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This Infamous: Second Son video shows off how motion capture is evolving for the PS4. That is a whole lot more dots than we used to see, no?

Deus Ex: The Fall, a story driven action-RPG, has been announced for mobile and tablet devices.

The game is priced at $6.99/£4.99/5.99€, with the first installment planned for this summer.

...developing...

Here’s what’s going on Talk Among Yourselves, our reader-written blog: A new Ani-Club is there for all your cartoon discussion needs. PyramidHeadCrab loves pangolins and wants to know your favorite animal. And you can always go join the voices talking about video games and life in TAY Classic and in the TAY: Open Forum.

Eidos Montreal has finally announced Deus Ex: The Fall, the game it's been teasing for a week, is a mobile game.

Some Russian hacker, unilaterally deciding that PC gamers have the inalienable right to play the 2011 Xbox 360 game The Dishwasher: Vampire Smile (pictured), just up and ported the thing, saying "This is not piracy, this is restoration of justice." According to a translation of the GameDev.ru forums, the hacker, named Barabus, said "the authors are not very nice to publish the game exclusively for the Xbox 360, making it impossible for PC gamers to play in such a great game." Then, "Given that developers ignore the PC platform, about any loss of profit for them is not out of the question. After all, if they wanted to earn money, then the game would be issued on all available platforms." Given that his studio's creation has been cracked and put on another platform for free and lectured on its business practices, Ska Studios founder James Silva has taken the matter in stride. "I'm not mad about the crack itself, in fact, I'm actually pretty impressed," he told IndieStatik. "But I'm bewildered by the cracker's attempt to justify the morality of it." Silva said he'd have been happy to explain why The Dishwasher has no PC version if the hacker had emailed him. To Eurogamer, another Ska Studios employee, artist Michelle Juett, was less tolerant. "I'm kind of livid myself," she said. "I just see him as the over-entitled gamer saying 'I deserve this because I want it!' ... [T]rying to justify it morally really irks me." The Dishwasher: Vampire Smile Unofficially Ported To PC; Hacker Says It’s Not Stealing [IndieStatik] The Dishwasher: Vampire Smile unofficially ported to PC, but the original dev doesn't mind... much [Eurogamer] To contact the author of this post, write to owen@kotaku.com or find him on Twitter @owengood.

A year ago, sketch-centric guessing game Draw Something became an inescapable phenomenon, pulling in millions of people each day. That success led to a surprising $210 million acquisition of dev studio OMGPOP by Zynga. On Monday, many of those creators were victim of a harsh 520-person culling as Zynga desperately tries to re-structure. But, were those laid-off employees sad? Doesn't sound like it. After those massive Zynga layoffs left them jobless, Business Insider reports, the people at the studio who made Draw Something did the only thing that makes sense: they shredded Zynga t-shirts and got drunk. The article has former employees pointing out the paradox of laying off the company's most successful mobile developers even as Zynga claimed a shifting of focus into mobile as a reason for the lay-offs. From the sound of things, OMGPOP simply wasn't being given enough—or even anything—to do. Being freed from a situation like that, which can't possibly feel good, seems like reason to raise a little hell. INSIDE ZYNGA'S LAYOFFS: Employees Held A Boozy, Hoodie-Shredding Party After Being Told They Were Fired [Business Insider]

Drained. Tired. Ready for a drink. These were my feelings as the credits rolled on Naughty Dog's latest. The Last of Us is a story about hope in a hopeless world, and the lengths we'll go to for those we love. Who is good? Who is bad? Do such distinctions matter in a world gone crazy? The Last of Us is a bold work, especially for a developer recently known for strapping us into cinematic roller coasters. The Last of Us is not fun, at least not in the traditional sense, and that's exactly why it's so interesting.

Some infected can't detect light, giving you a tiny advantage.

The Last of Us is Naughty Dog's take on the zombie apocalypse. Here, the disease is fungal. Breathe in nearby spores, and you'll turn. If you're bitten or scratched by an infected? Same fate. It's not clear where the infection came from, but like The Walking Dead and Metro 2033 before it, The Last of Us isn't concerned with exploring why the apocalypse came to be, but what happens in the days after. Humanity followed a familiar playbook when the crisis broke out. Sections of society have holed themselves up in military cities where citizens deal in ration tickets. The infection is still present, and there's no prospect of change. We're quickly introduced to Joel, who led a stressful but normal life with his daughter and brother before all hell broke loose. Twenty years later, Joel's changed. He's survived, but it's taken a toll on him. Joel's partnered with Tess, a firecracker who'll just as quickly bust your lip as help you across the street. The two have similar values, so they get along. A series of events put them in charge of Ellie, a young girl that needs to be transported to the Fireflies, a militia group trying to establish order.

