Friday, May 25, 2012

Christopher Nolan Director's Collection Coming to Blu-ray




Just in time for The Dark Knight Rises, Warner Home Video will release the Christopher Nolan Director's Collection on Blu-ray June 26, 2012. The seven-disc box set will feature five of Christopher Nolan's best films, including Memento (10th Anniversary Edition), Insomnia, Batman BeginsThe Dark Knight and Inception.

The discs themselves will likely be reissues of the current discs in print, all specs and bonus features intact. That's five 1080p HD transfers with 5.1 DTS-HD MA or TrueHD audio (for the Batman films), and two-disc releases for The Dark Knight and Inception (hence the seven discs for five films). For a review of each film, and their Blu-ray, simply click on the titles highlighted above.



As an added bonus for collectors, the set will include 10 collectible photo cards and a 40-page photo book filled with stills, trivia and behind-the-scenes info on all five films. Fans will also be treated to a Movie Cash voucher for The Dark Knight Rises (good up to $8). Suggested retail for the box set is $49.99. Amazon has a pre-order price of $34.99, which isn't too bad considering the high quality of each film.



Source : http://www.ign.com

The Big Role-Playing Games of 2012




With the current generation of consoles coming to a close and the next one just around the corner, the year ahead is shaping up to be one of the most exciting the gaming industry's ever seen – and the quality of the new releases just over the horizon looks better than ever, too.

All this week we've been highlighting some of our favorite upcoming titles scheduled to release before the end of 2012, breaking them down by genre to help you get up to speed on what you'll be playing between today and New Year's Eve.

On Monday we kicked things off with the Racing genre. Tuesday we tackled Strategy games. Wednesday we jumped into the Action/Adventure genre, yesterday we took on Shooters and today we're finishing off our week of feature with our last list of all – our top picks for this year's upcoming RPGs.


Earlier this month MMO fans got to finally step into the world of TERA, but there's another massively multiplayer world getting reading to launch next month too – The Secret World. Coming to us by way of Funcom (previously known for Age of Conan and Anarchy Online), The Secret World presents a setting modeled after modern day Earth. If modern day Earth had giant monsters, magic use and easily accessible portals to Hell, that is.

You'll have the opportunity to join forces with one of three different warring factions, construct items through an interface similar to Minecraft and customize your character with your choice of supernatural powers. The variety of content promises to be as vast as, well, the Earth itself. And we're looking forward to finally getting to explore and uncover its secrets.




Funcom's Secret World isn't the only way to experience a weird, warped version of modern reality, though – Atlus' on-going Shin Megami Tensei series continues to be a great way to pull the curtain back on the hidden spirits lurking in the world around us. Next up for this franchise will be an American localization of Persona 4 Golden, an updated and enhanced version of 2008's original Persona 4 from the PlayStation 2.

This new edition will be exclusive to the Vita, will boast remastered visuals tuned precisely to the new portable's beautiful display and will add extra voice acting not found in the first release. New in-game content, new cutscenes, a new character and more will bolster the gameplay as well, which should make this one a must-have for Shin Megami Tensei fans – the PS2 version scored an Amazing rating of 9.0 just as it was, so adding all these extras on top of an already superb game is definitely exciting.



Vita fans have even more RPG action to look forward to beyond Person 4 too, as the talented translators at XSEED Games are hard at work localizing the break-out hit Ragnarok Odyssey for Western audiences. This one is an Action/RPG focusing on fast combat and skillful usage of vertical space on the battlefield – you'll knock enemies into the air, then leap after them to keep your combos going in the sky.

It's no secret that the Vita had a rough launch in Japan last year, but this game was one of the few true success stories to come out of that rocky start. (Probably because it resembles Capcom's Monster Hunter series in more ways than one, and Japan just can't get enough of that series.) We'll see if this Odyssey can repeat its success in the States later this year.



New Little King's Story

And hey, if we're going to feature two Vita games, why not make it three? The role-playing genre is definitely going to be well-represented on Sony's newest handheld throughout the rest of this year, and New Little King's Story should be another stellar addition to the lineup.

This game is a new reimagining/sequel to Little King's Story, an under-the-radar cult classic hit from the Wii's unsung library. Like that predecessor, New Little King's Story puts you in command of a young, newly-crowned monarch who must rally his kingdom's citizens to follow him into battle, complete construction projects in town and more. The 2009 Wii game deserved a lot more attention than it got, and we're thrilled the property is getting a second chance – let's hope the Vita audience shows it some love later this year.



