Frayed neck, cuffs and hem. Uneven hem at the back.HEIGHT OF MODEL 175 cm. / 5′ 8″Composition and careFind my sizeCheck in-store availabilityDENIM JACKET WITH PATCH AT THE BACKCOLOR: Navy blue5252/2111. Choose a sizeSMLSize guide3. Put it in your basket Fullbright, founded as The Fullbright Company,[1] is a Portland, Oregon-based indie video game developer best known for their video game Gone Home. Before forming Fullbright, three of the staff worked together at 2K Marin in San Francisco on Minerva's Den, the single-player expansion to BioShock 2. During the development of Gone Home, the team worked and lived together in the same house.[2] After its release, one team member left to found a new studio, Dim Bulb Games. Fullbright's next game, Tacoma, is expected for release in Spring 2017. The Fullbright Company was formed by Steve Gaynor, Johnnemann Nordhagen, and Karla Zimonja in March 2012.[1] Kate Craig, an environment artist, joined the Company full-time in August 2012.[1] They had previously worked together at other video game developers but "were attracted to the artistic liberty and self-management of a small game studio", with the freedoms of working without rigid schedules and relationships.

[2] They live and work together in a northeast Portland, Oregon, house known as the Fullbright House.[2] (Craig, the 3D artist, works remotely from Vancouver.) Craig likened the group to "being in a band" due to their closeness partially necessitated by lack of money, such as in sharing flights and lodging. Steve Gaynor attended Portland State and dabbled in several arts fields before using level design to enter the games industry. He made levels for first-person shooter video game F.E.A.R. on his own, and entered Sony in San Francisco as a games tester in 2006. His experience with F.E.A.R. levels brought him to Houston's TimeGate Studios, at work on the low-pressure F.E.A.R. expansion Perseus Mandate. He joined 2K Marin in 2008 after receiving encouragement from the BioShock 2 creative director to apply. Gaynor was the lead designer on the game's single-player expansion Minerva's Den in 2010. The Minerva team was a small, and included Zimonja and Nordhagen. Zimonja was their 2D artist and collaborated on the game's story with Gaynor, though she saw herself more as an editor than a writer.

Gaynor left 2K for Irrational Games in 2011 to work on BioShock Infinite. Though the two wanted to collaborate, they were now split between Boston and San Francisco, where Zimonja continued at 2K on The Bureau: XCOM Declassified. umbreon hoodie ukUnsatisfied with big budget work, Gaynor and his wife moved to Portland, where they both wanted to live, and Gaynor sought to make a "personal game, one with an intimate narrative" without soliciting outside money or growing larger than a small team. bape shark hoodie ukAs Gaynor and Zimonja lacked computer programming expertise, they reached out to Nordhagen, who had recently sent an "existentially introspective" tweet about his career. yayo hoodieTogether, they formed The Fullbright Company. Gone Home is a video game that features a female protagonist.

It included support for controllers, which Polygon credited to the team's experience on AAA first-person shooters. In its first weeks following release, Gone Home was a top seller on Steam and covered in The New York Times.[3] It won "Best Debut" at the 2014 BAFTA Game Awards[4] and 2014 Game Developers Choice Awards,[5][a] and Polygon's 2013 game of the year.[6] Its release begat discussions about narrative and gameplay in video games, for the game's focus on empathic story and lack of gun-based gameplay. The Fullbright Company partnered with indie publisher Midnight City to produce a video game console port of Gone Home. Fullbright originally built the game for personal computers so as to not worry about the design limitations and optimizations necessary for a console release. Wanting to move on to their next game, the company sought out a publisher do the porting work for them.[3] Following release, Nordhagen left to found his own studio, Dim Bulb Games, in June 2014.[7] The Fullbright Company rebranded itself as Fullbright two months later, on August 4, 2014, and wrote that its continued focus would be on "immersive, unforgettable story exploration video games".

