Category: Gaming

Fishdom Cheats and Hack

If you have stumbled upon this page, you must know how hard it is to get diamonds and coins in Fishdom. You must have also tried a ton of websites that guarantee you working Fishdom Cheats and Fishdom Hacks without verification, but none of those worked.

Don’t let your hope die, because you are on the right website! Our Fishdom Cheats and Hacks are 100% working and safe to use.

We have spent several months on working out the perfect solutions for people who would like to have unlimited diamonds and coins in Fishdom. After spending a few thousand dollars and countless hours of work on developing the perfect hacking tool, we are ready to release it to the public!

Today, in this article you will get to know how our tool works, is it safe to use, and what do you need to do in order to get the best results!

How do our Fishdom Cheats and Hack work?

fishdom cheats

Our main goal was to make the tool as easy to handle as possible. Fortunately, with beta testing our tool we have achieved this, and now we have a super clean and easy interface for the software. This makes it super easy to handle, and you can generate diamonds and coins for Fishdom very easily.

If you want to know what does our tool do, when you click the generate button, well, basically all it does is that it slips in the server through a hole in the code left there by the developers of the game. When it’s on the server it finds the account that is connected to your username, and it changes the details that you entered into the tool.

After it made the changes you wanted, it leaves the server while erasing all of the footprints it may have left while doing so.

Are our Fishdom Cheats safe?

Yes, our cheats and hack are one hundred percent safe to use. You won’t get noticed, and you will not lose your account while using our tools. If you do every step as we tell, you are completely safe while applying these cheats to your account.

We have added several security layers to our fishdom tool, making it as secure as possible. This includes the VPN IP Changer technology, that was developed our team, which makes sure that your IP is changed when entering the selected servers.

You can turn this option off, but we highly suggest leaving it on.

How to use our Fishdom Cheats and Hacks?

fishdom hack

As I have said before, our software is very easy to use, because we have thought about everyone, who might not have that big of a tech background as we have. In case you still can’t figure out how to operate our tool correctly, here are some steps for you to follow:

  1. Open the Fishdom Hack.
  2. Enter your username.
  3. Select a number of Coins and Diamonds you want to generate.
  4. Click on generate and wait while the tool completes the process.
  5. Wait a few minutes and enjoy the Fishdom iOS or Android hack.

Yes, it is that easy to get unlimited resources! Feel free to share our tool!

The Battle Cats Hack – Generate Free Cat Food

The Battle Cats Hack is finally here!

Finally, after five months of hard work, we have finally finished the final version of our The Battle Cats hack, and we have decided to release it to the public.

If you are on this page, you probably love playing the game and want free food to be able to have endless XP and energy.

Well, you are at the right place at the right moment. We have created this Battle Cats Hacking tool just for you to use.

You will be able to generate unlimited amounts of cat food, so you can enjoy the game even more.

What if I tell you, that if you spend 5 minutes on this page and read all of the details you will be able to generate thousands of The Battle Cats cat food for your own?

In today’s article, I will show you how you can use our Battle Cats Hack, to generate unlimited amount of in-game currency for yourself!

How does our Battle Cats Cat Food Hack work?

battle cats hack

As with all of our tools, we have been aiming to make everything simple as possible. Of course behind the scenes, nothing is as simple as it seems, but we will guide you through every step that our tool does.

Like our other tools, these Battle Cats cheat works very simple. At least it looks simple. We have the main software, that runs on our servers, and it scans the Battle Cats servers every ten minutes, searching for errors made in the coding of the game, to find a loophole or backdoor that we can use to our advantage.

After the tool has found a working one, it logs it, and it goes back and does it again for weeks. After we have gathered enough info, we release a working version of the Battle Cats hack, which you can use.

Once you launch the software, either you download it, or you run it in your browser, the hacking tool goes ahead and pulls the info from the server what we have gathered in the previous weeks. Because there are several holes in the system of the mobile game, the tool always picks a random one to use, to make yourself safer.

Once we are on the server, the software goes ahead, searches for your username. Once the tool finds it, it changes the currencies on your account then leaves. It simple as that!

No root or jailbreak needed for our Battle Cats hack

There are several hacks and cheats for Battle Cats roaming around the internet and especially on YouTube, but there is one common thing in all of these: You will need to root or jailbreak your phone to use them.

We have thought about that, and we know how hard it is to root or jailbreak your phone, and how you lose the guarantee if you do so. That is why we have made sure to keep the Battle Cats cat food generator as simple as possible, and added our own systems to get around rooting and jailbreaking.

You just simply have to press a button, and the hacking is complete

How to hack Battle Cats?

free cat food

It’s simple. With using our tool. Because like all of the Android and iOS games, Battle Cats has a built-in firewall and security system which is very hard to penetrate, we don’t recommend that you go ahead and start hacking it on your own.

We have worked several months on this tool, and we know every little part of it. It is safe to use.

How to use our Battle Cats Cheats?

Our tool is very simple to use, but in case you got stuck while using it, here are a few steps that you will need to follow:

  1. Open the tool.
  2. Enter your Battle Cats username.
  3. Choose how much Cat Food you would like to generate.
  4. Click on the generate button and wait while the tool adds the food to your account.
  5. Wait a few minutes then log in your account.

This is it! Go ahead and generate as many cat food as you like!

Bleach Brave Souls Hack and Cheats | Free Spirit Orbs!

The Only Working Bleach Brave Souls Hack – Spirit Orbs and Coin Generator is here!

If you have been playing with Bleach Brave Souls, you must know by know how hard is it to get or earn Spirit Orbs and Coins. That is why me and my team have decided to create this bleach brave souls hack tool, which will make your life so much easier, you can’t even imagine!

What if I told you that we have developed a generator tool, what can generate you unlimited spirit orbs and coins?

In this article, we will show you how to use our bleach brave coin generator tool and will do a quick review of it, so you can make sure that it is safe to use.

How does our Bleach Brave Souls Hack tool work?

bleach brave souls free coins

As all of our tools, this bleach brave souls hack apk works on a very simple concept. It scans the servers minute by minute, to see if there are any little backdoors or holes that coders left in the game, where we can get in and change values on the server, giving you more spirit orbs and coins.

If the tool finds a way in, it uses our safe VPN IP Changer technology to hide it’s IP address. This way the developers of Bleach Brave Souls won’t have any idea who changed the currency values and they won’t even know that someone changed something.

If the tool got in safely, it will search for your username and edit into the codes of your details. The generator tool will make sure to do everything slowly as possible to stay under the radar. Unfortunately, you are not able to add like one million spirit orbs instantly, you can only add a few thousand per session.

After the hack has been completed, the tool will make sure that it didn’t leave any trace and it will quit from the server.

