a number of sticky frustrations that come along with them.


While thing stickers are like regular stickers in that they can only be used once before being discarded, their rarity requires you to go to the hub town to replenish them. They’re also quite expensive to restock, so it’s not recommended to be constantly using them and buying more. Since that whole process is something that’s preferable to avoid, it becomes far more practical to conserve them until you come across an obstacle that absolutely required their use. This would be fine if it weren’t for the fact that these stickers take up a large amount of space in your inventory. It’s simply not possible to carry all of your thing stickers, and since there’s no way of knowing in advance when you’ll need them until it’s too late, you’re basically forced to guess which ones will be more useful than others. This becomes especially annoying for boss fights. Most of them are absurdly difficult unless you already have the precise sticker that makes them vulnerable. There’s often no other option but to run away from the battle, go back to the Toad Town, buy some things, convert those things into stickers, then go all the way back so that the boss can actually be fought. Hardly a climactic way to end a chapter…

As annoying as that can be, it’s at least something that the player has a level of control over. What ends up providing the most frustration isn’t figuring out when to ideally use thing stickers, but rather finding the corresponding “thing” in the first place. The game has a fairly open-ended map, and since random “things” aren’t limited to one location or another, there can be way too much ground to cover when trying to look for the specific object you need. Only a small handful of them are actually required to progress through the game, so actually finding “things” doesn’t even feel satisfying. While they try to make finding extra “things” engaging by adding a collection mechanic via the sticker museum, actually finding all of them nets no meaningful reward beyond unlocking a sound test option. In the end, playing through these puzzles is akin to trying to solve a jigsaw where there are tons of spare pieces, while the important ones are missing and could realistically be hidden anywhere in the house.

In an industry dominated by sequels and brand name recognition, Nintendo has managed to adopt this model and stay relevant for decades longer than their peers. Arguably the secret to their success has been their keen sense of understanding of how to reinvent their franchises while maintaining their essence that made them resonate in the first place. This makes Paper Mario: Sticker Star‘s failures at understanding its franchise’s appeal all the more surprising. Nonetheless, while the game is one of Intelligent Systems’ great failures, it does serve as an important example of what can go wrong with trying to change the formula. Even seemingly small design decisions have the potential to ripple outward and completely change the player experience. It also serves as an example that any developer can bounce back after a bad game. Just a few months later, they released a game so good that it single-handedly saved its franchise from fading to obscurity and earned three lucrative character slots in the next Super Smash Brothers game.




Indeed, “hope will never die”…

Ever since I could remember, people have told me I should become a writer. I had no training unfortunately, so I did the sensible thing and secluded myself in various hotel rooms with only a typewriter to keep me company. I came out of that experience with a permanent case of disheveled hair, bloodshot eyes and an overall 50% decrease in sanity, and still never managed to type a single word. I still haven't fully recovered, but I now fit in too well with everybody in my MFA class, so I have to keep the charade going...


Fantastic Fest 2019: Second Wave Adds ‘Knives Out’, ‘Parasite’ and More




This year’s Fantastic Fest is shaping up with one of the strongest lineups in recent years and if the first wave announcement didn’t impress you, the second wave of films announced today will have you running to buy tickets.

Wave two brings a ton of exciting new titles including Rian Johnson‘s Knives Out, Bong Joon-ho‘s Palme d’Or winner Parasite, as well as Richard Stanley‘s The Color Out of Space and the latest from filmmaking duo Justin Benson and Aaron Moorehead, Synchronic.

This year, Fantastic Fest will also be spotlighting Mexican genre films such as The Black Pit of Dr. M and The Ship of Monsters—and, the festival will also include a sidebar dedicated to LGBTQ+ representation in genre cinema.

Check out the full second wave film lineup below. Fantastic Fest runs September 19-26. Be sure to check back as we will be covering the event once again this year.

Abou Leila
Algeria, France, Qatar, 2019
North American Premiere, 139 min
Director – Amin Sidi-Boumédiène
In the midst of the Algerian Civil War, Lotfi ventures into the desert with his lifelong friend S., who hopes to find and kill the elusive, dangerous terrorist Abou Leila.

The Antenna
Turkey, 2019
US Premiere, 115 min
Director – Orçun Behram
Somewhere within an unnamed city in Turkey, the residents of an apartment block await the installation of their new antenna as ordered by the central government. No one can prepare them for the evil that will be unleashed.

The Black Pit Of Dr. M
Mexico, 1959
Repertory Screening, 82 min
Director – Fernando Méndez
Two doctors make a pact on behalf of science: Whichever one dies first will return to share the secrets of the afterlife. This pact will not end well.