Nintendo's most outspoken fans scored a huge victory earlier this year when they successfully campaigned to get the company to reverse its decision not to localize the epic Xenoblade Chronicles. With that win secured, though, the dedicated members of grassroots groups like Operation Rainfall kept pouring on the pressure – and now the second game they supported, Mistwalker's The Last Story, is on its way too.

Nintendo actually allowed XSEED to step in and handle the publishing for this one in North America, but however it's happening, it's happening. We'll soon be treated to Action/RPG combat which features a cover system to hide from foes, ally command mechanics draw out of the strategy genre and perhaps the best visuals the Wii has ever – or will ever – see. Wrap it all up with the fact that it's headlined by the iconic RPG master Hironobu Sakaguchi and you've got one new tale that was absolutely worth the time and effort it took to be able to be told.



Finishing off XSEED's contributions to this list is Unchained Blades, yet another role-playing adventure that looked like it was doomed to stay sitting untranslated in Japan. XSEED picked up this one too, though, and will be taking advantage of digital distribution to offset the cost of publishing in the West – it was a retail release overseas, but here it will come to the PSP via the PlayStation Network, and Nintendo's 3DS courtesy of the Nintendo eShop.

The game itself is an old-school dungeon crawler. You'll face off against hand-drawn enemies in turn-based combat, explore caves and caverns with a first-person perspective and use the unique "Unchain" mechanic to try to convince monsters to stop fighting you and join up with your party of heroes instead. Full English voice acting will also be included, while XSEED is promising 50 hours of content or more – if all these things come together, Unchained Blades could be one of the biggest, boldest titles we've seen debut on PSN or the eShop.




It's hard to believe it's been over seven years since the first Guild Wars launched, but sure enough one of World of Warcraft's earliest competitors is actually that old (while WoW itself is still moseying right along.) Guild Wars 2 might just take a more sizeable chunk out of that aging genre champions' player base, though.

Building on the enhancements and features found through the first game's expansions, Guild Wars 2 offers a refined version of the tactical combat the series is known for. The storyline has also been pushed forward 250 years into the future, where the five playable races of Tyria are forced to put their battles with each other on hold to join together and face the new threat of ancient dragons newly awoken from under the earth. It's not often that MMOs get numbered sequels, so fans of persistent online worlds should pay close attention to this one as its release draws nearer.



Nintendo's main mustached mascot is the man in charge of several on-going spin-off series, from Mario Kart to Mario Party to all kinds of different Mario sports. None are as visually playful and downright whimsical as the Paper Mario games, though, which we've seen for three console generations in a row – and now, for the first time, the 2D hero will explore his 3D worlds on a portable platform.

We still don't know a lot of details about Paper Mario 3DS, but what we do know is intriguing enough as-is – like the fact that this game will emphasize Mario's Paper-ness move that ever before with elements like fans blowing him around with blasts of wind and giant pairs of scissors swooping down into battle scenes to slice his enemies in half. We're looking forward to finding out even more soon, as we expect this newest Paper Mario adventure to be one of the jewels of Nintendo's 3DS lineup at E3 in just a few weeks.



I don't know a single gamer who wasn't trying to make sure his PC was powerful enough to run the original Neverwinter Nights 10 years ago, and the loving, widespread fan reception to that interactive vision of the iconic Dungeons & Dragons' Forgotten Realms campaign setting ensured that we'd be seeing more Neverwinter in years to come. Sure enough, Neverwinter Nights 2 followed along in 2006 – and now, here in 2012, we're closing in on the release of the next take on that same world.

This time around the more simply titled "Neverwinter" will take the form of a free-to-play MMO. Development started on a different path and the game has suffered delays due to the change in direction and some corporate shuffling, but what's resulted from the long road looks to be wonderfully fun – and, importantly, accurately detailed in its re-creation of the Forgotten Realms setting. Neverwinter won't open its gates for another several months, but we're already planning our new characters and getting ready to roll for initiative.



Pokemon Black 2 & White 2

Rounding out our list is an unexpected surprise from Nintendo, whose long-running Pokemon RPG series was previously locked into what we thought was a predictable routine. A new generation would launch with two paired games, then a third game would follow along that made minor changes, then another new generation would come along a few years later to add more monsters and repeat the process.