After ten or twenty minutes, the currencies will appear on your account.

Is the Bleach Brave Souls APK Hack safe to use?

battling in the game

Yes, it is completely safe to use, there are no risks of getting caught or losing your account. We have added several security layers to make sure you are completely safe while you are running this spirit orbs hack.

In case you did not know, all of our tools come with a very cool added feature, the VPN IP-Hider. All this does, that it changes your IP to a whole new IP address, so even if you get noticed, no one will know that it’s really you.

Our tool has a built-in firewall, and a safety relay system. The SRS detects if the tool or the hacking has been detected, and instantly detaches the tool from the server. This was added to make sure you don’t leave any traces behind.

Is this Bleach Brave Souls Hack for iOS?

Yes! This hacking tool is working for both iOS and Android versions of Bleach Brave Souls. We have thought about you wonderful apple users as well, when developing our tool, so you can simply use this hack on your iPhone.

How to use our Bleach Brave Souls Generator Tool?

In case you were wondering if it is hard to hack a game, it is not. For you. For us, it is a little bit harder, because we have to do all of the codings, but for you, we have created a very simple interface, which makes everything so damn easy, you literally have to press a few buttons and you are ready to go.

But if you are still confused here are some steps:

  1. Open the Coin and Spirit Orb Generator Tool.
  2. Choose whether you are using an iOS or Android Phone.
  3. Enter your username and select the amount that you want to generate.
  4. Click on Generate.
  5. Wait until the tool finishes.
  6. Wait about 15-20 minutes, log in and enjoy!

This is it! Go ahead and use our no survey tool!

Interview With Kyle Gabler about World of Goo soundtrack

We had a talk with Kyle Gabler about the music in World of Goo. He was the designer and composer of that game. The soundtrack is available for free in his website.

As a composer, what has been the main influences? In other words, who are your musical idols?

All the big film and show composers have been on loop in my music player at some point or another. Each one has their own quirks and unique tricks to learn from. For example, John Williams and Andrew Lloyd Weber are geniuses with creating new melodies that you feel like you’ve heard before a long time ago. Danny Elfman, Vangelis, Ennio Morricone are great with unusual instrumentation that create worlds in your head.


Screamer

World of Goo has several song that you did before the game itself, some made for shorts films, some for other games, with different styles, but in World of Goo all of them has sense, its fit perfectly. Do you have a favourite of that previous work? Why?

Yeah, for some of the cues in the soundtrack to World of Goo, I dug through clips of old music I had written years earlier that were just sitting around on old hard drives and that had not really been released in any substantial form. Most of the music was admittedly awful, but a few seemed to actually fit with World of Goo.

My favorite little rediscovery, and probably oldest of all of them, is the track called “Screamer”. It’s one of the first things I ever wrote back when I was 16 or 17 (and I just turned 30!). The track uses just two chords with a very simple melody, but I remember it always made me feel like I was sitting on a rooftop in the rain. There was definitely a Blade Runner influence there. But the trouble with cannibalizing music from your youth, is that it’s a finite resource, and soon there might not be anything left!

Many of the instrument we hear in the OST are computer, but some themes like Best of Times has a very orchestral feel. How did you record it?

When you’re making music on an old laptop, it’s very easy for the whole thing to sound mechanical and dry and very “MIDI”. To help make the whole track feel a little warmer and more human, I try to layer in a few real instruments or voices to the mix. With Best of Times, I was lucky to have one of my university’s acapella groups come over and all huddle around a microphone and sing.

I also got a violinist friend to come over and record her real violin for one of the main melodies. For the staccato “chanting” choir section, the whole choir was just one singer, an amazing vocalist named Hope. She sang the melody in several different octaves, multiple times, with varying degrees of staccato’ness. Finally, with a little panning and reverb, all the instruments magically come together.


Best of Times

With Best of Times, what feelings do you wanted to transmit to the gamer of World of Goo?

Best of Times is an over-the-top flamboyantly dramatic song, while World of Goo is a game about little sticky balls. I hope the music was able to give some weight to the Goo Ball’s journey, but I would never want the game to take itself too seriously.

For example, the first time we hear the Best of Times in the game, we have just injected a bunch of botox into a giant power generating lady statue thing, and now she can power the world again because she is so pretty. Thank goodness for cosmetic surgery! Hopefully players are nice and conflicted over what they should be feeling in these moments.

**What are the lyrics to the Chanting?

The singer of that section brought over some of her Italian music books, and we chose a bunch of single syllable sounds, strung them together, and sang them. The result is absolute nonsense, but the syllables are something like:

Splen Day Oo Nah Fah Chay Kay Lah
Mah Hah Chen Day Star Vee Chee Noh


Ode to the Bridge Builder

Best of Time is my personal favourite, but, If I play World of Goo while sounds the song “Ode to the Bridge Builder”, I feel like I am making the most heroic thing in my entire life… And its simply a game. How did you make that? From where came that melody?

That’s funny! The level Ode to the Bridge Builder occurs right towards the end of the first chapter, and all the action takes place in silhouette against a giant setting sun. It reminded me of a cowboy riding off into the sunset at the end of a movie, so I thought I would try and write a piece of music in the style of Ennio Morricone’s classic western scores. The melody itself started with a modification of Amazing Grace and then built a bunch of variations from there.


Main Theme

But the main theme in the game isnt the epic Best of Times or the heroic Ode to the Bridge Builder, but a tango. What is the story behind the ending/beginning song of World of Goo?

Yeah I was really struggling at first to come up with a main theme for World of Goo. Then I remembered that in the original prototype Tower of Goo, I had used Astor Piazzolla’s Libertango as the background music, so it seemed appropriate that the main theme for World of Goo be inspired in some way by that classic song. Playing with Libertango on a keyboard, I learned about some lovely new chord progressions that used notes that aren’t even in the key.

For any music theory folks, it goes something like I(minor) II(Major) II(diminished) I(minor). The final song and theme to World of Goo isn’t even a tango, and has almost nothing in common with Libertango other than the opening few chords, but I like to think the song helps ground the game back to its original roots.

In addition to the interview, Kyle Gabler has been kind enough to send two exclusive demos of ** Best of Times **, which served as a guide for vocalists and musicians when recording their parts:

Interview With Game Composer Michiru Yamane

Have you ever played a Castlevania game? What about the Nemesis/ Gradius series? Rocket Knight perhaps? Contra: Hard Corps? Maybe Suikoden? Sure, maybe even all of them. Then I assume you’ve heard much of the work of our guest today, because the link that joins these games is the music of the legendary composer Michiru Yamane.

