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Stick War Legacy video Games - Insane MODE - Stick War Legacy - Duration: 10:52.
For more infomation >> Stick War Legacy video Games - Insane MODE - Stick War Legacy - Duration: 10:52. -------------------------------------------
Fish and Game issues thin ice warning - Duration: 1:12.
For more infomation >> Fish and Game issues thin ice warning - Duration: 1:12. -------------------------------------------
Stick War Legacy video Games Insane MODE vs Archidon AVATR Gamesplay Stick War Legacy - Duration: 19:22.
For more infomation >> Stick War Legacy video Games Insane MODE vs Archidon AVATR Gamesplay Stick War Legacy - Duration: 19:22. -------------------------------------------
【Mini Game】逃離公司(1~24)大結局 EP.4 再見老闆！！！ - Duration: 34:59.
For more infomation >> 【Mini Game】逃離公司(1~24)大結局 EP.4 再見老闆！！！ - Duration: 34:59. -------------------------------------------
PS Vita | Top 30 Upcoming Games 2018 - Duration: 15:46.
Welcome to The Portal and in this video we will take a look at the PS Vita | Top 30 Upcoming Games 2018.
Thanks for watching the video PS Vita | Top 30 Upcoming Games 2018.
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Fun Baby Play Kitchen Cooking Kids Games #w | Play & Learn Colors with Ice Cream Maker - Duration: 4:20.
Fun Baby Play Kitchen Cooking Kids Games #w | Play & Learn Colors with Ice Cream Maker
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Game Of Susu Márkkal__CYBERJUMP BUDAPEST - Duration: 10:01.
For more infomation >> Game Of Susu Márkkal__CYBERJUMP BUDAPEST - Duration: 10:01. -------------------------------------------
Fun Girl Care Kids Game Chicken and Broccoli Alfredo- Kitchen & Learn Colors Hair Salon Dress Up SPA - Duration: 5:17.
Fun Girl Care Kids Game Chicken and Broccoli Alfredo- Kitchen & Learn Colors Hair Salon Dress Up SPA
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24-PC Games (CRACK NOT released) till end of (2017) |NFS PAYBACK CRACK |BATTLEFRONT 1,2 CRACK - Duration: 2:21.
hey gamers us this is my channel PC crack please subscribe my channel and give a
like and Commander your thoughts in this video I'm going to tell that games in PC
which not cracked till the date of 2017 the dead end of 2017 okay number one
FIFA 16 number two starwars battlefront one number three plants deserves Oh miss
number four need for speed 2015 version number five eve gun jack number six
edge of nowhere number seven Rocksmith remastered 2014 edition number eight
just dance 2017 number nine rock band VR
number ten boobs on wrong driving range number 11 and handball 2017 number twelve
Eagle flight number thirteen Robinson the journey number 14 for honor number
fifteen holo wars 2 number 16 battlezone number 17 assassins creed origins
number 18 sonic forces number nineteen football manager 2018
number 20 need for speed payback
twenty-one injustice 2 number 22 star wars babbtlefront 2 number twenty three star
ocean the last hope number 24 Conan exiles
hey guys thank you for watching the video the source of the information is
from Wikipedia the link I have given in the description you can just go and see
the games which are not still released for the crack thank you for watching my
video please subscribe my channel and give a like and some comments your
thoughts
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Ozon3 Gaming's Galaxy League Hype Video - Duration: 3:38.
The Galaxy,
As humans, we have continuously been mesmerized by the wonders of space.
It is in our innate nature to wonder what lies beyond the stars.
Thus we manufactured satellites to view space from afar.
However, our hunger for knowledge only grew.
Seeing from a screen was no longer an option.
More needed to be explored.
Questions that had been asked since the beginning of man
needed to finally be answered.
Whether we were the only ones in this vast universe
among the stars.
Our eyes set on the heavens above.
Little did we know, that we would soon find the answers to all our questions .
8 planets have been found to have sentinel life.
Communications with them have lead to the creation of something new, something never seen before
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Fashion Famous Roblox Game - Duration: 6:41.