Chris Plante of Polygon cited Fullbright as an example of "smaller, independently owned studios" whose games show signs of social progress in the video game medium. Fullbright announced their next game, Tacoma, at The Game Awards in December 2014. The brief trailer featured a radio dialogue between a man and a woman, set in the Lunar Transfer Station Tacoma 200,000 miles from Earth. Polygon noted that its aesthetic was similar to Rapture, the underwater city of BioShock. Tacoma is scheduled for release in 2017 on PC and Xbox One. ^ Gone Home also received nominations for the BAFTA's "Best Story"[4] and the GDC Awards' "Game of the Year", "Innovation Award", "Best Narrative", and "Best Downloadable Game". ^ a b c d e ^ a b c d Media related to Fullbright at Wikimedia Commons© 2017 Carter's, Inc. Carter's, Count on Carter's, Little Layette, Child of Mine, Just One You, Precious Firsts, If they could just stay little 'til their Carter's wear out, OshKosh, OshKosh B'gosh, and Genuine Kids are trademarks owned by subsidiaries of Carter's, Inc. Disclaimer  | 

Your California Privacy Rights |  That's one small step for man, three steps back for humankindThis year’s PAX East and Game Developers Conference left a lot of games in their wakes. Way more than 30. But now that those shows’ hubbub (and resulting illnesses) has died down, we’ve had time to pare down our full lists from what we played to what we're dying to play again. For this year's annual round up of noteworthy indies, we've settled on 30 gems, most of which we haven’t mentioned in Ars’ pages before. These showcase games have been enjoyed on show floors, at private parties, and between bathroom entrances. These are the up-and-coming games that, once they're available for everyone, we think you'll want to play everywhere, too. Available: Beta/demo available now, final release TBD Before the endless runner genre exploded, countless bus and train riders killed time with the endless jumper. Smartphone games like Doodle Jump and Ninjatown: Trees of Doom aimed casual gamers toward the skies.

The genre is getting more sophisticated these days, particularly in the form of this summer’s Knightmare Tower. Avalanche 2: Super Avalanche looks to take the genre even higher. The overlong name should probably be stricken. The original Avalanche was a rudimentary Flash game, and its sequel blows far past it. This is no casual Doodle Jump-style affair—blocks continually fall from the sky, but slowly enough so that you’re able to hop and climb up them to stay airborne and push your total height as much as possible. Enemies and obstacles soon appear, including some particularly large beasts. But smart hoppers can find power-ups, like weapons, wings, and sticky gloves to even the battle. Keep on climbing, and customization shops, banks, and missions appear over time to keep the endless hopping interesting and diverse. Though its colorful, pixelated style may have made it look like the most modest member of this round up, Super Avalanche’s to-the-seams amount of content makes it perhaps the most exciting of the bunch.

That is, assuming you can actually hop high enough through the game's brutal upward climb to find all of it. Platforms: Windows, Xbox One Throw together the basic exploration structure of The Legend of Zelda games, the art style of Sword & Sworcery EP, the punishing survivalism of Don’t Starve, and the cinematic simplicity of Out of This World, and you’d have something approaching the experience of Below. The demo I played recently presented a stark, minimalist world where it always seems to be raining until a descent into the dangerous, randomly generated caverns scattered around the island world. There, I scrounged for materials to light my way, gathered weapons to use against natural predators large and small, and tried to piece together a path around traps and hazards. This is not a forgiving game; a few wrong moves sent me back to the beginning of the cavern, forcing me to work my way back to my corpse just to get back all the stuff I had acquired. It's all presented with a striking art style reminiscent of tilt-shift photography, with a hard focus on the area surrounding your character and a gradual blurring of focus as you go up and down the screen.

The general lack of ambient music and text in the demo made it all feel quite lonely and claustrophobic too. Those looking for a good, long wander should keep their eyes out for this one. Developer: Game Oven & The Dutch National Ballet A whole lot of iPhone games use the hardware’s motion and tilt sensors to control on-screen characters. Fewer use it as a way to encourage you to move your own body in a specific way. Fewer still do that in such a beautiful and intuitive way as Bounden. To start a game of Bounden, two players simply place their thumbs on the dots sitting on opposite ends of the iPhone and hold them there. A 3D-rendered globe appears on the screen with a hollow white circle hovering above and small raised dots popping up on the side. The game, such as it is, involves tilting and twisting the iPhone to move the globe so those dots line up with the hovering circle, like a key going in a lock. As a single player game, this process would be singularly boring.