USA, 2019
Texas Premiere, 80 min
Director – Joe Begos
While trying to complete her latest painting, a starving artist facing a lack of inspiration spirals out of control in a blaze of blood-soaked, drug-fueled glory.

Blood Machines
France, USA, 2019
North American Premiere, 50 min
Director – Seth Ickerman
The wild sequel to the Carpenter Brut music video, Turbo Killer, shoots you into a turbulent psychedelic adventure of galactic hunters tracking down the soul of a spaceship set to a killer synthwave soundtrack.

Butt Boy
USA, 2019
World Premiere, 100 min
Director – Tyler Cornack
Writer/director/comedian Tyler Cornack’s Butt Boy introduces us to Chip, a middle-aged man whose first prostate exam stirs feelings deep inside leading to an addiction that can only be shown to Fantastic Fest audiences.

Climate Of The Hunter
USA, 2019
World Premiere, 90 min
Director – Mickey Reece
The “Soderbergh of the Sticks,” Mickey Reece, returns to Fantastic Fest with his 27th feature. Two beautiful sisters vie for the affections of a man who may or may not be a vampire.

Color Out Of Space
USA, 2019
US Premiere, 111 min
Director – Richard Stanley
Unimaginable terrors befall the Gardner family after a meteorite lands on their front lawn in Richard Stanley’s entrancing, horrific adaptation of H.P. Lovecraft’s short story.

Iron Fists And Kung Fu Kicks
Australia, 2019
North American Premiere, 107 min
Director – Serge Ou
From the Shaw Brothers to The Matrix, this wild documentary tells the story of how kung fu films conquered the world from the 1960s to now.

Knives Out
USA, 2019
Special Presentation, 130 min
Director – Rian Johnson
In attendance – Director Rian Johnson
From acclaimed writer, director Rian Johnson comes Knives Out, a fresh and modern take on the classic “whodunnit” mystery genre.

The Lodge
USA, 2019
Texas Premiere, 108 min
Directors – Veronika Franz & Severin Fiala
Five years after Goodnight Mommy stunned Fantastic Fest audiences, Veronika Franz and Severin Fiala are back with another disturbing psychological twister about a brother and sister spending Christmas with their shadowy soon-to-be stepmother.

The Long Walk
Laos, Spain, Singapore, 2019
US Premiere, 115 min
Director – Mattie Do
In attendance – Director Mattie Do
An old Laotian hermit discovers that the ghost of a road accident victim can transport him back in time fifty years to the moment of his mother’s painful death..

2014, USA
Repertory Screening, 65 min
Director – Stewart Thorndike
In attendance – Director Stewart Thorndike
After the loss of her child, a young woman begins to suspect that her neighbors might be part of a satanic cult and that she might be their next target.

A Nightmare On Elm Street 2: Freddy’s Revenge
USA, 1985
Repertory Screening, 87 min
Director – Jack Sholder
In attendance – Actors Mark Patton and Kim Myers
Jesse (Mark Patton) is the new kid on Elm Street and Freddy Krueger might not be the only monster in the closet in this much discussed but under-appreciated queer horror classic.

Austria, 2019
US Premiere, 90 min
Director – Karl Markovics
In a retirement allotment in Vienna, a crabby 91-year-old finds both himself and his humanity when he hires an Afghani refugee to help him in Karl Markovics’ remarkable and poignant third feature.

South Korea, 2019
Texas Premiere, 131 min
Director – Bong Joon-ho
Bong Joon-ho’s seventh feature — about an unemployed Korean family conning their way out of their basement apartment — is a roller coaster ride of laughs, gasps, horror, tears, and perfection.

Belgium, 2019
North American Premiere, 97 min
Director – Tim Mielants
Patrick is not having an easy time. First his domineering father passed away and now his favorite hammer is missing. Before the day is out, Patrick’s search will lead him to discover answers to the questions he didn’t even know existed.

Phil Tippett – Mad Dreams And Monsters
France, 2019
International Premiere, 80 min
Directors – Gilles Penso & Alexandre Poncet
After their documentary Creature Designers – The Frankenstein Complex, French journalist Alexandre Poncet and filmmaker Gilles Penso deliver an in-depth, sad, and beautiful documentary about the stop motion and VFX artist Phil Tippett, a man who changed the landscape of visual effects in film.