I'm Realpanther Girl.
Im in second place.Yay.
Byeeeeeeeeeeeeeeeeee
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AVM Games AVM - Xmas Snow House Escape Walkthrough 2017 - Duration: 7:16.
AVM Games AVM - Xmas Snow House Escape
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Why Anthony Martial misses Manchester United's game with Burnley - Duration: 1:34.
Why Anthony Martial misses Manchester United's game with Burnley
The Frenchman started in a 2-2 draw with Leicester on Saturday but was dropped entirely from the squad for the visit of Sean Dyche's men to the Theatre of Dreams.
Martial missed a golden opportunity to seal all three points for United at the King Power Stadium but spurned a one-on-one with Kasper Schmeichel.
The France international has had a rocky 18 months under Jose Mourinho and many United fears had feared he was being punished for the draw against Leicester by being left out against Burnley.
However, Martial picked up a slight knee injury in the draw against the Foxes and was left out today as a precaution, according to SFR Sport.
The French publication describes Martial's injury as 'small' and says he will be in the stands to watch his team-mates take on the Clarets.
Mourinho selected Zlatan Ibrahimovic to start his first Premier League game of the season against Burnley.
The Swede scored on his first start of the season against Bristol City in the League Cup last week and starts up top with Romelu Lukaku.
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Game of Thrones Season 8 Script Pages Leaked Cersei have Jon Snow - Duration: 3:44.
For more infomation >> Game of Thrones Season 8 Script Pages Leaked Cersei have Jon Snow - Duration: 3:44. -------------------------------------------
Made in Brazil: A Game Development Snapshot - Duration: 19:15.
DREW VO: We've seen the game situation in Brazil from the perspective of the consumer,
the fans, and the media, but what about the ones who actually make games here?
I'd always found it odd to hear so often about Brazil's rabid fanaticism for video
games, but never about games that came from Brazil.
Aside from a few outliers, I couldn't point to one big, defining game company.
The country is big enough, so why is this the case?
Was it some weird knock-on effect of the country's restrictions on electronics?
Or something else?
To find out, I started with Lannie Neely, an indie developer I met in São Paulo.
As an American living in Brazil, I figured Lannie would be a good way to bridge the cultures.
LANNIE: There are creative people doing art, they're doing programming, they're doing music,
they're setting up their own teams, in a way.
But you don't really hear about them a lot and what they're dealing with.
There's the team in Brasilia who did "Chroma Squad," and a couple others here and there.
I think "Papo & Yo" became really popular for being Brazilian.
But then you look at other indie games and you see the credits, even if it's a three-,
four-, five-person team.
It's like, "Oh, the art was made by a Brazilian.
Oh, one of the programmers was Brazilian, contracted.
One of the musicians."
"TowerFall" is a great example.
It was a huge hit, and its artistic redesign was made possible by Studio MiniBoss, which
are a great couple people who live here in São Paulo.
But when you think of "TowerFall" you don't think, "Oh, this is a Brazilian game" or "Brazilians
worked on it."
They're kind of in the shadows.
It's like the indie scene is secretly layered with Brazilians who are multitalented and
giving out their expertise everywhere you look.
DREW VO: Brazil's distributed, scattershot nature of game development is changing.
As you might expect from a society of like-minded game fans, game developers have started to
band together.
Dumativa, Rafael Bastos' company based in Rio de Janeiro, is a perfect example.
Within this so-called "indie house" are two recording studios, a video set, and
multiple workspaces for Dumativa and other folks they've partnered with, like game
developers, and even YouTube channels.
RAFAEL: Here we are trying to make something that Rio de Janeiro don't have.
We're trying to make a place for YouTubers and producers to integrate and try to make
the content and deliver the content to the audience.
It's an experimental thing.
We're still trying to make this work.
Some of the government is trying to make this work too, with some public investments.
And with public investments comes the private investments.
Our companies are working together to make other companies grow, so we give lectures,
workshops.
We're not afraid of having competitors here in Brazil because we need that for the environment.
DREW VO: Dumativa is part of a larger informal partnership called RING, which includes more
than a dozen developers around the Rio area,
many of whom were there that day.
Bruno showed us Sword Legacy.
BRUNO: It's a tactical RPG.
It's our vision of the Arthurian legend.
DREW VO: Camilla demoed Holodrive.
CAMILLA: We like to say it's like Quake meets Mario Kart in 2D.
DREW VO: Fernando brought The Light of the Darkness.
FERNANDO: It's an indie game which I'm developing for many years.
More than seven years.
DREW VO: Kim showed off Racket Boy.
KIM: He received the racket and the scarf from a capybara.
DREW VO: And Jonathan showed us a fighting game called Suits of Fate, the only game we
saw that day that featured elements of Brazilian culture.
Matheus is a member of the popular YouTube channel Castro Brothers, and is making
a game based on a video they made.
MATHEUS: It was meant to be a joke, but the joke caught on.
People thought it was an actual game, even though it wasn't.
We just faked one.
We did a crowdfunding campaign in 2014 and we released in Portuguese only in 2016, last
year.
It's like Bastion, like the Stanley Parable, but within the song.
He's singing a lot, and it changes depending on what you do and what you don't do, and
it's all in the key, with the sync of the tune.
[Underwater gurgling noises]
RAFAEL: That's the international joke. Everybody gets that.
MATHEUS: Right now we are in the stage of trying to localize more than 3000 stanzas
into English, and make it rhyme and make it work
and sing all this.
DREW: Wow. MATHEUS: Yeah.
The crowdfunding campaign was only limited to Brazil, in Portuguese only.
We didn't go, like other Brazilian devs do, to Kickstarter
or Indiegogo and ask a global audience for the money.
We thought, "Nah, why would we do that?" We had this local audience that was
really craving for the idea of the game, so it actually worked out for the best.
If we did a global campaign, even if we tried to explain the mechanic,
it might have done okay, but maybe not as well as it did with the local audience.
We were able to do a more focused campaign and that's something that's important about crowdfunding.
You have to have laser focus on who you're talking to to make it work.
If you're trying to speak to one audience and another at the same time in English and Portuguese, no,
it gets kind of muddy and you get kind of lost in it.
We made this gamble. We will bet on the Brazilian audience, the audience that watches our videos
and liked them, and it paid off.
DREW VO: But there are risks involved with targeting Brazil only.
As Bruno told us, there's a reason his team decided to base their game on the legend of
King Arthur.
BRUNO: We think it's easier to promote the game with a classical, universal history.
Of course, we had a lot of ideas to make games from the Brazilian culture, but I think it's
very risky.
You have some games from Brazil that they achieved good sales, but if you go to SteamSpy,
for example, and "Let me see how many sales is from Brazil."
Probably you see 10 percent, 20 percent from Brazil only. Because the Brazilian player
still prefers to play the Assassin's Creed, and the GTA, and these triple-A games.
So I think it's very dangerous to Brazilian developers to release their games onto the
Brazilian market.
We have people always say, "Oh, it's a Brazilian movie, I don't like it.
It's a Brazilian game, probably not a good game."
It's wrong, but I think this happens also because the media, the Brazilian media, don't
show the Brazilian games how they show the international, the blockbuster games.
DREW VO: That sentiment seems to be changing, especially with more and more events like
the Brazil Game Show.
RAFAEL: They are pretending they are working.
DREW: [laughs]
JOAO: All beer in the world has vanished and now they have to find out why.
With some major game events that are occurring here in Brazil, we were able to make people
see the game.
These kinds of events are getting bigger and bigger with time.
And I think that the public here in Brazil are starting to really see Brazilian-made games as
a product of quality, because we're really trying to make a quality product.
If we don't put enough effort and if we don't go one step further than whatever has already
been made in Brazil, we're not going to succeed in this hill we're trying to climb here.
DREW VO: A more indie-friendly culture seems to be on the horizon in Brazil.
I asked Camilla what happens when Brazilians play Holodrive.
CAMILLA: A lot of people get really surprised.
We were actually in Rock in Rio, which is a super huge music entertainment event where
lots of bands and singers come from all over the world for two weekends, and there are
millions of people walking by, and they played our games, and they were super excited.
They were like, "I didn't know games like this were made in Brazil."
They had no idea because we have this culture that video games are something that just come
from outside.
They didn't even know someone could make games.
They don't even think about that.
It's a struggle to actually...
If someone young wants to study games, they have to explain and it's really hard to explain
to their parents or their family what they are going to do and so we're starting to make
an example and cases.
DREW VO: These attitudes make it difficult to secure funding in Brazil from any source
other than crowdfunding.
Camilla translated for Kim, who explained what having a business in Brazil is like.
CAMILLA: Brazil is not an easy place to be an entrepreneur, to start your own business.
On top of that, we are constantly trying to explain to people what is a game, why is making
games relevant, why is this something that people should be doing, why there should be
investments on this area and everything.
It's a constant struggle, putting two very different and hard things together.
DREW VO: Camilla's own company, BitCake, had to go halfway around the world to learn
how to secure a publisher.
CAMILLA: The industry here is developing now, so we're just starting, and it's a bit hard
for us to get attention from outside.
But now we're growing and we had the opportunity to go to Estonia and be accelerated by GameFounders
which is a game-only accelerator in Europe.
We had this experience and was very good to develop the company, understand a bit more
about business, get to know a lot of people.
I think that helped us want to get a publisher and then get a publisher.
DREW VO: Hearts and minds are changing in Brazil.
Games are becoming more accepted, making it easier to convince local investors.
BRUNO: You have here in Brazil an explosion of eSports.
Now you have big awards for the winners with a lot of money, so I think some older people
is changing his mind about the games.
"Oh, it's not a thing for child playing.
It's a serious market."
It's bigger than the movies market now.
So I think it's changing, but in Brazil everything is slow.
CAMILLA: Nowadays we have the advantage that people are playing games on their day-to-day
life, like people are on the subway, they have a cellphone, they're playing games on
a smartphone.
When he gets asked about that he can just answer, "But how do you think your life would
be if you had nothing to play?
Do you really not think this is something important for people's lives?
Having some entertainment, having games to play?"
So there is this advantage nowadays.
Also, games are something that he's really passionate about, that we, as Brazilians,
are passionate about, so there's also this element we can explain saying, "This is something
that we really love doing, that we really want to do, and there is value to doing this,
bringing joy to other people's lives by making games."
DREW VO: But why now?
What changed?
What is helping Brazilian developers now surmount traditional roadblocks like sigmas and piracy?
MATHEUS: Steam is actually helping quite a lot with piracy in Brazil.
Digital games in general.
It began with Steam but it's actually helping quite a lot.
Piracy is still rampant in Brazil, more than most anywhere else in the world, but we are
doing okay.
I see people actually realizing that, "dude, maybe we should buy those games if we want
people to be able to make them."
The indie scene helped this a lot because people were thinking, "Ah, they got millions
of dollars, what's just one customer?
I mean, it's not like it will make a difference."
With indie developers that they can know and get to talk to on the internet, they say,
"Oh, wait.
My money might actually help?
Yeah, I want more of this, so this has a palpable effect, a tiny difference, so maybe I should
help with my wallet," and they do.
It's showing improvements.
I'm very optimistic about the gaming scene in Brazil.
CAMILLA: I think what changed is that the community of developers started working more
together and acknowledging that we can only go so far if we go alone and we have to get
out there and show the country as a whole what we are doing.
Before, there were a few companies making games, but they didn't talk so much, they
weren't connected.
Sometimes they had some kind of competitive feel, like, "You are making also a game and
you are a competitor of mine."
Nowadays we don't have that vision, so we think that we are all in this together.
If you are successful, I will be more successful because you are.
We need cases.
We need someone to be super successful so everyone will look at us and see, "Oh, this
is a profitable business, this is something that is good for our society as a whole."
We need everyone to succeed.
DREW VO: The importance of collaboration is an attitude that spans Brazil, reaching as
far as the retro-futuristic capital city of Brasilia, deep in the heart of the country.
Saulo Camarotti is the founder of Behold Studios, creators of Chroma Squad and Knights of Pen
and Paper.
Just recently, Behold opened a coworking space in Brasilia called the Indie Warehouse.
SAULO: We want to share the costs of having a studio.
We want to help marketing, QA, testing and everything to release the weight off the shoulders
of the developers so they can focus on their games and do better stuff.
Usually Brazilians tend to think as a collective.
They're always trying to share their experience, they always want to talk about what they're
learning, what they're creating.
For more than 20 years video games were just a foreign thing for us.
We didn't develop games here in Brazil.
Everything was very expensive.
But for the past 10 years with internet, with the platforms and consoles opening up for
the indie developers, the technology is more accessible right now.
We have a lot of engines that are free.
We have everything that we need to work, the tools that we need is very accessible.
Now, we have a lot of developers that are starting to create their own games.
DREW VO: To break in the warehouse, Behold was hosting their inaugural game jam.
The theme for the jam was arcade games.
In Brazil, arcades are known as "fliperamas."
Thus, Flipper Jam.
DREW: Do you get to sleep?
FILIPE: No. [laughs]
We decided to make a game about creating an arcade.
The players will have to chop the wood, to assemble the pieces together to create an arcade
DREW: You're using Unity?
FILIPE: Yes.
I'm a great fan of Unity.
It is great to the community.
It helps a lot.
Mainly us here in Brazil, we don't have too much attention to the game developers at all.
But recently, Unity, and Unreal, also, but mostly Unity, have been to every event that we have
around here.
Even in Brasilia, that is a small town, Unity is always present.
It is always going to the events and giving stuff to developers.
I think it's pretty cool.
It helps us a lot.
DREW: Yeah, it's great to see people finally noticing Brazil and saying, "Oh, people want
to make games here."
FILIPE: Yeah, we exist! [laughs]
[counting down in Portuguese]
[cheering]
DREW VO: Not only do game developers exist in Brazil, there is a palpable feeling here
of change, of optimism, hope for the future.
And if I learned anything from the people I met in Brazil, it's that even in the face
of seemingly insurmountable obstacles, they have the passion, creativity, and drive to
make whatever they want a reality.
If you liked this video, you can thank these folks, who support Cloth Map on Patreon.
Their contributions help pay for flights, accommodation, transport, guides, translators,
camera operators, editors, music licensing, and more.
If you think stories like this deserve to be told, and would like to see more videos
like this, consider joining us over at Patreon.
You'll also get early access to videos, behind-the-scenes notes and documents, extended
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-------------------------------------------
Outfits Censored In Lineage 2 Revolution | CG News - Duration: 2:06.
Lineage 2 Revolution is a mobile MMO developed and published by South Korean company Netmarble.
The title was first released in Korea and Japan back in December 2016 and was later
localised and released in Western countries in November 2017.
With the recent launch of the Western version, it has been discovered that numerous armour
has been redesigned during the localisation.
A player called Haruka34 pointed this out to Censored Gaming over on the subreddit and
gave comparisons of some of these changes.
There are also other reports of these changes being made from other players on other parts
of the internet, such as the game's official forums and the Lineage 2 Revolution Reddit
community.
It's unknown just how many costumes have been affected at this point but the comparisons
show that they have affected numerous armour exposing large amounts of skin.
Here's another comparison, which shows the English character on the right having their
legs covered up.
And here the character's midriff section has been covered up and the very top of the legs
have also been altered.
Netmarble has also not currently commented on why they decided to make these changes.
Another game from Netmarble is 2015's Seven Knights, a popular RPG for mobile devices.
Like Lineage 2 Revolution, Seven Knights also changed many of the costumes for the Western
version and this is also something that the company has not offered an explanation for.
Again, Seven Knights changes affected character's exposing large amounts of skin.