She is one of the most prestigious composers of game music. She began his career at Konami in late eighties, composing along with other greats composers like Yamashita or Motoaki Furukawa Kinuya in games likes SD-Snatcher or TwinBee. But she jumped to the front row with the saga that kept her busy for fifteen years: Castlevania. In 1994 began with Bloodlines, the installment of the series for Mega Drive, and from there until his departure from Konami in 2008, has composed music for 8 titles in the Castlevania, including the legendary Symphony of the Night and the portables titles for Game Boy Advance and Nintendo DS.

The interview could not be accomplished without the invaluable help in the questions and translations of Jose Manuel Iniguez (Director of Akaoni Studio), Gryzor87, Chiyoe Ishihara, IO and Javier Cadenas.

In the time you joined Konami, videogames were very different than now, composers did not have the resources they have nowadays to make the music they want. How do you decide you wanted to compose music for video games?

When I graduated from University, it was time for me to consider which way I should take. My high school handed me an offer to be a part-time lecturer of music, but I don’t know why I didn’t like the option.

I think I’d rather be composing or arranging music rather than teaching.

Around the same time, I found a classified ad from KONAMI, I applied immediately and I was hired. In the end, I joined a videogame company by chance.

Are you a gamer? What kind of games do you like?

I do like playing games. When I joined my company I used to play a lot of shooters or action games. Especially Parodius, which had children thronged at the arcades. I also liked Vagrant Story, God of War or the Tomb Rader series.

Nowadays, I rarely play anything, but I like games such as ICO or the Professor Layton or Ace Attorney series, which require the player to think.

What is your opinion about the music and sounds used by the classic video games (eg SD-Snatcher, Twinbee…) in contrast to the complex and orchestral current pieces? 
 Unique techniques of composing and arranging arose, as we overcame hardware limitations and found great sounds and music with its own personality. That music suited its games, and though it was simple it had depth, and it is still worth to listen even nowadays.

Do you think the “chiptune” it is still a valid way of making music for video games?


Yes, I think so. It has become a musical genre itself. Although modern hardware allows graphics or sound to be more free. If you create 2D pixel art games the music is more suitable if it’s done in traditional ways.

Listening to the soundtracks of Nemesis III, Contra: Hard Corps or Castlevania: Symphony of the Night, it can be seen that you master different styles, like music for action, epic, sci-fi… As composer, what style are you most comfortable?

When considering what music will I compose for a game, no matter what genre, if I come up with a good idea at once then the process will be smooth. On the other hand, when I can’t find a good idea I end up messing with the trial and error method. Though it is hard, I love composing for what it is, so I try to enjoy doing any kind of music.

There are songs in Castlevania: Symphony of the Night OST, like Wood Carving Partita, or Dance of Pales that have a melancholy feel, almost sad. What feelings you want to transmit to the player with the soundtrack?

As for “Wood Carving Partita” or “Dance of Pales”, I felt those were maybe too lyrical to be background music for an action game. 
I remember that I got stuck trying to make them fit in the atmosphere and the graphics, instead of telling how I felt. Maybe those feelings ended up in the music in some way, some kind of melancholy.

Your music fits perfectly in the games you worked, music and graphics works together. How is your usual process of composition for game music?

If it’s possible, I play the game to decide about tempo or style for the music. I also ask the level designer or the director about their opinion. If only graphics are available to me, then I need to focus on that for an idea. In very early development stages I sometimes compose based only on storyboards or references.

After I decide tempo or style for a song, I compose basic things like its melody or harmony aided by a piano. Then, I input everything to the computer and do the orchestration.

Is it hard to work for a company as big as Konami? I mean, in terms of exigency, enough time to work, creative freedom… What are the pros and cons?

I’d say a good point is the stable income. And for me it really was a valuable experience that people around the world could enjoy my music along with a game such as Castlevania. If you don’t care only about game music and you want to do other kind of music, it’s a good thing to be freelance.

One of the keys to success in the Castlevania series is its music so characteristic, mix of romance and action and catchy melodies. What inspires you?

The game world itself. Regardless of how old or new, I drew inspiration from films and novels relates to Dracula, of course. Also Ayami Kojima’s aestheticism and visionary illustration was a big help for me to compose, as well as the beautiful graphics created by background artists.

Besides, ethnic music that I listened to when traveling has given me a lot of inspiration. 
I have been to Spain, and I was touched by flamenco passionate music.

In 20 years at Konami, you have made a lot of music, do you have any song that you feel especially proud, a favourite?

I could say the one I did for Ganbare Goemon 2 for Famicom, which was entrusted to me when I had just joined Konami, and also the one for the Castlevania series, for which I did a lot of music.

Is there any particular reason to choose these two games?

As for Goemon 2 the senior composer and I tried hard to make an effort everyday and devise better sound or music so that users could enjoy it. Those were times in which few people cared about game music, not like nowadays. In a way, we were researchers.

And as for Castlevania, there are a lot of fans who love the music for Symphony of the Night and they keep sending me encouraging messages. I’m very happy to know so many people enjoy my music since so much time ago.

In the latest installment of Castlevania series, Lords of Shadow, the soundtrack has been composed by a non-Japanese composer, the spanish Oscar Araujo. Did you hear the soundtrack? Did you like it?

A solemn and big scale orchestration which draw listeners into the world of Lords of Shadow. In particular, the chorus reminded me the religious or philosophical elements of the Middle Ages. I was deeply impressed with the orchestration for the battle scenes. I think he has done quite a good job.

Recently you left Konami, and now you are a freelance composer. What new projects do you have?

I want to make not only music which revolves around visuals, but also music in its own.
I’d like to approach to jazz, and hopefully play something live.

That jazz feeling can be seen in the soundtrack for her next project, Skullgirls. It is her first project for a non-Japanese company, Autumn Games, in early 2012 for PSN and XBLA and looks awesome. Currently only two song have been released, enough to realize that, although outside of Konami, the talent is still intact.

Interview With Tomas Dvorak

Tomáš Dvořák (Prague, 1978) aka Floex, has put his talents to a few games, all from Amanita Design, and has already put his name among the composers to consider. With Samorost and, especially, Machinarium (whose soundtrack you can hear and buy on <a href=”http://store.floex.cz/album/machinarium-soundtrack””>Bandcamp) has become one of the most promising composers of the current game and electronic scene.

His work is not limited to video game music, and today he releases his second album, Zorya, a real musical journey full of versatility and talent. It is available to listen and buy on SoundCloud and Bandcamp. Coinciding with this date, Dvořák was kind enough to answer some questions about his work.

Hi Tomas! it’s really a pleasure talk with you. Can you introduce yourself to our readers?

I’m clarinetist, composer, artist from Prague – Czech Republic. On the gaming scene I’m probably mostly known for my cooperation with the Amanita Design. I’ve worked together with them on several projects – Samorost II, Questionaut, Machinarium. I’m releaseing the soundtrack works under my own name Tomáš Dvořák, I’m also making my own music which I release under my “Floex” moniker.

Just now there is new album comming out, it is called “Zorya” and it is released on small indie label Minority Records in cooperation with Amanita Design. Beside this, I’m also making sometimes some crazy multimedia stuff, mostly performances, you can check everything on my website.

As a musician, what is your main influences and inspirations (styles, composers, games OST…)? What music do you use to listen?

My roots are in electronic music, but I am actually really into broad range of music. In electronic music I am fascinated by this new possibilites – new sound universes – which is still possible to explore, but I am also looking for some musicality, some heart in music. It is always hard for me to find out something what would really “catch me”, but once it happens, I´m really crazy about that. To name a few favourite authors – Lusine, Apparat, Clark, Fennesz, Vladislav Delay, this kind of electronic music I am into. I am in love with different acoustic projects too like Fink, Portico Quartet, Grizzly Bear. Reallly different stuff. I guess it is again the musicality what I am into.

In classic music I have been especially influenced by the minimalism – I find Steve Reich trully most influential figure of the 20.th century music. In comparsion to the other authors he never stops to explore new teritories, he didn´t end up with certain musical concept trough his carrier. In soundtrack music, my favourite author above all is Hans Zimmer. He is one of these authors who can achieve incredible emotional depth with radical level of abstractness in music, I am also into this kind of “horizontal musical thinking” where the harmonies flow trough the larger space.

You have credited as composer in Samorost 1 & 2 and Machinarium, for Amanita Desing. How do you get in touch with the videogame industry and become a game composer?

The story is simple. Jakub knew my first Floex album “Pocustone”, he liked it and wrote me an e-mail with the offer for the cooperation. After the first project, we were happy with the result, so we are continuing the cooperation untill now.

What equipment do you use to compose music? How is your usual proccess of composing game music? What goes first in Amanita Design, music, artwork, story of all merge together?

First there is artwork. then I am trying to catch the atmosphere of the “scene”, this is probably most important moment of the soundtrack composing. Sometimes I have still image, sometimes there is some rough animation. It is really important to see how does music working with the image trough the time. If it gives enough space to the image, if it is still interesting after few minutes of listening etc…

My studio it is really laboratory with different components what I am trying to mix up together. I am originally clarinetist so this is my main acoustic instrument. However you can also find piano, metalophones, pianet, kalimba, melodica, acordeon, shakuhachi and several other instruments in my studio. And then there is computer, synths, effects – sound design and mix is maybe 70% of the time I spent over the song when I work on it.

Having composed music for a few games your name is already known in the scene because your music is that good. Clockwise Operetta, Elevator, GameBoy Tune, Budoar… Do you have a theme you are specially proud of?

Thank you! I am usually most satisfied about more melancholic and minimal pieces. I like the emotions in this kind of music, I also like to expose the sounds more individually so you can enjoy every detail of it. So kind of music like Glasshouse With Butterfly or Elevator are my favourites from the last soundtrack.

I’ve noticed that you work in game music is credited as Tomas Dvorak, and in the non-game music you are Floex. Why? Is there a difference beyond that fact between Tomas Dvorak and Floex?

Honestly at the moment I would rather present all my work under the project Floex. Possibly the next soundtrack is going to be released under the Floex moniker. When you work with the image, your music is influenced by the content of this image, so especially in the time of the first soundtrack Samorost II I had feeling that my own music is having different concept and that´s the reason why I was trying to separate the projects. At the moment I feel like both universes got so close that this separation is already loosing sense.


Casanova – Zorya

As Floex you are releasing today a new album called Zorya. The single, Casanova, is very touching, and I think I can hear bits of Miles Davis around, and that’s always a good thing. What can we expect of Zorya?

That´s funny. People use to have need to compare music to some other athors. In case of the first single I already find out that my music has been compare to such music like Apparat, Jagajazzist, Kosheen, Glass, Davis, Aphex Twin… I believe it is because it is really hard to categorize i, which is always good sign. Anyway there is definatelly reference to Steve Reich and I am happy that some people can read it. In this sense it is kind of “conceptual song”. Minimalism was always improtant reference in electronic music, but never has been both musical styles shown “naked” against each other.

As for the Zorya I am desperatelly looking forward this record. For me it is most important release in the last ten years. This should be my musical universe in the purest form. In comparsion to my soundtrack production music is more energetic, more evolving and more complex too. Often songs are very adventurous, I like to see the music as story, and i like to play with its developement.

The last one, are you working currently on anything related to videogames?

Amanita is already working on the Samorost III. This is going to be my main focus for the year 2012!

Interview With Game Composer Kinuyo Yamashita

It is probable that many of you are the same generation as me, and you have grown up playing games like Maze of Galious, Gradius or Castlevania on NES and MSX. It has been more than 20 years since then, but I still remember much from those games, their wonderful music being a very good example.

Our guest today had much to do in this rosebud for many of us in our thirties. She is Kinuyo Yamashita, a true musical talent who has influenced much of the music for videogames since more than 20 years ago. She joined Konami in 1986, her first soundtrack being for the original Castlevania, which was composed along with Satoe Terashima. Just in two years and a half she left the company, after displaying her talent in games such as Nemesis II and King’s Valley II (one of her last works for Konami, and one of Michiru Yamanefirst ones), Maze of Galious, Parodius or Esper Dream (which never made it out of Japan).

Then, Kinuyo Yamashita worked as an independent videogame composer, in games such as Mega Man X3, Power Blade or the Medarot series. She currently lives in New Jersey, USA, and she made several appearances on VideoGames Live for the Castlevania parts. But she obviously does not forget Japan, and she contributed recently to the Super Rare Trax CD in aid of the victims of the earthquakes, with a piano version of her closing theme for Mega Man X3.

Hello Kinuyo! It’s a real pleasure to us talk with you. For those who still don’t know you (if someone) could you introduce yourself and tell us a bit about your musical background?

Thank you for interviewing me, Juan. Well my name is Kinuyo Yamashita and I’m a video game music composer from Japan. I have been in the industry for a long time and worked on many video games, but I’m probably most well known for my first composition, the original Castlevania. Before I worked at Konami, I had very little experience with music. I mean, my parents made me take piano lessons at age 4, but that’s all. I studied electronic engineering in college. So I didn’t really know I could compose music until I started working at Konami.

Being a electronic engineer and just graduated from college, how did you decide to become a composer for videogames when you were only 20 years old?

I wanted to work on the hardware for musical instruments after graduating from college. However, it was difficult for a woman to get this kind of job back then in Japan. The college I went to recommended Konami to me, they were looking for music people.

In the NES version (USA and Europe) of Castlevania you were credited as “James Banana”, and not for your real name. Why? Did they asked you before put that name?

I’m not really sure about the full reason. They didn’t ask or even tell me that they were going to do that. I was surprised to learn about this, I actually didn’t find out until recently. I believe the company wanted to keep their talent hidden, in fear or losing it to competition. That’s really the only reason I can think of why they would do that.

Your music fits perfectly in the games you worked, music and graphics works together like a whole. I can’t imagine Megaman X3 or Castlevania without your music. How is your usual process of composition for game music?

Thank you for your kind comments about my music. I usually try to get an image of the game first, like the characters, the speed of the game, what type of scenery is in the game, etc. I try to match the musical ideas I have to the game. Sometimes I’m about to see drawn pictures from the designer which helps a lot.

Your music in Castlevania has influenced all the later music of the series, remixing your songs in almost Castlevania game. But you were not able to look back because it was the first Castlevania, and also your first job in video game music. What inspired you to make those memorable melodies that are still remembered today?

Well, I can’t take credit for all the music of Castlevania and I’ve said that in several of my interviews. It wasn’t so much inspiration for me, it was my job. I just tried to make the music to the best of my ability. Things moved very quickly in those early days at Konami, I’m just grateful that people still remember and appreciate my music. It’s a great feeling for me now.

Now, you’ve played in some shows of VideoGames Live. The crowd welcomes you with a standing ovation, because they all love games like Castlevania, Gradius II, Megaman, Maze of Galius and its music… When your worked in those games, you thought they were going to be so successful?

I didn’t really have any expectations when they were being made. As I said in the previous question, things happened so quickly at Konami. I made one game and it was immediately on to the next, there wasn’t really any time for me to stop and think about the success of the game. But when I was making the music for Castlevania, I was able to demo the game a little bit and I thought the game was interesting.

Nowadays, the most successful games have a orchestral soundtrack, but you and many other composers still making old school chiptune and synth music, and people, also myself, still love that music. Do you think that kind of music has something different that can not bring an orchestral score?

I think so, I mean everything has it’s place. There are still fans of this kind of music, getting the retro sound with an orchestra would probably be difficult. Since I didn’t study music in college, I never learned about writing orchestral scores. I might be able to do it, I just haven’t had the opportunity. If I ever get the opportunity to work on a big title game again, it would certainly be something that I consider.

After only two years and a half you worked in great games like Castlevania, Maze of Galious, Gradius II o Parodius and Konami was one of the greatest game companies, but you left Konami in 1989. Why did you take that decision? Was it hard to start as a freelance composer?

I worked very hard at Konami, and eventually my body became exhausted. I had to leave the company. I also wasn’t satisfied with certain things, for example, that the company did not give credit to its employees. That’s why I left after only a couple of years. Starting as a freelance composer was difficult, I think had I not started with Konami it would have been almost impossible, the connections I made there definitely helped me. The contract work didn’t pay that well and work wasn’t guaranteed. It was difficult to support myself, but fortunately I was able to continue composing game music. I lived with my parents and sometimes took a part time job working at a cafe.

Castlevania OST was your first job in Konami, and you have make music for more than 40 games after that. But today everybody (even myself in this interview) still ask you for the first music you did. How do you feel about that? Do you ever feel tired or annoyed of being remembered always mainly for Castlevania and not for the later work?

Sometimes it’s sad because I don’t get the opportunities to work on big titles anymore, but at the same time I’m happy because they DO remember me and my music. I think that’s all anyone can ask for in this industry, is to be remembered. So I’m definitely grateful for that.

In more than 20 years working in the game industry, you have made a lot of music for such a great games. Do you have any song from your own work that you feel especially proud, like a favourite? Why?

All of them! It’s tough to pick a favorite, but I really enjoy the music from Mega Man X3. There was a lot of pressure when I made this music because I had to live up to the expectations of the series. The Mega Man series has great music, so I had to give the fans a similar theme, yet at the same time, something new and original.

You had a very difficult, near-death, experience in 1998 but fortunately you made a full recovery. I imagine that this fact completely changed your life and your priorities. Does that fact also had any reflection on your music and its mood?

Hmm, I don’t think it effected my music drastically because I’m always composing music based on the order of the developer. If the game or scene calls for sad music, that’s what I compose. If the game calls for upbeat music, that’s what I compose. I think it had more of an impact on my philosophy because I realize tomorrow is not guaranteed. The most important time in life is now, it’s actually the only time. I want to tell everyone to do what’s important to them now because you never know when life will be taken from you.

There is only a few females game composers, and almost all are from Japan. Do you think it’s due to some specific reason? it is harder for a woman to enter in the game industry?

Haha, I don’t know the answer to this question. In this day and age, I don’t think gender matters as much as it did back in the 1980′s. I think it’s tough for anyone to enter the game industry now, there is a lot of competition.

Now you have moved to New Jersey. Does that mean you go to work for american companies? What new projects do you have in the game industry?

No, I’m still an independent music composer. If I received an offer from a company now, I might consider it if it was the right situation. However, I think most video game companies don’t have music employees now, they contract the work. I’m currently not working on any projects, I’m looking for work.

More interviews with game composers HERE

Interview with chris seavor conker

We love Rare. Today and back in the day. That company had (some are there still) people like the Stamper brothers, Grant Kirkhope, Martin Hollis,

It would be impossible to understand Conker, its genesis, humour, and irreverence without knowing Chris Seavor. He had the idea, led the project, designed it, co-wrote the script with Robin Beanland, made the graphics and almost all the voices in the game. He IS Conker himself.

With the freedom and perspective that gives the time (Conker was released a decade ago) we wanted to do a special article about Conker, so we contacted Chris Seavor and we’ve asked him to tell us everything about Conker. Guess what? He does.

Can we go back for a moment to the mid-nineties? If Wikipedia is right, you were born in 1979 so at that time you were very young, you worked in Killer Instinct when you were only 15 years old (It’s that legal in UK?) How did you become, few years later, director, writer, leader and designer of one of the biggest projects of Rare in N64?

I was actually born in 1968 and i started at Rare straight from my Masters in January 1994 My first proper friend (i was a lonely child, sob) was Martin Hollis, who later went on to do that little known indie hit, oh what was it called? Goldeneye, that’s it… who i met playing Mortal Combat at lunch. Rare used to buy whole arcade machines for ‘research’. Martin did the the effects and stuff on Killer. By trade i’m an artist and at the time 3D was very much in its infancy (in games) so my particular skill set was in short supply as most 3D artists tended to go into the film business, which was where i expected and intended to go…

Hmm, I See… [Mental note: Who the hell wrote that birth date in Wikipedia?]

Then by chance my friend Dave got an interview at Rare and (i expect to save on petrol, heh) he invited me along… I didn’t actually have an interview i just turned up and said Hi, i didn’t even know who Rare was and was surprised to see a load of Ultimate posters everywhere….. The penny then dropped..A couple of days later they offered me a job which, and i’ll be honest here i was cautious about because EA were still to get back to me… Luckily for me EA were a bit lax and i ended up in Twycross, the ass end of nowhere wondering ‘What the fuck am i doing in a barn ?!!!’

[Note: Twycross is a small village in Leicestershire, UK where Rare has its headquarters]

Of course, i was then handed a sparkly SG machine (i even remember its code name : Mariner) and wondered who i was having to share it with.. (they were a premium at Bournemouth University) . ‘Nope, it’s all yours…’ said Simon and I was suddenly very happy. Alias was then dutifully installed for me by a grumbling man with crumbs in his beard (Beardy) and so began my work on Killer Instinct and the beginnings of a hard and fractious 11 months when the rest of the world just disappeared and all i could think about were werewolves, aliens, fireballs and the like… A great time and i made the first of some great friends in that first year, Noz, Martin, Kev, and Robin.

[Note: He is talking about Graeme Norgate, Martin Hollis, Kevin Bayliss and Robin Beanland, composer, programmer, designer and composer on Killer Instinct, respectively]

Anyway, after Killer 1 which was a massive hit in America sure enough Williams wanted Killer 2, and they wanted it fast… 6 bloody months in fact !!!! Now, that was a hard time, not least because the deadline was tight but also the head of Williams looked like a mafia don and pretty much sounded like one too… (i’m joking, he was a lovely man). So that got done, then i worked on Killer Ultra (N64) which was also tough because for the first time i was working with in-game 3D rather than rendered sprite… Anyone remember MultiGen ? Ningen….. ? Not with fondness is my bet !! Also remember that at the time no one was doing this kind of stuff, so from a code / graphics POV we were right on the frontier… Quite exciting though.

After Killer Instinct you worked in Conker’s Twelve Tales. In early development, it was about a lovely squirrell, in a beautiful landscape full of nuts, sunflowers and that kind of things. Exactly the type of game Nintendo loves, and I am sure that would be a great game. But, suddenly, it disappeared from the games magazines, and returned some time later as a mature game with a drunk squirrell. For what reason the game changed so much?

There were a few problems with this game, but overall the main problem was Banjo being a similar type of game, and BOTH being a take on the Mario 64 format. A crowded market indeed…Something had to give, so i had an idea and went to see Chris and Tim about it which they seemed to like, and then when opportunity knocked i took it… You often see things like stardoll hacks, which i don’t understand.

The name Bad Fur Day was one i’d suggested during the Twelve Tales cycle, but as usual was ignored, so when the opportunity came to take over the reins (so to speak) i resurrected it. It’s a good name, and became the premise of the game; a sort of day in the life. The initial idea was a simple one; Conker is an innocent who wanders into difficult situations and inadvertently causes even more mayhem, before wandering off not looking back. Conker genuinely wants to help people, but doesn’t quite manage it .. I thought that would be funny. It sort of evolved from there really.. As Tolkien once said, ‘The tale grew in the telling’… or in other words, ‘i made the fucker up as i went along’ !! . You try doing that now in the industry, bugger me, ‘The Planners’ would have an epileptic aneurism.

I ended up doing Bad Fur Day because i had an idea, i was available and i was willing to do it. At the time, and i’ll be honest, i don’t think management had any expectations about what we’d produce but that only drove us harder to prove people wrong. A lot was at stake for me personally , and i guess in the long run it paid off. Sure, i would have made more money on Diddy Kong Racer texturing a tyre, or DK64 modelling a blade of grass, but no one was to know that at the time. (OK, they did know that on DK64, the buggers…)

In summary. Crowded market, not least within Rare itself… The trick with any new game when you’re trying to pitch it, and this applies across the board, whether you’re doing a FPS, MMO whatever is : What does this game do that’s different to its competitors? Humour, toilet or otherwise, was ours.

 

In fact, due to the new focus of the game, Nintendo refused to promote and publish the game. It even didn’t release in Spain! I can imagine the “facepalms” in Nintendo Japan seeing the intro with the protagonist breaking the N64 logo and cleaning the Rare one. How did you took knowledge of that lack of support from Nintendo? Did you feel disappointed?

Nintendo published the game, so if they had any doubts we’d never have got that far. They were absolutely behind it, the problem was i think the restrictive nature of how you position a game like this… It couldn’t be advertised in certain places, couldn’t even be reviewed in certain media because of the publications target audience. This restriction didn’t help at all with promoting the game.

Could more have been done to ‘get it out there’ ? Well perhaps, but you can say that about any game within reason. The madness of marketing is this paradox : The more successful and popular the franchise, the more money is spent on advertising the bugger !!! I mean look at the shit they do to market Call of Modern Duty 4, 2 + 3 , (whatever the hell it’s called)… It’s crazy.. If the only advert for that game was a tattoo on the arse of Glenn Miller it would still ship 12 million !!, so why not spend some of that budget giving new IP’s more exposure.

Did you thought, at some point of the development, about to change the game to make it more “family friendly” and get the promotional support of Nintendo? Did anyone in Rare of Nintendo asked you to do that?

Would i ever have toned down the content of Conker…? Hmm, let me see… Never… Never ever ever… EVER (okay, except for when I had too for ‘legal’ reasons..hrumph!!). The very idea of diluting anything i’ve worked on goes against every thing i learnt working at Rare. Stuff in Bad Fur Day did get censored, whole cutscenes in fact, but on reflection i could see how some people might be offended. Pokemon had to come out, and i was annoyed about that one because it was quite a funny cutscene. Gone forever now. Pretty much 99.9% of the game remained however.

Oh yeah, there was a joke at the expense of the KKK, which had to come out too. Hmm, never did understand why Nintendo were apprehensive about offending a group of curiously dressed racists, odd !! … Anyway, I always considered Conker’s Bad Fur Day less about giving offence, more a morale tale with an important underlying message: ‘If in doubt, stay in bed’. I’m joking by the way, I was trying to offend as many people as possible.

Also the ‘Never.. Never, never ever, etc’ answer might in some ways go to explain why i’m now a ‘free agent’, incidentally…. This is just a theory, a guess even, but i’m thinking a parody about Nazi Teddy Bears in womens underwear, a cigar with eyes and a tub of lemon curd (probably with eyes), wouldn’t be in the ‘Safe Zone’ for a derivative sports based game….’Come in Number 5, your time is up !!!

The game is full of fun details, such as jokes and film references. It’s impressive to see how many crazy ideas you put in Conker. Looking back, 10 years later, is there something you would have liked to add, remove or change?