The Platform
Spain, 2019
US Premiere, 90 min
Director – Galder Gaztelu-Urrutia
In attendance – Director Galder Gaztelu-Urrutia
Somewhere in the future exists The Platform, a vertically tiered prison where the upper levels have access to exquisite food and the lower levels fight for survival. Level assignments are random, but how long can a prisoner’s luck hold? One man is about to find out.

1977, United Kingdom
Repertory Screening, 78 min
Director – Norman J. Warren
Jessica and Josephine find more than their relationship at stake when they’re chosen by a shape-shifting alien as his target for an observational study.

Scream, Queen! My Nightmare On Elm Street
USA, 2019
US Premiere, 100 min
Directors – Roman Chimienti & Tyler Jensen
In attendance – Directors Roman Chimienti and Tyler Jensen
More than thirty years after its release and his departure from Hollywood, Mark Patton (star of A Nightmare On Elm Street 2: Freddy’s Revenge), sets the record straight on the famously queer horror sequel in this fabulous, surprising, and eye-opening documentary.

The Ship Of Monsters
Mexico, 1960
Repertory Screening, 81 min
Director – Rogelio A. González
Two Venusian women and their robot servant are on a mission to find suitable candidates to repopulate their planet. Soon their ship is filled with bizarre specimens from across the universe, leading to an adventure like no other!

USA, 2019
US Premiere, 96 min
Directors – Justin Benson & Aaron Moorhead
In attendance – Directors Justin Benson and Aaron Moorhead
Two paramedics find their world ripped apart when they start encountering deaths linked to the otherworldly effects of a new designer drug called Synchronic.

Trampa Infernal
Mexico, 1989
Repertory Screening, 77 min
Director – Pedro Galindo III
In Mexico’s most notorious unseen video-era masterblast, a crew of toxically masculine bear murderers runs afoul of a forest-dwelling war veteran wearing a mannequin mask and Freddy Krueger glove. Entertainment ensues!!

The True Adventures Of Wolfboy
USA, 2019
North American Premiere, 88 min
Director – Martin Krej?í
Suffering from hypertrichosis — which covers him with animal-like fur — Paul knows he’s not like other kids. But a seemingly random package from his estranged mother will send him on a journey of self-discovery alongside extraordinary characters.

The Vast Of Night
USA, 2019
Texas Premiere, 90 min
Director – Andrew Patterson
A rural 1950s radio DJ and a telephone operator uncover a strange signal that could change everything in this stunning science fiction debut feature.

USA, 2019
World Premiere, 92 min
Director – Joe Begos
In attendance – Director Joe Begos
In the near future, a new drug called Hype has turned America into a war zone. The addicted are more mutant than human, and they’ve set their sights on assaulting a VFW post in Joe Begos’ star-studded latest.

USA, 2019
World Premiere, 71 min
Director – Jack Henry Robbins
In attendance – Director Jack Henry Robbins
This bizarre retro comedy, shot entirely on VHS and Beta, takes us back to when 12-year-old Ralph, over one formative week, mistakenly records home videos and his favorite late night shows over his parents’ wedding tape.

Ireland, Belgium, Denmark, 2019
US Premiere, 98 min
Director – Lorcan Finnegan
When young couple Gemma (Imogen Poots) and Tom (Jesse Eisenberg) drive out to a maze of temptingly affordable houses in the suburbs, they find themselves unable to leave.

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Guillermo del Toro’s ‘Antlers’ Gets a Mysterious Trailer




Fox Searchlight has released the first trailer and poster for Antlers, a rural horror film about a small-town Oregon teacher (Keri Russell) and her brother (Jesse Plemons), the local sheriff, who discover that a young student (Jeremy T. Thomas) is harboring a dangerous secret that places the entire town in danger.

Director Scott Cooper and producer Guillermo del Toro have teamed to adapt a short story from Nick Antosca, the creator of the criminally underrated horror anthology series Channel Zero. Not much is yet known about Antlers other than Fox Searchlight, now owned by Disney, has scheduled the film for a 2020 release. Rounding up the main cast is Graham Green, Amy Madigan, Scott Haze and Rory Cochrane. Watch the trailer below.

Antlers Movie
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Be Excellent to Each Other with these Awesome ‘Bill and Ted’s Excellent Adventure’ Figures

“History is about to be rewritten by two guys who can’t spell.”




Since its release in 1989, Bill & Ted’s Excellent Adventure inspired a sequel (Bill & Ted’s Bogus Journey), a Saturday morning cartoon, a comic book series, and launched actor Keanu Reeves into movie stardom. And now, three-plus decades later, Bill and Ted are getting their own scale collectible set courtesy Sideshow and Blitzway.