Black 2 & White 2 are breaking that mold. We all expected Nintendo to issue a "Pokemon Grey," but instead we're getting two direct storyline sequels – actually numbered as sequels, too. Crazy, I know. This new pair of RPGs will take place two years into the future following the original Black & White storyline, will alter the Unova region to feature new locations and Gym Leaders and will host a super-nostalgic Pokemon World Tournament that brings back characters from every past generation to compete in a massive monster-battling free-for-all. Ready to catch 'em all, one more time? We always are.



And there you have it, RPG fans – our top ten picks for the best prospects in the genre set to debut before 2013 arrives. Which of these would you pick as your most anticipated? Let us know through the comments box below, and thanks for reading all five of our Big Games of 2012 lists this week.



Source : http://www.ign.com

Chernobyl Diaries Review




Remember watching The Cabin in the Woods last month and appreciating its thorough examination of why many horror movie tropes have become outdated and irrelevant? Well, Bradley Parker's Chernobyl Diaries was pretty much the exact opposite of that. Where Cabin in the Woods so successfully deconstructed the genre, Chernobyl decides to double down on those cliches and depict them in the least interesting way possible.


The initial concept is actually kind of intriguing, albeit conventional. The story centers on six tourists who hire an extreme tour guide named Uri to take them through the abandoned city of Pripyat, the former home to the workers of the Chernobyl nuclear reactor. But as one might expect, everything goes to hell when they discover that wild, radiated animals aren't the only danger left by the disaster.



Without giving too much away, perhaps the most frustrating aspect of the film is that the characters are incredibly stupid. Have we learned nothing from horror movies past? When someone tells you to stay in the van, you  If there's an urgency to run, you don't stop to talk about what the plan is -- for the love of God, you keep running! And above all else, no matter what you do, DON'T SPLIT UP, right? Unfortunately for all the victims involved, Chernobyl Diaries lets every single one of these mistakes happen at least once, if not several times. And by the end of it, you don't even feel sorry for these morons.


Of course, just because every character has mush for brains doesn't necessarily mean the film's a failure. With enough thrills, chills and kills, almost any horror movie can at least hold your attention. But again, this is another area where Chernobyl Diaries doesn't deliver. What few jumps and scares there are almost never follow through on anything worthwhile. And when something actually does happen to one of the characters, we're forced to cut back to the others hearing distant screams or dangers that they -- and as a result,  don't actually get to see. It's just plain discourteous.







In fact, one of the film's only redeeming qualities is that it wasn't shot in the style of found footage. While a lot of the action is still subjected to shaky cam and obscured imagery, most of the movie isn't nauseating to watch. On the contrary, many of the earlier locales are actually quite nice looking. The Pripyat environments are indeed eerie and moody, and it's almost a shame they weren't featured in a better flick. However, pretty much all of that rich atmosphere is squandered by a slow-moving first act that clumsily meanders its way to the brass tacks.


All in all, Chernobyl Diaries embodies everything that's wrong with modern-day horror movies -- it's dull, cheap and irritating. The problem isn't in its premise or even its dimwitted characters; it's ultimately the film's lackluster execution that makes it a failure. The story never builds to the resolution you're hoping for, and as with many films of this ilk, it annoyingly introduces another round of unanswered questions in the final minutes of its "screw you" ending. Unless you're absolutely jonesing for a meager handful of frights, steer clear of this underwhelming romp.









Source : http://www.ign.com/articles/2012/05/26/chernobyl-diaries-review

Lifetime Developing Silence of the Lambs Prequel TV Series, Clarice




Okay, now this is just getting weird! NBC have already ordered the new series Hannibal for midseason next year, a TV prequel focusing on a younger Hannibal Lecter and his relationship with Will Graham, the FBI agent destined to catch him.


Now however, TV Guide reports that Lifetime (Lifetime?!) are developing Clarice, another Silence of the Lambs prequel - Which, as you can guess by the title, would focus on Clarice Starling, just after she graduates from the FBI Academy. Clarice of course was so memorably played by Jodie Foster in The Silence of the Lambs, in an Oscar-winning performance. (Julianne Moore played the role in the film Hannibal, after Foster declined the offer to return).


The two series based on the Thomas Harris-created novels/characters have nothing to do with one another. MGM would produce Clarice for Lifetime, which obviously is in much earlier stages of development, lacking any writer, director or cast.