The original game i wouldn’t change at all. Not a sausage… It all came together very nicely and i’m glad i had the opportunity to help make something that lots of people remember with fondness.

Conker had another chance on Xbox and I once read that there was even a sequel planned. It would have been great, but I don’t know if the sequel was canceled or it never was more than an idea. Were Microsoft afraid of what came out of your mind after the first Conker?

Conker Live & Reloaded was a different beast altogether and tbh i can’t even remember how it came about… We just seemed to start working on it, no one said stop and eventually it was finished… Heh, maybe i’m simplifying a bit.

There’s no doubt in my mind, that had everyone taken a step back, including myself and said ‘What are we doing here..?’ if at that point everyone agreed another Conker game was to be made, the question should have been asked.. ‘Why the fuck aren’t we doing the sequel then instead.?’ I honestly wish now we were talking about Conker’s OBD (Other Bad Day, we even tm’d the name) rather than Conker L&R. Consider also, that Other Bad Day would certainly have been pushed onto the next-gen console (what eventually became the 360) so graphically all that mental shit Ray Kerr was playing about with on the graphics side would have given the artists an impressive foundation to create a killer looking launch title.

Do you think the industry has changed, or Conker would meet today with the same problems?

Conker being made now, well sad to say but I expect I wouldn’t even get an audience these days with the initial idea, let alone a consideration for a budget. Safe Bets only in the big budget mainstream i’m afraid. It’ll back fire one day, just give it a bit of time. Don’t get me wrong, I love the mainstream ‘event’ games sometimes just for the sheer joy of seeing the crazy shit artists can now do with a bunch of triangles and some paints, but my tastes have definitely changed.

I was going to ask whether there was any possibility of returning to see Conker in a game, but I just saw a rumor of a new release of Conker in a hypothetical Xbox720 in 2012 … Do you think today’s Rare would be able to make it without you? Or you are in?

There is definitely no version of Conker being made today. Definitely not. Although, if it turns out there IS (which there definitely isn’t), I’m fairly confident i’d be the last bugger to know.

In view of your twitter, you are a person who speaks openly. Recently you left Rare for whatever reason, and many people too, even the Stamper have left the company, and everyone can see that the games that Rare make now are not, either in quality or quantity, comparable to what Rare make a few years ago. What happened there?

Unfortunately i’m not really at liberty to talk about where Rare is now or where it’s going and tbh, i have no idea where it’s heading in terms of portfolio anyway (but i suspect the word ‘Sports’ figures largely in that picture). Rare has a rich , extremely rich IP pool on which to draw, and this in no small way defined the type of person who applied to work at the company.. They wanted to work at Rare not because they paid the best cash, or the hours were good, or for the local night life (Tasha’s excluded). It was because they were fans of the games and wanted to be part of making more of them. Personally, I don’t think that motivation applies so much nowadays. People create things like star stable cheats and hacks, which i’m not a big fan of.

Some time ago Rovio said that Angry Birds will be more important than Super Mario. I think that you, like me, get sick when you hear something like that. I also believe that you don’t keep a Farmville in your spare time, or am I wrong? Sometimes I think that nowadays games are, or like large hollywood movies or small like Zynga
games to kill time, with less and less room for creativity and traditional games. Do you have the same impression?

As you may have gathered i’m a big fan of Nintendo , not just their games but also their way of doing things which incidentally sits very much in line with how Rare used to do things… ie: They make the games they want to. They take as long as they need to take. They make hardware purely to support the needs of these aforementioned games.

The hardware is slave to the software, and not vice versa.. This is a very important distinction between Nintendo’s approach to the market, and how the others do it.

Here’s a little anecdote i was told once by someone who would know…. The original design for the wii controller was on 1 side of A4, and this initial outline and the basic essentials of that controller never changed. It also inclusively came from 1 person. Now imagine if you will a focus group, no doubt the usual cross section of yahoos out for a free lunch and a day in the ‘nice shiny building’.

Imagine ‘these people’ being asked to come up with a new controller based on ‘Whatever They Want’ ? Just imagine what they’d come up with? Miyamoto was the 1 guy who sketched out the Wii and it was sublime……Now, hypothetically what do you think the focus group would have come up with ? Here’s a clue : Utter Fucking Garbage!!! I personally don’t want to create ‘new experiences for broader audiences’, i couldn’t give a fuck about ‘emergent demographics’, and as for ‘greenfield opportunities’ whatever that means, it can kiss my arse.

Conker was a great game, but it’s been ten years since its release and we want more crazy stuff from you. So, what is Chris Seavor doing now?

As for me now, like anyone gives a shit, but I’m working mainly on expanding my home brew project from partial grain to full. I currently have 4 beers on the go. I write and illustrate when i can be arsed, a long term project which i can’t decide yet is a comic with lots of text or a book with lots of pictures.. somewhere in between. It’s dark, it’s not for kids, and it’s definitely not a comedy. I also play a shit load of games (which ironically is next to impossible to do as a FT developer),. I also smoke a pipe from time to time, grow my own veg, bake my own bread. Basically I’m living my long term dream of being a Hobbit (the height and feet aspect of this, already ticked)

Do you have new projects in video games?

I’m also making a game which (after exhaustive focus testing) is a highly derivative FPS SANDBOX MMO that ticks all the boxes and the final level involves a Big Gun and Dancing on Mars with the Kardashians (whoever they are…). ONLY JOKING !!!!.. It’s small, only slightly derivative, has some funny moments, two heroes one of whom is extremely bad tempered. And the final level is on Mars.

At this point, I can’t decide if I want to try first the beer, the comic or the game. Meanwhile I’ll be thinking why aren’t there more people like Chris Seavor in the game industry. No, seriously… Why?

StarDoll Hack and Cheats | Still Working in 2017!

Hey, StarDoll players! If you are on this page, I am sure you’ve had one of these awful moments, where you have spent all stardollars and wished that a star dollar hack or generated existed. Don’t be afraid, you are not the only one that wants to know how to get free star coins.

There are hundreds and hundreds of people, who want to enjoy the true potential of the game, without having to spend hundreds of dollars or your pocket money to buy in-game currencies.

Let me tell you, as a girl, I’ve been there and had moments where I had no star dollars and was afraid of what will happen next. But then, I made a choice to create something remarkable, first for my own use, but after I realized I could help a ton of people with this, I have decided to share it.

What if I told you, that I have found the perfect method to generate unlimited star coins and star dollars, without having to download anything to your computer? Well, I have the perfect solution for your problem, because with my friends I managed to create a Stardoll Cheat, that you can use safely, without worrying about losing your account.

But, wait a little bit, before you click on anything, let me talk a little about the tool, the process of it, how it works, and how I came about to develop such a tool as a girl.

In this article, you will get to know how to generate unlimited amounts of in-game currencies with out Stardoll Hack.

How does our StarDoll Hack work?

stardoll dolls in a header

Well, because most of you aren’t technical person, and don’t take this the wrong way, it’s not a problem, it would be a little hard to tell the exact processes of how our tool works, but I will aim to keep it simple as I can, so even someone with no coding experience can understand it.

The first thing you must know and understand, that all of your data, your dolls, your everything is stored on StarDoll’s official “servers”. A server is a computer like yours, but it has much more memory and a lot bigger a hard drive, to be able to store all of that data. This “computer” decides how much starcoins or stardollars you have, how your doll looks, and what you are doing in the game.

Every single code of information about your account and your doll is on there. The tools job is to find little holes in the systems firewall and exploit that. It will simply go in, change the numbers on your account, and leave without getting noticed. A lot of tools are available online for this, but none of those guarantee not getting caught, although it’s the most important part of it. That is why we have spent a lot of years on perfecting the Stardoll cheat tool.

Afterall, all you need to know is that we completely handle the hacking part of the deal, your job is to enter your username, and the amount of currency you want to see on your account. We will never ask for your password because we don’t need it.

Is our Stardoll cheat safe to use?

star dollars

Yes, it is completely safe to use. As i mentioned in the last paragraph, keeping your account and dolls secure is the main priority of our team and we have included a ton of security layers in the tool, like our VPN IP-Hider function. What this function does, is that it hides your IP, so when it goes to the server to change the values you were given, it “acts” like you are from a whole another country. This not only help you, but the tool as well, to keep the hacking process secure, so that you can add as many dollars or coins you would like!

You might find a ton of tools like this on YouTube or in Google, that are sold or shown as working, but in reality, they are only rip offs of our tool. But don’t be afraid, you are safe on this website.

Thanks to the completely unique IP hider function of our tool, the servers of the game aren’t able to tell if the values you set were changed by a developer or by you. So you are completely safe.

How to use our Stardoll Hack?

Because we know you love StarDolls, and know nothing about coding, we made the interface of the tool so simple, that even your two-year-old little sister could operate it. All you have to do is enter your information, the amounts you want to generate, and you are set!

In case you are still wondering how to use our Stardoll generator tool, here is a simple list:

  1. The very first thing you need to do, is to click on the Access Tool button on the page you are on right now. It is completely online, you don’t have to download anything.
  2. If you see the Stardollar generator tool, you are on the right page. Enter your username in the field “username”.
  3. And this is the best and most exciting part. Enter a number of in-game currencies you want to generate.
  4. Simply click on the “Generate Button” and wait while the hacking tool is working.
  5. Make a sandwich, because it may take up a few minutes.
  6. After the process have been completed, wait one or two hours, then log in, and enjoy your star dollars!

That is it! It is simple as that. You don’t need to spend any money. Just go ahead and use our free tool!

Update(Sept 2017): Because people from russia are abusing our free tool, generating millions of starcoins, we have decided to add something called “No-Human Verification”. This means that you will have to prove that you are a real person, by entering a captcha, or completing a simple action. This is for our users and tools safety!

My Singing Monsters Cheats

My Singing Monsters is a game for kids, but that does not mean that it is easy! If you have played the game either on an iOS or Android Phone, I am sure you can relate to the problem of running out of coins, goodies or even diamonds, which are extremely hard to get. Running out of these resources means that you will have to stop playing.

What would you say if I know the very trick, that can make your game time better, and you can get hundreds of My Singing Monster Diamonds or even coins for absolutely free? Yes, you read that right, for completely free.

By getting these currencies for free, you can enjoy the premium features of the game without worrying about paying for them.

If you are interested and want to know the trick of generating unlimited coins and diamonds for My Singing Monsters, just simply read our article!

In this article, I will show you how to use these My Singing Monster Cheats, and tell you how do they work.

How do these My Singing Monsters Cheats work?

my singing monsters game

We have tried to keep these cheats as simple as possible, so they work very simply. Our tool simply adds the resources to your account that you want, that you would pay hundreds of dollars for. Unless nearly every My Singing Monsters Hack on the internet, this one is legit and safe to use, because we are only using the backdoors the developers of the game left there.

While you can’t see it, because it is deep in the coding of the game, but there were developer modes that testers used when developing the game. These developer tools are completely available for every player, the only problem is, that most of the players can’t access these because of the need of looking into the code. Because of this, you can only turn it on, if you know how the game works.

The developers of My Singing Monsters have made this wall of security, so not all of the players can access these cheats. It’s kind of a natural selection in its own way.

But now, thanks to the work of our awesome and professional coders, we decided to make these hacks and cheats available for everyone, so we created a tool, that can simply find any backdoors, loopholes, hacks and cheats in the system, even a few seconds after it is implemented in the game.

Is there a real My Singing Monster Cheat Generator tool?

my singing monsters cheats and hack

As i mentioned earlier, YES! We have created the perfect Cheat Generator tool for you, that will make your life so much easier. I and my team have decided to launch a project back in 2015. We had no plans, nor deadlines that we could stick to, but I am happy to say that we are finished with the tool. We literally spent countless hours of work and several thousand dollars to come up with a tool that can do the work and can keep your account safe at the same time. We were thinking about selling it, but we decided not to.

Keep in mind, that this may be a short offer, so if you want to use it for free, do it now!

Curious, what does the tool do in the background? Read on!

How does our coin generator tool work?

I will save you from a lot of nonsense coding talk because trust me, it is pretty hard to understand. I will try to explain it as simple as i can. If we look at the tool in overall, the basic principle of the My Singing Monsters Cheat Generator tool is pretty simple. All it does that it looks for any odd or funny looking text in the code of the game, and when the tool finds one, it will check with the database to make sure it is a cheat, not just an error made by one of the programmers.

If the text is really a cheat, then it will add it to the database, so you can use it, and it helps the tool to compare it with future tools. Every day, the tool does a thing called “Ultimate Verification Process” or UVP for short. This means that it will test out every cheat, to make sure that they are indeed working and active.

That is it. It sounds simple, doesn’t it? Well, it’s not that easy to code it, trust me. But we are happy to do it for you!

How to apply the My Singing Monsters Cheats you got?

As I said before, the tool itself is made to be as simple as possible, so literally, anyone can use this My Singing Monsters Hack. You just simply have to follow a few steps:

1. Open the Hacking tool.
2. Enter the username you use in the game, and choose the cheat or hack you want to apply to your account.
3. Wait a little bit, while the tool does it’s job, and generates your coins and gems.
4. Enjoy your generated currencies!

Please keep in mind, that many people just like you want to use this tool, so it can take up a few hours for it to add resources to your account!

Just wait and enjoy!