Uncharted 2: Among Thieves remains one of this generation's most celebrated games. Bombastic, sarcastic, over-the-top, fun. It was Naughty Dog's legacy of technological prowess with a character of matched ambition. Uncharted also popularized the term ludonarrative dissonance, wherein the character portrayed in cutscenes doesn't match the one players control. Nathan Drake is an aloof everyman that's easy to relate to, a man one suspects doesn't take killing a man for granted. Yet, over the course of three games, Drake leaves thousands of bodies in his wake, and never bats an eye. We know why this disconnect exists: in service of fun. The gunplay in Uncharted was enjoyable, and fighting off waves of enemies was, besides platforming, the core gameplay. The series was also famous for its setpieces, orchestrations of madness and destruction on an unparalleled scale. You were often in control of these moments, and if you happened to mess up a simple jump, the sequence started over. A crumbling bridge is tense and exciting the first or second time around, not not nearly as much when playing it a tenth time.

The Last of Us rejects all of this. The Last of Us plays like Naughty Dog internalized the biggest design criticisms leveled against its last franchise and set out to make the anti-Uncharted. While The Last of Us retains Naughty Dog's signature ability to push hardware further than anyone else--a PlayStation 3 game has never looked better--it gives the player far more agency during the game's biggest moments, ratchets down the overall body count by a significant degree, and tries to make each kill worth a damn.

The developers achieve this by attaching weight and consequence to your actions. Early on, it's a brutal, difficult game. The more powerful infected have one-hit kills that aren't counterable until later, and a single pistol shot will lop off one-third of your health. Health does not regenerate in The Last of Us, and one must craft or collect new medical packs that are slowly applied in real-time before regaining any vigor. It's possible to clear sections of every threat, but that's a great way to wind up with no ammunition, little health, and not much else to show for it. In many situations, the best option is to run away. (It's possible to simply restart encounters, but I found this to quickly diminish the threat of being caught and having to improvise.) The Last of Us asks players to fight their usual compulsions when it comes to playing a video game focused on enemy confrontation, and make on-the-fly judgement calls that don't have clear risks or rewards when you initially take them. If you worry about checking every room and looking around every corner, have fun dying over and over again. Then again, some of the game's best crafting pieces, ammo, and other collectibles are hidden in those places. Is it worth the risk? Your call.

Ellie and Joel aren't friends when The Last of Us begins, and their relationship only grows more complex.

By holding down L2, Joel crouches to the floor and uses sound to gain a sense of what's around him, highlighted in black-and-white. It's not a supernatural ability, but a visual extension of Joel's 20 years of hardened experience. Joel's perception changes as the enemies move, and if an enemy hasn't yet made a sound, you'll have to place them in sight or prod them. Bricks and bottles are scattered around, and you'll use them often, as the infected and humans react to sound (sometimes to an exaggerated, unbelievable effect). Joel can and must use distractions to make quiet killing easier--players choose between a loud choke-out or shivving--or to sneak along. The same objects are useful on the offensive, as well. In one sequence, a building with six or seven enemies was too much for me to take on without using up most of my available pistol ammunition. One false move during a stealth kill later and everyone was alerted. Noticing the exit to my left, I ran. The exit itself was guarded by a beefy dude with a shotgun, though, and I tossed a brick at his face to stun him. This allowed me to run by, head around the corner, and avoid unnecessary combat with a whole room full of bad guys. Did I miss an opportunity to loot a safe or collect extra materials to upgrade my bat or build a bomb? Probably. But I also came out alive.

Staying alive is a balancing act that requires more than a steady aim and calculated movement. Crafting plays a huge role, one that comes with its own checks and balances. Players have a small amount of craftable items that unlock over the course of the game--molotov cocktails, health kits, smoke bombs, melee upgrades, others--but each requires multiple materials, and making one item will inevitably mean you cannot build another. Are you confident you'll make it through the next section without a scratch? Is it more important to kill the four infected blocking the way with a molotov cocktail? Like healing, crafting takes time, which is precious in The Last of Us. Once the bullets start flying or the infected start chasing, there are rarely moments to sit down, open your backpack, and wait for a bar to fill, signifying the creation of a new item. Crafting speed, healing speed, and other techniques can be upgraded by collecting medicine during the game, but nothing will make you all-powerful. Death is always around the corner.