But with two players facing each other, thumbs welded to either side of the iPhone, this basic mechanic essentially forces them into a dance routine designed by the Dutch National Ballet. Lining up those dots involves a whole lot of turning, spinning, and swaying that's loosely tied to the music coming out of the iPhone speakers (though the timing is not all that strict). It's an elegant and intuitive interface that results in some amazing experiences. Some of the patterns require twisting under the opposing player’s arm or otherwise contorting yourselves into difficult positions that can't help but bring a grin to your face. The closest thing I can compare it to is Dance Central, but Bounden is much more free-flowing and abstract, not to mention it's intimate thanks to the requirement of a second player facing you. This is the kind of game I can see pulling out as a great icebreaker at parties, and it's wholly unlike anything else on the iPhone.Forgive us a rare dalliance into the printed side of gaming, but Buffalo took this year’s GDC by storm.

It sold out at the fest’s official merch shop, making a bunch of tacky GDC ’14 hoodies jealous in the process. The game appears pretty simple on the surface. One player is a judge and lays down two cards at a time, a combination of an adjective and a noun—“South American” and “twin,” perhaps, or “masculine” and “psychologist.” The rest of the players then shout whatever fitting name, real or fictional, matches that combo, and the judge gives cards to the earliest correct answer. Whoever has the most cards at game’s end wins. Unlike recent card-group games like Cards Against Humanity and even Apples to Apples, Buffalo’s instant appeal is in freeing players from their own limiting hands of cards. Shouting and pleading become the default mode, and it’s always nice to shout the name of someone in the room to win a quick pair. (“Redheaded” and “journalist,” here!) Beyond that surface-level fun, the game has some secret sauce. A few card combinations can prove head-scratchers, especially when they touch on gender and ethnic stereotypes;

players can always grab a few more cards if the group blanks, but these moments were intentionally built into the game by its creators, a research team at Dartmouth College. Once you’ve played the game a few times, check out this PDF that touches on why the team made particular design decisions. (But definitely play the game first.) Developer: Brace Yourself Games Platforms: Windows, Mac, Linux Rogue-likes are all the rage among in-the-know gamers these days, but it wasn’t so long ago that rhythm games were the brave new genre taking the world by storm. If those gaming trends happened simultaneously, we’d have likely seen a game concept like Crypt of the Necrodancer much sooner. On the surface, it’s your basic randomly generated, top-down dungeon crawler, with plenty of little bad guys to fight and loot to collect. Where it sets itself apart is in the persistent beat that drives every action in the game—everything, from movement on the square grids to attacks to the enemies’ patterns, has to be entered using directional inputs on these downbeats, matching the spooky driving dance music in the background.

You can stop and collect yourself, but there are bonuses associated with keeping a flow of inputs on every single beat, meaning you have to plan ahead to keep things moving smoothly. Like the best Rogue-likes, you start out weak but unlock new abilities as you go. These include ranged attacks and magic spells that can heal you or hurt the opponents, all activated with diagonal combinations of directional input. Also in true genre tradition, you only have one life before you have to start over, forcing a good tug-of-war between careful planning and quick action. Things are overwhelming enough with the keyboard, but the game always seems to draw a crowd at shows thanks to the USB dance pad support. The game is an incredibly good workout in this mode, and it requires quite a bit of coordination to pull off. Still, Crypt is definitely possible to beat with your feet after some practice. Platforms: Oculus Rift / Windows, Mac, Linux Available: Demo available now (Max/Windows)

For the most part, the Oculus Rift demos and in-development games released so far have been conversions of the kind of standard, first-person experiences you’d expect to see displayed on a TV screen or monitor, simply made more immersive by the use of a head-mounted display. It's interesting, then, that the developers behind Darknet are using the headset to power a puzzle game that usually wouldn't need any sort of first-person viewpoint to begin with. After an intense trip down a tunnel of light at the beginning of the demo, Darknet places the player in front of a vast lattice of laser-light nodes meant to represent cyberspace in true '80s hacker movie fashion. The light puzzle gameplay involves hacking these nodes with a cascading virus while avoiding “eater” nodes that propagate out from node to node to thwart your efforts. The short early demo I got to try didn't really have enough meat to sell me on the overall gameplay concept, but being able to crane my neck to glance around the vast wall of virtual Internet nodes was a heady experience, especially when everything around me descended into a wall of chaotic light during a cascading failure.