This is your chance to own the friendly duo in one go! The work put into creating these high-end figures is truly astounding as the figures capture the look of a young Alex Winter and Keanu Reeves just as we remember them. If you have $399 to spend, they can be all yours.

Check out the photos below along with the official press release.

Bill and Ted are two high school buddies who dream of becoming international rock stars. Their hilarious time travel adventure is depicted in the amazingly audacious comedy Bill & Ted’s Excellent Adventure.

It’s like having them pop up right in front of you, with their iconic fashion and elaborate accessories. Besides, the iconic props are designed to let you reproduce a variety of wonderful scenes from the movie.

Be excellent to each other and travel to the past through the exciting story of Bill and Ted!

The Bill & Ted Sixth Scale Collectible Set specially features:

Highly detailed likeness of Alex Winter as Bill S. Preston Esq.
Highly detailed likeness of Keanu Reeves as Ted “Theodore” Logan
Newly designed and developed male body with over 30 points of articulations and flexible soft arms
Two (2) Newly designed and developed figure stands
Twelve (12) interchangeable hands (total for both) including:
Two (2) pairs of guitar hands
Two (2) right blow fist hands
Two (2) pairs of open hands
Two (2) right good fortune hands

Costume for Bill:

One (1) purple pattern shirt
One (1) graphic t-shirts
One (1) pair of blue jeans
One (1) pair of pattern underpants
One (1) pair of striped socks
One (1) pair of canvas shoes

Costume for Ted:

One (1) blue jacket
One (1) black vest
One (1) graphic t-shirt
One (1) pair of graphic shorts
One (1) pair of inner training pants
One (1) pair of striped socks
One (1) pair of canvas shoes

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Watch the Creepy Trailer for ‘Little Nightmares 2’: Six is Back and She has Help.




One of the biggest surprises to come out of Gamescom 2019 so far is the announcement of Little Nightmares 2, the sequel to the puzzle-platformer hit horror game developed by Tarsier Studios.

While the first Little Nightmares has you take control a character named Six while avoiding instant death as she traverses alone amongst the depths of a dungeon, the sequel will give her a companion named Mono, who must accompany Six throughout her terrifying new journey.  

Little Nightmares was one of our favorite games of 2017 and so we can’t wait to get our hands on the sequel. In our review, James Baker wrote, “Tarsier Studios have created a wholly original concept to a horror genre that has leaned more towards thriller before anything else, bringing its roots back without relying on jump-scares and needlessly-gory shocks. Just like hide-and-seek, Little Nightmares captures the fear of being caught, albeit in a creepy, macabre style.”

Little Nightmares 2 will be released sometime in 2020 on Nintendo Switch, PlayStation 4, Windows PC, and Xbox One.

Watch the trailer below and if you are a fan of the first game, we recommend reading this article that dives deep into the meaning behind Little Nightmares.

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NBA 2K20’s Story Mode Gets a Stunning Trailer




NBA 2K19 features to date, its strongest MyCareer mode with the aptly titled, “The Way Back”, a fascinating look at the culture behind college basketball recruiting. The story mode was well received by critics and fans everywhere and in our review, we called it, “an incredible achievement that conveys the fabric of modern American life, aspirations and incidentally, sports, in close-up and at length”.

NBA 2K20 which will be released in less than a month, promises to include an even better story mode, and while we haven’t played the game yet, we have plenty of reasons to think it might be. Not only does it feature an all-star cast with top-tier talents such as Idris Elba and Rosario Dawson, but the story mode – entitled “When the Lights Are Brightest” – is being produced by LeBron James’ Springhill Productions, the same company behind the upcoming Space Jam 2.

NBA 2K20’s latest trailer, which debuted Monday during Microsoft’s Inside Xbox show live from Gamescom in Cologne, Germany, give us a good idea of what to expect. We get a glimpse at Idris Elba and Rosario Dawson in action as well as the rest of the supporting cast which includes Thomas Middleditch, Mark Cuban, Ernie Hudson, Lamorne Morris, Scottie Pippen, and Jaleel White!

The NBA 2K20 demo will go live on Wednesday, Aug. 21 and will allow players to create a character and get a head start on MyCareer. Any progress made will carry over to the full game, which will be released Sept. 6 on Nintendo Switch, PlayStation 4, Windows PC, and Xbox One.

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Freelance Film Writers

Goomba Stomp is the joint effort of a team of like-minded writers from across the globe. We provide smart readers with sharp, entertaining writing on a wide range of topics in pop culture, offering an escape from the usual hype and gossip. We are currently looking for Film, TV, Anime and Comic writers.

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