The role of Lecter in Hannibal is expected to be announced shortly. Bryan Fuller (Pushing Daisies) is the executive producer and writer, with David Slade (Hard Candy, 30 Days of Night, The Twilight Saga: Eclipse) directing the pilot - his second pilot in the past year, after Awake. Hugh Dancy has been cast as Will Graham 


While a show based off of Thomas Harris' dark serial killer novels seems a strange fit for Lifetime, it comes as the network is looking to get into more dramatic series, on the heels of their successful launch of The Client List.




Source : http://www.ign.com/articles/2012/05/26/lifetime-developing-silence-of-the-lambs-prequel-tv-series-clarice

New Catwoman Poster From Dark Knight Rises




The official film site for The Dark Knight Rises has posted a hidden gem for Bat-fans to find: A brand new Catwoman poster for the upcoming film! Check it out:



Thanks to Batman-on-Film for the head's-up!




Source : http://www.ign.com/articles/2012/05/26/new-catwoman-poster-from-dark-knight-rises

Why You Should Pay Attention to Red 5’s Firefall




It’s not really an MMO, but it’s not a straightforward shooter either. Red 5’s Firefall drops you into an open virtual world and challenges you to join up with others to blast apart computer-controlled enemies. You can swap between classes, collect loot and power up, and then jump into instanced player versus player arenas in case you want to prove your twitch superiority.


It’s a complex game with a lot of interesting systems, a cool visual style and also jump jets. To get a sense of how everything works, check out this extended video demo with Red 5’s Dave Williams.






















Firefall is currently in closed beta testing, and from the looks of things one of the most promising free-to-play games in development.




Source : http://www.ign.com/articles/2012/05/26/why-you-should-pay-attention-to-red-5s-firefall

Battleship Review




Battleship has the unique distinction of being a video game based on a movie based on a board game, but that's probably the most interesting thing the game has going for it. Developed by Double Helix Games, the studio perhaps best known for Silent Hill: Homecoming and (more relevantly) for turning Square's beloved Front Mission strategy franchise into a shooter, Battleship is a disappointing first-person shooter/strategy hybrid destined for a watery grave.





You play as EOD 1st Class Cole Mathis, and your job as the game opens is to dispose of explosives. That role evolves in the very first level when a strange object falls from the sky and interrupts a training exercise. In an instant, the Hawaiian archipelago finds itself cut off from the outside world and facing off against aliens who are launching an invasion from the sea. Your new task is to run around on land, shooting humanoid aliens and periodically ducking behind cover to give coordinates to ships that would be lost without your guidance.


Despite the mostly welcome and entirely appropriate presence of some strategy sequences, much of Battleship is devoted to clunky segments that play out on land. An onscreen indicator points you in the general direction you're supposed to move and lets you know how many yards you are away from that destination. You are left to fumble through dull landscapes that do a horrible job of making Hawaii look like a place worth saving. Generally, you head to one military compound or another, disable an alien barrier that is scrambling radio signals, and then repeat the process in the next level.


Besides being thoroughly uninventive (unless you count crates stacked in grassy fields and along ravines as creative), the game's environments are also designed inconsistently. Sometimes you can drop from ledges and scavenge for ammo along grassy slopes, but other times you smack into an invisible barrier that prevents you from descending toward shelter as gunmen pelt you with shots. There's a main path you need to follow through each stage, and you shouldn't stray from it…except when you are actually supposed to wander to find one of four useless peg collectibles hidden in each stage.


One of the game's more persistent issues is its awkward combat. While the controls feel like they were lifted directly from the Call of Duty series, something went wrong with the copy-paste job. Your weapons rarely hit their apparent target unless you get up close and personal, which is difficult when your enemies are so good at moving around and firing at you from unlikely vantage points. When you fire automatic weapons, your target reticle starts with a wide spread that only grows narrow enough to be helpful about the time you finally run out of bullets. Then you have to wait through some ridiculously long reload animations and hope that no enemies decide to rush you while you're defenseless (switching to a secondary weapon doesn't work nearly fast enough to be helpful in such cases, unfortunately).