Ellie is a key component during much of the game, as well. She's not just a character you talk to, but someone who takes part in the action. This would raise red flags in most games. Thankfully, it works fine--she's helpful. In addition to Ellie, there will be other characters following you around, shooting enemies, and hiding behind desks. They won't get in your way, and while it's a little weird when enemies don't notice these characters walking right in front of them, that's preferable to having them constantly messing up your approach. The characters are not in your control, but they're also useful and resourceful.

At times, The Last of Us feels like a classic survival horror game, and it prompted certain personal instincts to kick in. In games like this, I'll hoard everything, use very little, and find myself at the end of the game with a glut of items, weapons, and other stuff that the game never forced me into a position of using, so I never did. If the game isn't going to back me into a wall and force the use of precious cargo, I'm going to be cautious and make sure I'm stocked up. The Last of Us deeply constrains the player in the early hours, but if you're like me, that no longer becomes an issue in the latter half of the game. Joel is capable of holding more than half-a-dozen weapons at once, and while the game does an admirable job of ammo limiting certain weapons for long stretches of the game, I eventually hit a point where I wasn't thinking about the weapon I was wielding. The game's early hours are the most harrowing, and it's why I'd recommend players interested in in a rougher experience consider dialing up the difficulty before diving in.

Maybe it's the nature of a lengthy video game, but despite its restraint, the bodies start to stack up in The Last of Us. Eventually, the violence is no longer appalling, the kills no longer shocking. It's partly due to Naughty Dog indulging in Uncharted-like setpieces that transform enemies into shooting galleries. One has dozens of guys swarming a sniper spot, and you're forced to kill them in a clinical and detached fashion at odds with what's come before it. And you have unlimited ammo. It's a moment engineered to feel indulgent, as the player has been slowly sneaking through a town to eliminate a sniper that's been a total jerk, but it doesn't work. When the last enemy had hit the ground, I was rolling my eyes instead of being relieved. But players may react to these moments differently, largely fueled by the agency Naughty Dog gives them in determining the kind of survivalist Joel is.

Born into a chaotic world, Ellie's learned to act above her age.

The emotions are heightened by the believable acting happening in-game and out. The performance capture techniques that made Drake, Sully, and friends come alive in Uncharted are put to terrific use in here, with Troy Baker and Ashley Johnson both fully committing to their roles as Joel and Ellie. Contrary to most games, Joel is not the player surrogate--Ellie is. You empathize with her, and she says what the player is thinking. When she tells Joel to *crag* off, you want to give her a high-five. (At one point, you actually can press triangle and give Ellie a high-five!) Ellie can hold her own. Joel's perspective has been warped, and yet this is the guy you play as--the asshole. You don't choose how Joel acts. Naturally, there's much more to Joel that's explored as the story goes along--the man has his reasons for being bitter--and some of the best moments don't even happen in the cut-scenes. Every once and a while, Ellie (or another character) will have an icon appear above their head, suggesting an optional piece of dialogue. Often, these moments occur while Ellie is staring at a painting, poster, or another piece of scenery. Joel lived for years before the world imploded, while Ellie only knows chaos. These moments inform the larger fiction of The Last of Us, and bond Joel, Elile, and the player. If you choose to ignore these moments, Ellie comments on your decision to ignore her. It's a nice touch, and the interactions evolve as the game goes on. Early in the game, Ellie is learning how to whistle. By the end, she's gotten pretty good.

On top of all of this, Naughty Dog has built on the surprising success of Uncharted's multiplayer with factions mode in The Last of Us. You want to know the crazy thing, especially coming from a guy who usually can't give a crap about a game's multiplayer modes? It's great. The methodical, slow-paced gameplay from the single-player translates well to multiplayer. In both game modes, players are split into small teams, and working with one another is not only essential to survival match-to-match, but it plays into the larger metagame. In Factions, you're the leader of a small set of survivors just barely getting by. In order to unlock more perks and customization options, that group needs to get bigger, and as the days and weeks roll on, random incidents will occur to test your group's ability to cope. For players, this means trying to accomplish certain subgoals within matches, such as "x" number of melee kills. As the group gets bigger, it demands more resources. You only find those resources during matches, and you receive more of them if you're doing more than killing--healing others, gifting items, etc. There's even an interesting, non-spammy option for Facebook that names survivors after friends and family. One thing that kept with me, though, was multiplayer's focus on rewarding gruesome execution kills. When a player is almost dead, they go into a hunched state where a teammate can rescue them--or an enemy can end their life in a terrible way. Unlike single-player, there's no terrifying us-versus-them mentality contextualizing these alarming acts. Here, it's more points and a bothersome use of extreme violence.

The Last of Us is not simply Uncharted with zombies, but it couldn't exist without Naughty Dog having made Uncharted first, either. It's a dark adventure, one rarely filled with laughs or joy. There are bitter pills to swallow along the way, and nothing is taken for granted, not even characters. People live, people die. Sometimes it's fair, sometimes it's not. It's still a zombie game, but a sobering one. Take a deep breath.

What an amazing deal! Not only do you get a 12-inch replica Dubstep Gun with lights and sounds for $99, you also get a Johnny Gat memorial statue, a Dubstep Doomsday Button and a copy of Saints Row IV for good measure. Neat! The coolest (and possibly cleanest) Saints Row collector's edition in game history, ladies and gentlemen. The game's the Commander in Chief edition of Saints Row IV, packed with exclusive downloadable things. I might play it. The statue will go in a drawer and the button will be given to my children to be gnawed on, keeping them occupied as I disappear into the night with my Dubstep Gun in hand, pretending to kill everything in stuttering slow motion. You can preorder this thing today at places where they do that. They call it the Super Dangerous Wub Wub Edition, and it's going to be limited, so hop on that. Offer expires while you wait.

Remember the super rad mind-jacking, try to forget the horrible voice acting.

This is not a retouched photo. It's not a 3D model, or an actor dressed as perhaps the United States' greatest ever President. This is a sculpture, done by veteran Hollywood effects man Kazuhiro Tsuji. It was part of a display held earlier this year at the Copro Gallery in Santa Monica. Tsuji, who moved to the US in the 90s having begun his career in his native Japan, has done effects and creature make-up on movies like Men In Black, Total Recall, Transformers and Looper. Portrait of Abraham Lincoln [Kazuhiro Tsuji, via David Giraud]

I don't give a damn that this trailer for World of Warships - an upcoming game from the same guys behind World of Tanks - has no gameplay in it. What it does have are lots and lots of battleships. Battleships are awesome. More video games need battleships. Developers, note: more games need battleships.

Lightning strikes twice for Double Fine with Massive Chalice.

Emerson Chung is a concept artist who has worked on properties like League of Legends, Warhammer 40K and Transformers, while having also done some stuff with tabletop giants Fantasy Flight Games. He's currently an artist at mobile gaming company TinyCo. You can see more of Emerson's stuff at his personal site. To see the larger pics in all their glory (or, if they’re big enough, so you can save them as wallpaper), click on the “expand” button in the bottom-right corner. Fine Art is a celebration of the work of video game artists, showcasing the best of both their professional and personal portfolios. If you're in the business and have some concept, environment, promotional or character art you'd like to share, drop us a line!

What you're looking at here is Super Chain Crusher, a shmup (shoot-em-up) whose native resolution of 3200 x 800 is so long most modern video hardware cannot properly display it. So its developers encourage you to play it across two screens. OK, so you can play it on one screen - and you can do it right now, as there's a playable demo - but you'd be missing the point. Here's the breathlessly fantastic description, as laid down by Japanese developers Mindware: 3200 x 800 Adrenaline ! Blow away all standards with shooting on a galactic scale ! WILL WORK WITH ONE MONITOR! TWO IS BEST BUT NOT NEEDED! A PC game with a stunning 3200x800 pixels for ultra widescreen shooting! Create the longest series of chained explosions ever seen on this massive screen! Completely fill your gigantic ultra charge shot gauge to unleash a massive explosion 2000 pixels wide! It blows away all standards and crushes the competition! Introducing Super Chain Crusher Horizon! Love it. The game's up for voting on Steam Greenlight if you feel like this kind of insanity warrants a wider audience, though you can also buy the game straight from the developers. [via Hardcore Gaming]

I think the Super Nintendo, at least the Japanese/European model, is one of the most beautiful pieces of consumer electronics ever made, from its colour palette to its timeless design. Just because the original is timeless, though, doesn't mean we can't get an update for these more modern times. Like this one, by Colombian designer Alejandro Duque. Taking the North American SNES as a template, he's gently updated various aspects, from the controllers (which are now wireless) to the finish of the console itself. The best part, though, is the part that really shows this is something designed by fans, and not Nintendo: instead of cartridges, you can just plug a USB stick in and run your games off that. Super Nintendo Revolution [Alejandro Duque, via ALBOTAS]

If you look beyond its cardinal sin of being a kinda lousy movie, 2006's Superman Returns got plenty of other stuff wrong, too. Or, "wrong," as the nitpickers at Cinema Sins define it, seeing as how they're concerned with taking cheap shots as they are with pointing out genuine inconsistencies. That said, I always enjoy these videos, even when they're pedantic. Let's take odds: Will the upcoming Superman reboot be better than Returns? And more importantly, when these guys inevitably tear into it, will it have more or fewer sins than the 2006 film? Talk Supermen, regular men, or anything else, here or over in TAY.

Last year's hottest mod will this year become its own standalone game, and while we're yet to get an official look at how DayZ is shaping up, this leaked footage gives us a few hints. I say only a few hints because this appears to be early code for the game, missing key features and polish, and obviously not intended for general consumption without warnings like this one, warning you it's missing key features and polish and was not intended for general consumption. So, yes, to the untrained eye, it looks a lot like DayZ the mod, albeit one with the earliest stages of a new inventory system. Leaked DayZ Standalone Gameplay [YouTube, via PC Gamer]

The Yawhg is an excellent "dark fantasy multiplayer choose-your-own-adventure game" where you try your best to survive against impending doom. No two games are alike; it's randomly generated. One of the best-written games I've played this year, and you can buy it here.

Source claims GameStop to stop selling the 8GB Wii U as of June 18.

We stress out about E3s past and future, free-to-play games, Kickstarter, and more! Mostly E3, though.

I never knew how much the world needed a Japanese role-playing game starring Kanye West—not until I came across Kanye Quest 3030. Now, the trailer for the game looks rough—in the way that most RPG Maker games do. But that's surface-level stuff; we've seen heavy-hitters made with RPG Maker before—think To The Moon or Actual Sunlight. But even if Kanye Quest is crap (I wasn't able to get it to work after I downloaded it), just the fact that it exists—and that someone out there put together a JRPG with Tupac's clone and Lil B—is amazing. I'm especially convinced this is the case after watching a Let's Play by Theboxescast of the alpha—it's hard not to laugh at Kanye having to take the trash out. Or basically anything else that happens in the game, like having a random enemy encounter with Snoop Lion and Dr. Dre's clones. Take a look: (Is everyone a clone? Does that include Kanye? Hmm...) The game's development blog can be found here, and an alpha can be downloaded here. And if a JRPG isn't up your alley, there's always Kanye Zone.

Or, How The Daily Dota Got Its Groove Back.

SpyParty, the excellent asymmetrical multiplayer game we've been raving about for years, is finally going into open beta. Go sign up! $15.

Kotaku It Doesn't Matter That Remember Me's Main Character Is a Black Woman. | io9 What We Want From Doctor Who's Next Doctor | Gizmodo The New Arrested Development Season, Edited into Chronological Order | Jalopnik Why Ralph Lauren's $40+ Million Bugatti Is Worth Every Penny

When the big two introduced motion comics a few years back, everyone had a good laugh at how terrible they were. They were difficult to read, watch and, generally, sucked all-around. Tonight in New York, DC is fixing all that and taking it a step further with DC2 (aka Dynamic Content) and DC2 Multiverse technology with the latter being a choose your adventure style of storytelling. DC squared essentially overhauls the whole motion comics implementation, which generally lacked any polish. In some instances the publishers didn't even bother to hire more than one voice actor. Watchmen is the best worst example of all. What DC squared does is layer better graphics, sound effects and essentially teaches novices how to actually read comics. Batman '66 will be the first to showcase this tech sometime this summer and will only be available on select books. More importantly, the DC2 Multiverse technology actually allows the reader to go down a specific path of their own choosing. So, for instance, in the image way up top, the reader is presented with two different paths—one following the Joker and one following Harley. Which one do you choose? Whatever your heart tells you. You could, however, end up choosing the wrong path but you're then taken back to start over. Fun, right? The launch of DC2 Multiverse is tied to the Batman: Arkham Origins video game, which comes out this fall. And like DC squared, the new tech won't be available across the board either. DC hasn't yet announced which mobile platforms either new technology will land on.

Last time we checked in with Evan McIsaac, he was dancing and lip synching to "Do My Thing" by Estelle and Janelle Monáe...all while dressed like Sailor Moon characters. Now he's back with a number to accompany to Hi Fashion's "Amazing." It's terrible. And that's exactly what makes it amazing. I can't get over how perfect his entire act is, from the awkwardness to the Sailor Moon outfits—which have transformation sequences! McIsaac knows how to own it, truly. Sailor Amazing [Evan McIsaac]

Hip Hop Gamer, a fixture of New York gaming press events and a man of boundless enthusiasm, has traded in his trademark WWE replica John Cena title belt for something cooler and... a little different. I believe it was two years ago, walking through a crosswalk near the Los Angeles Convention Center, when I informed Hip Hop Gamer that John Cena was corny and lame. I'd like to think it was my words that day that finally convinced HHG to chuck that belt. This new one is far more amazing anyway. As far as I know, Hip Hop is still the only member of the gaming press to have his own title belt. If there are rivals, let me know. To contact the author of this post, write to stephentotilo@kotaku.com or find him on Twitter @stephentotilo. .

I wasn't sure that I was going to write about the race of Remember Me's heroine because I wasn't sure there'd be anything to write about. And after having played the game, I can say that Nilin's ethnic make-up plays no part in the world-building of the new Capcom adventure. But wait a minute, some of you are saying, aren't you the guy who's always talking about black this and black that? That’s right. I am that guy. I’ve written before about how I’d love video games to get more inclusive with character creation and the pool of developers. I've written about how it’d be great if the industry could tap into black history and cultural expressions to create different kinds of worlds and sagas. Last year, I praised Assassin's Creed III: Liberation for finding ways to weave in the racial dynamics of 18th Century into America into its gameplay mechanics and narrative. To me, the way that the writers and developers at Ubisoft Sofia spliced in reflections on slavery, bi-racial heritage and gender difference into their PlayStation Vita game marked a high point of how to handle the complex subject matter of racial inequalities in a video game. Remember Me doesn’t do any of that. And I’m okay with it. When I first saw shots of the game’s main character Nilin, I just assumed that the game's creators at Dontnod were going the ethnically ambigious route. You know, like Jade from Beyond Good & Evil. Squint your eyes and she could be from any number of backgrounds. It wasn't until I saw a few Tweets about Nilin being black that I started to really believe she had some African diaspora in her background. However, no effort is made to try to inject any kind of cultural specificity or tropes into Nilin. There’s no effort made to make her sound like someone’s idea of what a black woman sounds like. And while there are haves and have-nots in Remember Me, Nilin doesn't automatically belong to the underclass because she's a brown person. What drives her is what would drive any protagonist: wanting to uncover her past and a compulsion to do what’s right. That's significant. It’s an argument that I’ve been making for a while privately and professionally: nothing changes—or has to change—if the character saving the world is a brown, red, yellow or black person. Or a woman. Sure, developers can choose to make it matter. It can be great when the fact that a game character is of color or female does matter to the content of the game, as with Assassin’s Creed III: Liberation. That instance is one where the game is made better by choosing to incorporate research and a desire to try and communicate the experience of something other than a square-jawed white guy. But, Remember Me represents the other end of my spectrum of desire: the simple basic yearning for different kinds of faces. Opinions are varied with regard to the quality of Remember Me. But you can’t deny that Nilin is already different than the Master Chiefs or Nathan Drakes of the video game universe simply by how she looks. And that difference is magnetic; it makes you wonder about the game she’s the face of and the world she operates in. And that magnetism? It’s not all that hard to achieve. All you need to do is to make a Nilin or an Aveline or a Lee Everett in the first place.

Welcome to the monthly meeting of the io9 Book Club. In May, we read Austin Grossman's YOU. Jump into comments to get started talking about it! For those unfamiliar with the io9 book club, here's how it works: You read the book. We create a special book club post on io9 when the meeting is in session. That would be the post you're reading right now. Then everybody talks about the book in comments for a few days, starting right now. Grossman will stop by Friday at noon PT to talk with us about the book. I'll post a call for questions for him Friday morning! So, what did you think of YOU? Want to get a head start on our next book? In June, we're going to read Lauren Beukes' intense novel about a time traveling serial killer, called The Shining Girls. (Our review of it is here.) We'll meet July 2 to discuss it, and we hope Beukes will join us later that week for a discussion!

Gravity Guy 2 is the opposite of a safe sequel. This is a follow-up populated with new gameplay, new characters, and new ideas. But does it all work?