Netmarble is a very big and influential South Korean company, with more than 3,000 employees
and earning over 900 million dollars in 2015.
The company has also licensed several Disney properties, such as Marvel: Future Fight,
Disney Magical Dice and Star Wars: Force Arena.
Censored Gaming has reached out to Netmarble about these changes and, if anything is heard
back, Censored Gaming will be sure to let you know.
-------------------------------------------
Evolution of VALVE Games (1998-2018) - Duration: 13:08.
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What ZOE Could Have Been - Duration: 10:53.
What's up guys it's me Jeremy!
For today's episode of What Could Have Been, we'll be looking at Zoe, the Aspect of Twilight.
As a character that was heavily influenced by artwork rather than being designed to fit
a particular playstyle or use any new mechanics, Zoe is a really cool example of top-down design.
We're going to start out by focusing on her character development, then we'll go
into detail about her gameplay and how it all came about.
And if you enjoy the video leave a like on it, or let us know in the comments below.
And be sure to subscribe for more videos!
Riot's artists spend a lot of time coming up with interesting character concepts, since
it helps create a pool of sources that champion developers can draw inspiration from.
In Zoe's case, that inspiration actually came from seeing a connection between different
art concepts.
The art department had created awesome looking characters that were all different species,
but a lot of these concepts had a focus on young characters, which aren't particularly
well represented by League's roster, which kinda makes sense because children don't
tend to be the best fighters.
Having said that, it's something that Riot have definitely made work in the past, so
the development team started to get excited about creating a character concept that was
actually really young and childlike.
Riot BananaBandit's champion insight post about Zoe mentioned that Riot chose to build
on the playful aspect of childhood and combine it with the 'Trickster God' archetype
to produce a character that would bend the rules of reality.
Her appearance, voiceover, gameplay and even her existence in the game itself are all intentionally
a little bit unlike the rest of the game, since it helps push home that feeling of a
reality-bending character that is just a little out of place, and really just wants to have
fun.
There's a lot of concept art available for Zoe, and it really shows her development as
a character clearly.
Riot Tysmurph shared a lot of his early Zoe work on Twitter, and you can see her curious
personality shining through in all of them.
There's obviously the playful, childlike nature that is necessary to make the character
work, but the art also shows how mischievous and energetic she is, as well as demonstrating
some of her abilities through the use of portals.
As development advanced and Riot moved more towards the 'Aspect of Twilight' identity,
you can see her art becomes a lot more refined, with the artists borrowing colors from other
Targonian characters to keep Zoe on theme.
At the same time, the artists explored her cosmic roots by giving her the trademark long,
colorful and sparkly hair, and clothing that really doesn't tie in with any of the modern
Targonian designs, or anything else in the game for that matter.
As Riot started to explore gameplay for Zoe, the original goal was to create a light-hearted
burst mage.
The benefit of creating a mage is that you can head into development with a blank slate;
there's no checklist of requirements that a mage really needs to have.
Zoe's designer, CertainlyT, mentioned Irelia as an example.
When you want to design a melee top laner, you need sustainability and ways to deal with
tanks.
For Irelia that meant healing on-hit, true damage and CC, and that means there's already
a whole load of her kit locked down that you can't really mess with.
For a mage, all you really need is a fair chunk of damage, and you can be really creative
with how you give them that damage, and how you design the rest of the kit.
CertainlyT started out Zoe's gameplay development by focusing on her trickster elements, which
he tried to achieve by using a mirror mage concept.
So the idea was that you'd be using light, deception and reflecting abilities back at
your opponents.
Although Zoe would later end up with a vaguely similar ability in Spell Thief, Riot moved
away from the initial mirror mage concept since there's not really many novel ways
to use mirrors in abilities that hit the fantasy they were going for, since they'd feel pretty
unexciting to use.
Instead, CertainlyT started looking for ways to turn 'playfulness' into actual abilities.
Essentially instead of focusing on mechanics, he focused on ways to have fun with abilities
in a more light-hearted way.
This gave way to Zoe's Paddle Star, which feels really playful and fun to use thanks
to the bounce functionality.
CertainlyT noted that although the Paddle Star took up most of her power budget because
of the long-range and huge damage, the cool thing about it is that you could play a game
of League using only her Q, and still have a reasonably good time doing it.
The rest of her kit couldn't contain much power because that Q is just so damn strong,
so it became more about giving Zoe tools to land her Paddle Star, but without making counterplay
too difficult.
For example, while a free Flash is never going to be weak, Zoe's W isn't a particularly
powerful ability.
However, it allows for players to have a lot of fun while also building on Zoe's childish
curiosity—she's just exploring, picking up stuff and playing with it.
The most clever part of Zoe's kit design was probably her E, Sleepy Trouble Bubble.
CertainlyT needed a way to help Zoe land her Paddle Star, and that meant giving her some
crowd control.
At the same time, he didn't want Zoe to become too annoying to play against, so that
meant making the CC less useful when used defensively.
This led him to implement a delayed CC effect, so it's probably not going to save her when
she's being dived, but it will definitely help her make offensive plays and needs some
damage from her Q. The impressive part is that it builds so well into her fantasy at
the same time.
Kids like bubbles, and kicking a bubble across the map is a pretty cool childish idea for
an ability.
The CC is also a sleep, which plays into her trickster identity without making her malicious,
and combining her E and Q results in a delayed sleep followed by a big chunk of damage.
That basically captures exactly what and who Zoe is as a character; she's a mischievous
cosmic messenger here to warn you that bad things are going to happen shortly.
The last parts of Zoe's development we want to touch on are her scrapped abilities, since
they honestly give the best indication of how different a champion could have been.
At the end of the day League of Legends is a game, so it's the gameplay that really
decides who and what a character brings to the table.
Unfortunately in Zoe's case, a lot of the scrapped abilities that we know about don't
really change much about how she would have been in-game.
A lot of this has to do with the more character-driven artistic focus of the champion, since it wasn't
about trying out a ton of different mechanics and figuring out which fit her best.
For example, one version of her Ultimate actually made her untargetable while she travelled.
It was still the same Portal Jump, but you couldn't attack her when she popped out
or catch her once she re-appeared at her original location.
This was super annoying to deal with in playtests, especially since you'd be getting two periods
of untargetability rather than one, and it meant there wasn't really enough opportunities
for counterplay.
Another version of her Ultimate gave Zoe the ability to self-cast it, which would turn
it into a single blink rather than having her jump back afterwards.
As a trade-off, you didn't get to choose which direction to blink to; it'd be totally
random.
That meant you'd essentially self-cast Portal Jump as an emergency button when you needed
to escape and decided to take the chance.
According to CertainlyT, he really liked this mechanic because Portal Jump can't otherwise
be used to escape an enemy, but literally everyone who playtested the ability actually
hated it because it just felt too random.
Although a random direction blink could save your life now and again, it could also just
teleport you back closer to an enemy tower or further away from safety, and then you
feel like you died and totally wasted your Ultimate at the same time.
There's only been one ability shared by Riot so far that seems to hint at a previous
form of Zoe that we don't know much about, where she was apparently a fairy-themed creature
a bit more like Lulu in terms of her backstory.
Essentially the map would have clouds floating around, and Zoe could walk into them to turn
invisible.
Since the clouds moved, that meant you had these moving, unwardable brushes to hide in.
Apparently this fairy version of Zoe had a similar Portal Jump ability, because she could
Portal into a cloud and not be forced to jump back to her original position.
Essentially you'd be able to see her use the Portal, but you wouldn't know which
cloud she was in.
This doesn't sound too broken, but the clouds always traveled from the north-west corner
of the map to the south-east.
Basically that means you'd press R, ride a cloud for a while, and then double kill
bot lane with absolutely no warning.
After hearing about this, I'm actually glad they decided to make a Disney character instead.
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CLASH OF CLANS - Update Evolution - Duration: 8:55.
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