Besides the issues that you encounter on land, you often must worry about unknown disasters waiting at sea--and this is where the overhead strategy sections come into play. Whenever you like, you can press a bumper button on the controller to pause the action and ever so slowly call up a grid that represents the current landmass, as well as the surrounding ocean water where your ships are positioned. As a stage progresses, alien seacraft advance and come within radar view. Your ships fire automatically at any targets that move within range, but you have to babysit your fleet's movements: the extraterrestrial boats are good at sneaking around your stronger ships and then picking off your weaker ones in rapid succession if you are distracted for too long by the FPS segments. By the time you get an explicit alert that things have gone south, they might have become bad enough that there's no hope of recovery.


You might suppose that a winning technique would be to simply focus on the naval scenes first, especially since there are a finite number of enemy ships, but the game's strategy and FPS modes are linked in such a manner as to prevent that particular tactic from working. In later stages, your fleet is doomed unless you supply it with a fairly steady stream of power-ups that you can obtain only by killing enemies on land. There's no getting around the constant back and forth.


While the unique combination of land-based segments and strategic sea battles could have proven interesting with careful implementation, Battleship's execution is flawed almost across the board. The strategic segments--though frequent--are much too brief, and you don't even get to watch confrontations unfold in an interesting manner. Unless you take direct control of a vessel by using a power-up (which only lets you press shoulder buttons for up to 20 seconds to fire a bunch of missiles and torpedoes), or you happen to be in a good position on land to look out over the waves where the important stuff is happening, the most you see from water battles are tiny silhouettes on a digital screen that turn gray when the ships they represent sink.





As disappointing as the maritime presentation is, the game's biggest problem is that the much more prevalent land segments are either tedious or annoying. In several instances, you have to defend points from alien swarms over the course of a few minutes (often while fighting poor visibility), and then you are almost always rushed by a group of brutes just as your bullet clip empties. If that leads to a failed mission objective, you have to wait 20 or 30 seconds before you can return to the previous checkpoint. Then you will likely need to reposition all of your ships on the grid and gun down a number of weak foes before you can return to the point where you previously died while trying to defend a structure or armaments. There simply aren't enough checkpoints placed throughout the stages, not when being forced to replay even small segments of the game is so thoroughly annoying.


In the event that you are immune to the game's primary flaws, Battleship still stands to disappoint you because there are only seven redundant missions and no alternate modes available to keep you busy when you're done with the campaign. The next time you're in the mood to sink ships, try the board game instead.




Source : http://www.gamespot.com/battleship-2012/reviews/battleship-review-6378641/

Harley Quinn's Revenge Video Preview Monday




Everyone and their butler knows that Harley Quinn's Revenge -- the latest story-based DLC -- is coming to Batman: Arkham City Tuesday. You probably caught our write-up. But what you might not know is that Up at Noon is going to have a quick video preview of the content Monday on Start. So, if you want to see Robin in action and Batman talking to Commissioner Gordon, check out Monday's show at noon Pacific.


We'll embed the show here when it's live. Until then, check out the latest episode of Up at Noon.












Source : http://www.ign.com/articles/2012/05/25/harley-quinns-revenge-video-preview-monday

What We Want in the Shadow of the Colossus Movie




No matter how many lackluster video game adaptations Hollywood churns out, there are always studios snatching up new properties for development And no matter how many times we're burned by films such as Prince of Persia or Street Fighter: The Legend of Chun-Li, we can't help but hope that Hollywood will finally deliver a strong adaptation.


Sony has been quietly developing Shadow of the Colossus for several years now. Momentum finally picked up on the project this week when it was announced that Chronicle director Josh Trank has signed on to helm the movie.







Shadow of the Colossus is undoubtedly one of the more challenging video games to adapt for film, but also potentially one of the most rewarding. Shadow of the Colossus could be the movie to finally break Hollywood's trend of bad video game movies. But if Trank is going to stand a chance, there are a few guidelines he should keep in mind along the way.


 





A Strong Artistic Direction



The common factor among all of Fumito Ueda's games are a sense of creativity and strong artistic style. One only needs to look at Ico, Shadow of the Colossus, and the upcoming The Last Guardian to know they're all the product of the same mind.



We're hopeful that same flair for visual presentation and unique game worlds makes the transition to film. Shadow of the Colossus needs to offer viewers a stunning depiction of The Forbidden Land. This is a realm that should feel both familiar and alien and shouldn't resemble any one location on Earth too closely. The movie needs plenty of wide, sweeping vistas and haunting shots of a world that has decayed into ruin. The world should draw in viewers every bit as fully as Pandora did in James Cameron's Avatar.


Equally as important as the world design are the Colossi themselves. The game sees the protagonist, Wander, battle 16 hulking creatures who roam the Forbidden Land. The Colossi all have unique appearances and are all fusions of living tissue and local architecture. Despite their large size and unusual appearance, the Colossi need to feel as real and organic as anything else in the film. These aren't terrifying monstrosities, but living, breathing, feeling creatures.


With these elements driving the visual design, we're not sure a traditional live-action approach will suit this adaptation. At the very least, Trank may need to take the Zach Snyder/George Lucas approach and film live actors against a green screen. Or perhaps an even better (if more costly) approach would be to deliver a completely CG-animated adaptation. We haven't seen many studios attempt this method with video game adaptations, but in this case it could be the best way of bringing Ueda's world to life.


 





The Silent Treatment



Another defining trait of Shadow of the Colossus is the lack of dialogue. Wander's quest to destroy the Colossi is a mostly silent affair. And while there are some conversations and interactions in the game, the characters don't even speak English. Even the music was downplayed. The soundtrack to Shadow of the Colossus was very well-received, but the music only flared up during vital cut-scenes and the battles with the Colossi.



We hope to see the film embrace this minimalist approach to sound design. The game's distinct tone is thanks in part to the haunting, empty quality of the Forbidden Land. Wander has only his horse to rely on for company. Those long stretches of time between battles create a sensation of isolation in an alien landscape. What exactly is there to gain from adding dialogue and a thumping soundtrack to the mix?


We picture Shadow of the Colossus playing out similar to the opening act of Pixar's Wall-E. In that movie, neither Wall-E nor his companion EVE were capable of anything more than the most rudimentary form of communication. The result was that the movie conveyed its story more through emotion and action that dialogue. Colossus could be the same way. We want the film to focus on raw emotion as Wander bonds with Agro and becomes corrupted through the process of killing the magnificent creatures than roam the landscape.


As he did in the game, the character Lord Emon can provide whatever exposition is needed through his narration. Ideally, the rare moments of dialogue would be spoken in the game's nonsense language rather than English, but this may be asking too much of a big-budget Hollywood adaptation.


Too few films recognize the power of silence. But with the popularity of Wall-E and The Artist having dominated the Oscars recently, maybe audiences are ready for a hero who speaks softly and carries a magical sword.


 





Thrilling Battles



As vital as it is that the Shadow of the Colossus movie focus on the haunting and otherworldly nature of the Forbidden Land, the movie won't get very far if it can't deliver some epic Man vs. Colossus battles. It needs to be as much a violent action film as a quiet character drama. Otherwise, why not just hire Wes Anderson to direct it?


That actually doesn't sound like a bad idea...


Anyway, Shadow of the Colossus has the opportunity to deliver a very unique slate of action scenes in today's jaded Hollywood environment. The sheer scale of the Colossi is both a challenge and an asset for Trank and his collaborators to confront. These creature measure dozens or hundreds of feet tall. And even with his enchanted sword, Wander faces a monumental challenge in taking down even one Colossus. Look at it this way – the Colossus battles have to be exciting and challenging enough to make up for the extended stretches of gameplay with no action. In the same way, the various battles in the movie need to be epic enough to offset the periods of downtime.



Shadow of the Colossus will require some fancy special effects wizardry and clever cinematography to pull off these battles. That means Trank will have to leave behind the simple, found-footage approach of Chronicle and deliver something much more bold (unless he wants to deliver what would essentially be a big-budget remake of Trollhunter). Trank may also have to pick and choose among the best Colossus encounters in the game. Sixteen battles may not sound like much for a video game, but in the context of the film that would grow too repetitive. At most, five or six Colossus encounters seems like ample material for the film.


 





A Tragic Tone



Above all, Shadow of the Colossus is a tragedy. It's a pretty depressing story from start to finish. The entire conflict comes about because Wander is seeking to resurrect his lost love, Mono. The story is further darkened because Wander's heroic quest requires him to destroy 16 incredible creatures. If ever the phrase “The road to Hell is paved with good intentions” applied to a video game character, it's Wander.



Viewers need to feel the sense of pain and loss that comes with each Colossus kill. These creatures aren't monsters or villains. They're simply living beings who stand between Wander and his singular goal. Each kill is cause for sorrow, not joy. And that process of destruction takes a very physical toll on Wander over the course of the game. The character gradually takes on a haunted, demonic appearance as he kills more and more Colossi. That physical and psychological process of transformation needs to be reflected in the film. By the climax of the film, viewers should be questioning whether the end truly justifies the means in this adventure, and whether Wander is a hero or villain.


The truth, of course, is that there is no villain in the story. The characters and conflicts need to be presented in such a way that viewers can sympathize with Wander even as they lament the terrible actions he undertakes. There needs to be a profound sense of despair every time a Colossus is killed, and also a pervading hope that everything will be alright in the end.


The movie should strive to match the emotional resonance of the game as well. Shadow of the Colossus doesn't deliver a typical Hollywood happy ending by any stretch of the imagination, but nor does it end the story on a completely depressing note. There should be plenty of room left for interpretation as Wander's quest comes to a close.


 





Leave Room For More



Shadow of the Colossus is a complete and self-contained story, but that doesn't mean there's no room for sequels or spinoffs to the story. For one thing, there are subtle ties between this game and Ueda's first PS2 adventure, Ico. Depending how you choose to interpret the events of the two games, Shadow of the Colossus may even be a prequel to Ico.



Whether or not Sony chooses to move forward with an Ico adaptation, it's clear that the world presented in these games is ripe for further exploration. The Forbidden Land is merely one isolated area in a much larger landscape. To draw another comparison to Avatar, the world itself is rich and compelling enough that there's room for any number of sequels that don't necessarily have to feature the same characters.


Fans of Ueda's games have been frustrated these last few years as The Last Guardian has slipped further and further behind schedule. Perhaps the best outlet for new stories and adventures in the world of Ico and Shadow of the Colossus isn't more games, but a series of movies that can effectively capture what makes the game so brilliant in the first place. That's a tall order, and we'd like nothing better than to see Trank and the rest of his cast and crew rise to the challenge.









Source : http://www.ign.com/articles/2012/05/25/what-we-want-in-the-shadow-of-the-colossus-movie

Getting in the Groove of Theatrhythm Final Fantasy, Part 3




Theatrhythm Final Fantasy is less than six weeks away from it's U.S. release, and what we've played so far has us pretty darn excited. As we've mentioned before, Theatrhythm offers different types of rhythm gameplay based on the different kinds of themes you're tapping and sliding along to. Paired with the almost unparalleled Final Fantasy score, this makes for a rhythm game experience that any music or Final Fantasy fan should definitely keep on their radar.


We've already shown off some of the game's Field and Battle sections - now it's time to take a look at the Event song segments. Prepare for nostalgia overload!


Let's kick things off with the Event Music Section of Final Fantasy XI...











No enjoy bawling your eyes out to Aerith' sad, sad Final Fantasy VII tune...











And finally, the cutest/most awkward dance ever, care of Squall and Rinoa in Final Fantasy VIII...















What do you think of what you've seen so far? What songs do you hope they include? And while you're at it, which Final Fantasy game do you think has the best music? Sound off in the comments below and let your voice be heard!









Source : http://www.ign.com/articles/2012/05/25/getting-in-the-groove-of-theatrhythm-final-fantasy-part-3

Journey 2: The Mysterious Island Blu-ray Review




Luis Guzman is a great actor. He adds a particular flavor to pretty much every movie role, and when used sparingly, he can add a lot to a movie. He's great for minor dramatic roles, and he can provide a few sprinkles of comic genius, too. But, like many comic character actors – use him too much and your whole film will go down the tubes.


The biggest, most annoying problem with Journey 2: The Mysterious Island is Luis Guzman, or rather, the complete abuse and grating overuse of Guzman's talent. What could have been a goofy, memorable 15-minute appearance is turned into a 90-minute experience in unfunny. Every joke in the film is somehow poorly anchored to Guzman, and rarely does his moronic character allow a scene to breathe naturally. There's even a few moments where he delivers one-liners and literally pauses, as though some cheeky laugh track is going to back him up. It's embarrassing to watch, and it very nearly ruins the lighthearted fun of Journey 2.







The film, a sequel to the 2008 surprise hit Journey to the Center of the Earth, follows Sean Anderson (Hunger Games star Josh Hutcherson) as he continues his search for treasures and mysteries using Jules Verne's novels, in this case, The Mysterious Island. