Speedrunning Culture/ the Future of Single-Player Gaming

Total Page:16

File Type:pdf, Size:1020Kb

Speedrunning Culture/ the Future of Single-Player Gaming ! Copyright © 2017 MakeUseOf. All Rights Reserved ®. ! Speedrunning Culture: The Future of Single-Player Gaming Written by Joel Lee Published June 2015. Read the original article here: http://www.makeuseof.com/tag/speedrunning-culture-future- single-player-gaming/ This ebook is the intellectual property of MakeUseOf. It must only be published in its original form. Using parts or republishing altered parts of this ebook is prohibited without permission from MakeUseOf.com. Copyright © 2017 MakeUseOf. All Rights Reserved ®. ! Table of contents Speedrunning: A Humble Start 4 The Drive of a Speedrunner 6 What Makes a Good Speedrunning Game? 9 The Boom in Speedrunning Culture 13 Speedrunners on Twitch to Follow 17 What’s In Store for Speedrunners? 20 Copyright © 2017 MakeUseOf. All Rights Reserved ®. ! The beauty of video games is that they’re interactive, meaning you can play them however you wish. This may not be as true in an online multiplayer setting, but is certainly true for single player games. The culture of speedrunning is a perfect example. Some people play games for the story and characters. Others play to relax, to take it slow, or to kill time when they’re bored. And then there are those who want to challenge themselves to the extreme. In a lot of ways, the challenge is the heart of gaming. This can manifest in a few ways. Of these challenge-seekers, many prefer to test their mettle against other players — either in a heads-up or a team-vs-team environment. The rest prefer to compete against themselves. That latter group is where speedrunning truly shines. Speedrunning: A Humble Start In simplest of terms, speedrunning is the completion of a certain level or stage in a game, or the entire game itself, as quickly as possible. If the game has a built-in completion timer, then that’s often used to determine official times. If not, third-party helper tools exist as well. As a concept, “racing against oneself” is as old as humanity itself, so in that sense speedrunning doesn’t really have a beginning. Even in the context of video games, players have undoubtedly been “self-racing” for as long as games have been around. But as a social activity? The overall consensus is that the true spirit of speedrunning officially began with Doom. Why Doom? Because it launched with two very important built-in features that made it possible to record one’s time and prove that it was legitimate. The first feature was an end-of-level clock that displayed the exact completion time. The second feature was the ability to record demos. Copyright © 2017 MakeUseOf. All Rights Reserved ®. ! A demo, or demonstration, was a recording of the player’s exact playthrough of a particular level. This demo file could be distributed to others, loaded into their copy of Doom, then viewed from start to finish. The ability to share speedruns made it possible for players to compete through a single player game in an age where online multiplayer was rare. About a year after Doom launched, Simon Widlake opened a website called COMPET-N which was to be an online ranking of the fastest Doom playthroughs. Though the “speedrun” term wouldn’t be popularized until later, COMPET-N is widely recognized as the first speedrunning website. Thus, speedrunning was born. Over the years, the activity evolved and developed several nuances. One such nuance can be posed as a question: “Does it count if glitches are involved?” Another nuance: “How much of the game needs to be completed?” These questions, and others like them, caused schisms within the community. As a result, there are now several types of speedruns: • 100% Completion: This kind of speedrun requires the player to unlock all major gameplay items and upgrades, find all secret treasures and collectibles, defeat all bosses and stages, etc. The actual requirements depend on the game itself, but the general idea is that player must beat every aspect of the game as quickly as possible. • Low% Completion: This kind of speedrun is the opposite of the 100% Completion in that the goal is to beat the game in record time while foregoing as many items, upgrades, and other gameplay elements as possible. This is usually the most difficult kind of speedrun. • Any% Completion: This kind of speedrun puts no requirements or limitations on the player other than to beat the game as quickly as possible. As far as glitches are concerned, there are purists in the community who believe that they invalidate a speedrun. For the most part, however, glitch exploitation has come to be a normal — even expected — aspect of speedrunning. In most games, nearly all but the most game- breaking glitches are allowed. This argument about glitches is one that speed runners like myself have had to have countless times over the years. It really comes down to a few simple things that easily explain why glitches are perfectly acceptable in almost every case. The fact of the matter is that anything that’s doable within the game without external interference is fair play, because even if it wasn’t intended by the developers, it’s still part of that package. Your goal is to reach the end of that self-contained game as quickly as possible by any means necessary. If using glitches yields the fastest time, then so be it. That being said, there are of course exceptions to every rule. It’s rare, but if a particular glitch is so completely game-breaking that it makes the speed run more-or-less pointless, that game’s speed running community might largely choose to ignore runs using that glitch, or at least focus on separating runs using it and not using it into separately considered categories. HT: What’s Your Tag? Which brings us to our final nuance: the tool-assisted speedrun (TAS). This kind of speedrun uses a third-party tool to alter certain aspects of gameplay in order to compensate for limitations in player ability. For example, one tool might reduce the game to slow motion, allowing the player to exploit glitches that might otherwise be extremely difficult to pull off. But why? Copyright © 2017 MakeUseOf. All Rights Reserved ®. ! Many non-speedrunners look at the prevalence of glitch abuse and tool assistance and wonder, “What’s the point of playing the game if you aren’t going to play it properly?” While that kind of thinking holds a lot of weight in a non-speedrun context, it turns out that speedrunners think about games in a completely different way than most people. The Drive of a Speedrunner To the speedrunner, games cease being seen as games; instead, they become puzzles. With a self-imposed goal (some % completion) and a set of constraints (e.g. no upgrades and no warps), the speedrunner must figure out the path of least resistance using whatever methods are valid within those constraints. Let’s peel back what it means to play a game for a bit. Video games, at their core, are just computer programs. When a human plays a game, they are feeding instructions to the program to act on. We perceive this as a continuous interaction where our inputs from a controller instantly affect game operation. In reality, however, the program works in stepped increments and only checks whether you are providing inputs at the beginning of each step. A single step is referred to as a “frame” in both the technical and speedrunning sense. At the core, this is what a speedrun is: an attempt to optimize the path through a game by completing it in the fewest frames possible. HT: Speed Demos Archive The mindset of the speedrunner is one of optimization. It’s all about shaving precious seconds here and there in the hopes that they’ll add up to a new record. The game no longer exists. It’s simply there to provide the speedrunner with a problem to optimize. Needless to say, not everyone is fit to be a speedrunner. Copyright © 2017 MakeUseOf. All Rights Reserved ®. ! First, the speedrunner must be familiar with the game they’re about to solve. While it’s not necessary to know everything , it’s true that the more he knows, the better equipped he’ll be for success. At the extreme, this means studying the gameplay mechanics, understanding in- game physics, memorizing tricks and glitches, etc. In a game like Super Meat Boy, timing is crucial. It’s one thing to know the movement patterns of various hazards, but the best minds will know the exact position of a given hazard at any given time. This attention to detail is what allows a skilled speedrunner to perform using nothing but muscle memory. In a game that isn’t so reliant on dexterity and execution, the key to a fast time is exploiting as many shortcuts as possible, whether that means bypassing bosses, abusing certain mechanics, etc. For example, well-known Secret of Mana speedrunner StingerPA uses a trick that allows him to deal 999 damage per hit as a way to defeat bosses without having to grind and level up. Another key component is perseverance and endurance. While certain games can be beat within a matter of minutes, many games have world record times that span several hours. The ability to maintain mental clarity for such long periods of time is a highly underestimated skill. More often than not, a speedrunner will get to the end of his five-hour speedrun and realize that he was three seconds short of beating his record. That can be a maddening experience and only the most steel-minded players can muster up the strength to keep trying.
Recommended publications
  • Le Speedrun : Pratique Compétitive, Ludique Ou Créative ? Trajectoire D’Un Détournement De Jeu Vidéo Institué En Nouveau Game
    Le speedrun : pratique compétitive, ludique ou créative ? Trajectoire d’un détournement de jeu vidéo institué en nouveau game Fanny BARNABÉ Aspirante FNRS Université de Liège Bât. A2 Litt. française (19è et 20è) - Sociologie de la littérature 3-5 place Cockerill, 4000 Liège, Belgique [email protected] MOTS-CLES : Jeu vidéo, speedrun, tool-assisted speedrun, culture participative RESUME : Ce travail vise à interroger la manière dont les jeux vidéo et les dynamiques de détournement qu’ils suscitent chez les joueurs redéfinissent la traditionnelle opposition entre consommation et création. Dans ce but, nous étudierons un usage spécifique du médium vidéoludique qui s’est institué en véritable pratique créative sur internet : le speedrun (et son dérivé, le tool- assisted speedrun). L’analyse se déroulera en deux temps : une première partie envisagera les déplacements concrets qu’opère le speedrun dans les notions liées au pôle de la réception (qu’est-ce qu’être un joueur ou un spectateur au sein de ce domaine ?) ; la seconde étudiera la façon dont cette pratique participe à redéfinir le pôle de la production (que deviennent les notions d’auteur, d’œuvre et de création dans le cadre de cette activité ?). Ludovia 2014 - Le speedrun : pratique compétitive, ludique ou créative ?- 1 INTRODUCTION S’il semble aujourd’hui urgent de repenser les modalités de création et de consommation des produits culturels, c’est que le numérique a redessiné ces dernières en favorisant l’émergence d’une « culture participative » (Raessens, 2005). La généralisation de l’interactivité au sein des différents dispositifs médiatiques modifie le rapport du public tant aux œuvres qu’à leurs supports, dans le sens où la réception prend actuellement la forme d’une « expérience doublement perceptive et manipulatoire » (Fourmentraux, 2012 : 14).
    [Show full text]
  • 1 Fully Optimized: the (Post)Human Art of Speedrunning Like Their Cognate Forms of New Media, the Everyday Ubiquity of Video
    Fully Optimized: The (Post)human Art of Speedrunning Item Type Article Authors Hay, Jonathan Citation Hay, J. (2020). Fully Optimized: The (Post)human Art of Speedrunning. Journal of Posthuman Studies: Philosophy, Technology, Media, 4(1), 5 - 24. Publisher Penn State University Press Journal Journal of Posthuman Studies Download date 01/10/2021 15:57:06 Item License https://creativecommons.org/licenses/by-nc-nd/4.0/ Link to Item http://hdl.handle.net/10034/623585 Fully Optimized: The (post)human art of speedrunning Like their cognate forms of new media, the everyday ubiquity of video games in contemporary Western cultures is symptomatic of the always-already “(post)human” (Hayles 1999, 246) character of the mundane lifeworlds of those members of our species who live in such technologically saturated societies. This article therefore takes as its theoretical basis N. Katherine Hayles’ proposal that our species presently inhabits an intermediary stage between being human and posthuman; that we are currently (post)human, engaged in a process of constantly becoming posthuman. In the space of an entirely unremarkable hour, we might very conceivably interface with our mobile phone in order to access and interpret GPS data, stream a newly released album of music, phone a family member who is physically separated from us by many miles, pass time playing a clicker game, and then absentmindedly catch up on breaking news from across the globe. In this context, video games are merely one cultural practice through which we regularly interface with technology, and hence, are merely one constituent aspect of the consummate inundation of technologies into the everyday lives of (post)humans.
    [Show full text]
  • Linn-Benton Community College
    LINN-BENTON COMMUNITY COLLEGE VOLUME 47 • EDITION 9 NOVEMBER 12, 2014 HUMAN INTEREST COMMUTER.LINNBENTON.EDU PAGE 2 “FORGIVE ME IF I’VE TOLD YOU THIS BEFORE” just a few 90s anthems off the playlist link included with the release of the book. BOOK TOUR The 90s were a difficult time for many in Oregon, and Stetz-Waterz remembers when 638,527 Oregonians sunday Nov. 16 1:30 p.m. voted in favor of classifying homosexuality with Author reading at Mr. Green Beans bookstore pedophilia, sadism, and masochism. The intent of 3932 N. Mississippi Ave. Measure 9 was to set a standard in Oregon public schools grouping homosexuality with immoral acts. Portland OR, 97227 This in turn, labeled it as an “abnormal behavior.” The fictional teen Triinu is entering the world of high Thursday Nov. 20. 7p.m. school, and it’s right about then when she begins to see Launch Party the world through an adult’s perceptual lens. With one Jones Bar foot on the ground and the other adrift in a teenage world, Stetz-Waters’ newest protagonist begins a quest 107 NW Couch St. to never be the same. Portland, OR, 97209 “At that age we are old enough to have an adult understanding, but young enough that we are Tuesday Nov. 25 7 p.m. experiencing things for the first time,” said Stetz-Waters Dual Reading with “Misdirected” Drawing from her own life experience as a rural Oregonian, Stetz-Waters paints the broad strokes of her author Ali Berman new work of fiction from first-hand experiences.
    [Show full text]
  • Order Form Full
    JAZZ ARTIST TITLE LABEL RETAIL ADDERLEY, CANNONBALL SOMETHIN' ELSE BLUE NOTE RM112.00 ARMSTRONG, LOUIS LOUIS ARMSTRONG PLAYS W.C. HANDY PURE PLEASURE RM188.00 ARMSTRONG, LOUIS & DUKE ELLINGTON THE GREAT REUNION (180 GR) PARLOPHONE RM124.00 AYLER, ALBERT LIVE IN FRANCE JULY 25, 1970 B13 RM136.00 BAKER, CHET DAYBREAK (180 GR) STEEPLECHASE RM139.00 BAKER, CHET IT COULD HAPPEN TO YOU RIVERSIDE RM119.00 BAKER, CHET SINGS & STRINGS VINYL PASSION RM146.00 BAKER, CHET THE LYRICAL TRUMPET OF CHET JAZZ WAX RM134.00 BAKER, CHET WITH STRINGS (180 GR) MUSIC ON VINYL RM155.00 BERRY, OVERTON T.O.B.E. + LIVE AT THE DOUBLET LIGHT 1/T ATTIC RM124.00 BIG BAD VOODOO DADDY BIG BAD VOODOO DADDY (PURPLE VINYL) LONESTAR RECORDS RM115.00 BLAKEY, ART 3 BLIND MICE UNITED ARTISTS RM95.00 BROETZMANN, PETER FULL BLAST JAZZWERKSTATT RM95.00 BRUBECK, DAVE THE ESSENTIAL DAVE BRUBECK COLUMBIA RM146.00 BRUBECK, DAVE - OCTET DAVE BRUBECK OCTET FANTASY RM119.00 BRUBECK, DAVE - QUARTET BRUBECK TIME DOXY RM125.00 BRUUT! MAD PACK (180 GR WHITE) MUSIC ON VINYL RM149.00 BUCKSHOT LEFONQUE MUSIC EVOLUTION MUSIC ON VINYL RM147.00 BURRELL, KENNY MIDNIGHT BLUE (MONO) (200 GR) CLASSIC RECORDS RM147.00 BURRELL, KENNY WEAVER OF DREAMS (180 GR) WAX TIME RM138.00 BYRD, DONALD BLACK BYRD BLUE NOTE RM112.00 CHERRY, DON MU (FIRST PART) (180 GR) BYG ACTUEL RM95.00 CLAYTON, BUCK HOW HI THE FI PURE PLEASURE RM188.00 COLE, NAT KING PENTHOUSE SERENADE PURE PLEASURE RM157.00 COLEMAN, ORNETTE AT THE TOWN HALL, DECEMBER 1962 WAX LOVE RM107.00 COLTRANE, ALICE JOURNEY IN SATCHIDANANDA (180 GR) IMPULSE
    [Show full text]
  • Ready Player One by Ernest Cline
    Ready Player One by Ernest Cline Chapter 1 Everyone my age remembers where they were and what they were doing when they first heard about the contest. I was sitting in my hideout watching cartoons when the news bulletin broke in on my video feed, announcing that James Halliday had died during the night. I’d heard of Halliday, of course. Everyone had. He was the videogame designer responsible for creating the OASIS, a massively multiplayer online game that had gradually evolved into the globally networked virtual reality most of humanity now used on a daily basis. The unprecedented success of the OASIS had made Halliday one of the wealthiest people in the world. At first, I couldn’t understand why the media was making such a big deal of the billionaire’s death. After all, the people of Planet Earth had other concerns. The ongoing energy crisis. Catastrophic climate change. Widespread famine, poverty, and disease. Half a dozen wars. You know: “dogs and cats living together … mass hysteria!” Normally, the newsfeeds didn’t interrupt everyone’s interactive sitcoms and soap operas unless something really major had happened. Like the outbreak of some new killer virus, or another major city vanishing in a mushroom cloud. Big stuff like that. As famous as he was, Halliday’s death should have warranted only a brief segment on the evening news, so the unwashed masses could shake their heads in envy when the newscasters announced the obscenely large amount of money that would be doled out to the rich man’s heirs. 2 But that was the rub.
    [Show full text]
  • Weigel Colostate 0053N 16148.Pdf (853.6Kb)
    THESIS ONLINE SPACES: TECHNOLOGICAL, INSTITUTIONAL, AND SOCIAL PRACTICES THAT FOSTER CONNECTIONS THROUGH INSTAGRAM AND TWITCH Submitted by Taylor Weigel Department of Communication Studies In partial fulfillment of the requirements For the Degree of Master of Arts Colorado State University Fort Collins, Colorado Summer 2020 Master’s Committee: Advisor: Evan Elkins Greg Dickinson Rosa Martey Copyright by Taylor Laureen Weigel All Rights Reserved ABSTRACT ONLINE SPACES: TECHNOLOGICAL, INSTITUTIONAL, AND SOCIAL PRACTICES THAT FOSTER CONNECTIONS THROUGH INSTAGRAM AND TWITCH We are living in an increasingly digital world.1 In the past, critical scholars have focused on the inequality of access and unequal relationships between the elite, who controlled the media, and the masses, whose limited agency only allowed for alternate meanings of dominant discourse and media.2 With the rise of social networking services (SNSs) and user-generated content (UGC), critical work has shifted from relationships between the elite and the masses to questions of infrastructure, online governance, technological affordances, and cultural values and practices instilled in computer mediated communication (CMC).3 This thesis focuses specifically on technological and institutional practices of Instagram and Twitch and the social practices of users in these online spaces, using two case studies to explore the production of connection- oriented spaces through Instagram Stories and Twitch streams, which I argue are phenomenologically live media texts. In the following chapters, I answer two research questions. First, I explore the question, “Are Instagram Stories and Twitch streams fostering connections between users through institutional and technological practices of phenomenologically live texts?” and second, “If they 1 “We” in this case refers to privileged individuals from successful post-industrial societies.
    [Show full text]
  • SEUM: Speedrunners from Hell Think Arcade
    Warp Reference: SEUM: Speedrunners From Hell Think Arcade ----- Context ----- SEUM: Speedrunners from Hell is about a man named Marty who has his beer stolen by Satan. He proceeds to head to hell to get it back. That’s about it really. The game focuses more on gameplay, only incorporating story to give some context as to why the player is running through hell. ----- What Worked Well ----- Short, Simple Levels: Levels were, for the most part, were very lightweight and were designed to be completed in 20 seconds or less. This allowed the game to have 80+ levels in it, and it doesn’t feel exhausting to players to complete them all. In addition, levels that introduced a new power up or mechanic were extremely simple and focused solely on that new element, and allowing other levels to introduce how it mixed with other mechanics. This created a sort of modular design, where each level served a specific purpose. Also, levels were cleverly named to describe what the player was supposed to do, learn, or overcome, which at times served as a hint. Figure 1: A tutorial level 1 8/2/18 Warp Reference: SEUM: Speedrunners From Hell Think Arcade Figure 2: A slightly more complex level Figure 3: More difficult level still confined to a single tower Instant Restart: Levels load incredibly fast in SEUM, and with the press of the ‘R’ key the player instantly restarts the level back to its initial state. There’s no lengthy death sequence, and as soon as the player knows they messed up they can immediately restart and be back in the action in well under a second.
    [Show full text]
  • Copyright by Kaitlin Elizabeth Hilburn 2017
    Copyright by Kaitlin Elizabeth Hilburn 2017 The Report Committee for Kaitlin Elizabeth Hilburn Certifies that this is the approved version of the following report: Transformative Gameplay Practices: Speedrunning through Hyrule APPROVED BY SUPERVISING COMMITTEE: Supervisor: Suzanne Scott Kathy Fuller-Seeley Transformative Gameplay Practices: Speedrunning through Hyrule by Kaitlin Elizabeth Hilburn, B.S. Comm Report Presented to the Faculty of the Graduate School of The University of Texas at Austin in Partial Fulfillment of the Requirements for the Degree of Master of Arts The University of Texas at Austin May 2017 Dedication Dedicated to my father, Ben Hilburn, the first gamer I ever watched. Abstract Transformative Gameplay Practices: Speedrunning Through Hyrule Kaitlin Elizabeth Hilburn, M.A. The University of Texas at Austin, 2017 Supervisor: Suzanne Scott The term “transformative” gets used in both fan studies and video game studies and gestures toward a creative productivity that goes beyond simply consuming a text. However, despite this shared term, game studies and fan studies remain fairly separate in their respective examination of fans and gamers, in part due to media differences between video games and more traditional media, like television. Bridging the gap between these two fields not only helps to better explain transformative gameplay, but also offers additional insights in how fans consume texts, often looking for new ways to experience the source text. This report examines the transformative gameplay practices found within video game fan communities and provides an overview of their development and spread. It looks at three facets of transformative gameplay, performance, mastery, and education, using the transformative gameplay practices around The Legend of Zelda: Ocarina of Time (1998) as a primary case study.
    [Show full text]
  • A Practical Guide to Marketing Your Indie Game
    GET READY GET NOTICED GET BIG A Practical Guide to Marketing Your Indie Game Patrick DeFreitas and Garret Romaine CONTENTS Preface viii Chapter 1: Overview of Indie Game Marketing 1 Why Marketing Matters 4 The Right Time is Now 6 How to Start Getting Noticed 6 Where to Start: Irresistible Promotional Materials 9 Trailer Video 9 Screenshots 10 Press Releases 11 Fact Sheets 11 Landing Page 11 Start a Developer’s Blog 12 Reach Out to the Press 13 Following Up 14 Convert Visitors into Active Fans 14 Maintain Your Marketing Momentum 15 Common Mistakes and Pitfalls to Avoid 16 What Makes You Unique? 17 Demographics 18 Personas: Mythical Prototypes 21 Competitive Analysis 23 Strategy and Goals 25 Marketing Goals 27 Lead Generation 28 Creating a Brand 30 Working Without Deep Pockets 31 ii | A Practical Guide to Marketing Your Indie Game Cost-Benefit Analysis 32 Metrics: In Data We Trust 33 Analytics 35 Marketing Channels 37 Shows and Events 37 Jams and Meet-ups 38 Closed Alpha Exposure 39 Contests 39 Don’t Tweet That 40 Pricing and Monetization Strategies 40 PR and Self-Promotion 42 Get Ready 44 Chapter 2: The Four Ps of Marketing for Indie Game Developers 45 The Four Ps Marketing Framework 46 Using the Four Ps 47 Mutually Dependent Variables 48 Yes, Your Game is a Product 48 Price 51 Setting the Right Price 53 Discounting Dos and Don’ts 54 Free to Play 55 Promotion 55 Assets 56 Ongoing Activities 57 Events 57 What About Advertising 58 Relationship-Based Promotion 58 Partner with Established Brands 59 Public Relations (PR)—Should You Hire a Pro,
    [Show full text]
  • Teachers Course Description
    Teachers Stephanie Boluk Patrick LeMieux Associate Professor Assistant Professor English, Cinema and Digital Media Cinema and Digital Media University of California, Davis University of California, Davis [email protected] [email protected] http://stephanieboluk.com http://patrick-lemieux.com Course Description Rather than treat “videogames and culture” as two distinct categories that play off one another, in this large lecture and in discussion sections we will examine the community histories and material practices that have evolved alongside videogames as a mass medium, cultural commodity, and digital technology. We will challenge the seemingly self-evident differences between play and production, leisure and labor, form and function, and freedom and control through a quarter-long investigation of the concept of “metagaming.” Metagames are the games we play in, on, around, and through videogames. From the most complex player practices to the simple decision to press start, just as there are no videogames without culture, there are no games without metagames. And although the term “metagame” has a long history–from Cold War mind games in the 1940s to countercultural role-playing games in the 1970s to collectable card games in the 1990s–the concept has taken on renewed importance and political urgency with the rise of social media, streaming video, and sharing services in the twenty-first century. From speedrunning The Legend of Zelda to making a living playing League of Legends and ​ ​ ​ ​ from modding miniature computers in Minecraft to laundering money through Team Fortress 2, ​ ​ ​ in this class we will document and theorize histories of play through the concept of metagaming and a rigorous engagement with academic disciplines such as media studies, games studies, software studies, platform studies, and code studies.
    [Show full text]
  • Assistir Porque Eu Me Casei 2 Dublado
    Assistir Porque Eu Me Casei 2 Dublado Assistir Porque Eu Me Casei 2 Dublado 1 / 6 2 / 6 - Performer - Vida - $5 - Performer - Vida - $5 - Performer - Vida - $5 - Performer - Vida - $5.. - Performer - Vida - $5 - Performer - Vida - $5 - Performer - Vida - $5 - Performer - Vida - $5.. - Performer - Vida - $1 - Performer - Vida - $1 - Performer - Vida - $1 - Performer - Vida - $1. 1. porque eu me casei assistir online dublado 2. assistir filme porque eu me casei dublado 3. assistir porque me casei tambem dublado - Performer - Vida - $1 - Performer - Vida - $1 - Performer - Vida - $1 - Performer - Vida - $1.. - Performer - Vida - $5 - Performer - Vida - $5 - Performer - Vida - $5 - Performer - Vida - $5. porque eu me casei assistir online dublado porque eu me casei assistir online dublado, assistir filme porque eu me casei online dublado, assistir filme porque eu me casei dublado, assistir porque eu me casei filme completo dublado, assistir porque me casei tambem dublado, assistir filme porque eu me casei 2 dublado, assistir filme porque me casei tambem dublado online, assistir porque eu me casei dublado, assistir filme porque me casei dublado, assistir porque eu me casei dublado online, assistir filme online porque eu me casei dublado, assistir porque eu me casei também dublado online, assistir filme por que me casei dublado Jabardasth Telugu Movie Dvdrip Download - Performer - Vida - $5 - Performer - Vida - Yeh Jawaani Hai Deewani 1080p Full Movies Download Bull Bulbul Bandook Movie Torrent 1080p assistir filme porque eu me casei dublado Ice Age: Collision Course (English) movie download dual audio hindi - Performer - Vida - $10 - Performer - Vida - $8 - Performer - Vida - $5 - Performer - Vida - $1.. - Performer - Vida - $2 - Performer - Vida - $3 - Performer - Vida - $3 - Performer - Vida - $3.
    [Show full text]
  • 01 2014 FIFA World Cup Brazil 02 50 Cent : Blood on the Sand 03 AC/DC
    01 2014 FIFA World Cup Brazil 02 50 Cent : Blood on the Sand 03 AC/DC Live : Rock Band Track Pack 04 Ace Combat : Assault Horizon 05 Ace Combat 6: Fires of Liberation 06 Adventure Time : Explore the Dungeon Because I DON'T KNOW! 07 Adventure Time : The Secret of the Nameless Kingdom 08 AFL Live 2 09 Afro Samurai 10 Air Conflicts : Vietnam 11 Air Conflicts Pacific Carriers 12 Akai Katana 13 Alan Wake 14 Alan Wake - Bonus Disk 15 Alan Wake's American Nightmare 16 Alice: Madness Returns 17 Alien : Isolation 18 Alien Breed Trilogy 19 Aliens : Colonial Marines 20 Alone In The Dark 21 Alpha Protocol 22 Amped 3 23 Anarchy Reigns 24 Angry Bird Star Wars 25 Angry Bird Trilogy 26 Arcania : The Complete Tale 27 Armored Core Verdict Day 28 Army Of Two - The 40th Day 29 Army of Two - The Devils Cartel 30 Assassin’s Creed 2 31 Assassin's Creed 32 Assassin's Creed - Rogue 33 Assassin's Creed Brotherhood 34 Assassin's Creed III 35 Assassin's Creed IV Black Flag 36 Assassin's Creed La Hermandad 37 Asterix at the Olympic Games 38 Asuras Wrath 39 Autobahn Polizei 40 Backbreaker 41 Backyard Sports Rookie Rush 42 Baja – Edge of Control 43 Bakugan Battle Brawlers 44 Band Hero 45 BandFuse: Rock Legends 46 Banjo Kazooie Nuts and Bolts 47 Bass Pro Shop The Strike 48 Batman Arkham Asylum Goty Edition 49 Batman Arkham City Game Of The Year Edition 50 Batman Arkham Origins Blackgate Deluxe Edition 51 Battle Academy 52 Battle Fantasía 53 Battle vs Cheese 54 Battlefield 2 - Modern Combat 55 Battlefield 3 56 Battlefield 4 57 Battlefield Bad Company 58 Battlefield Bad
    [Show full text]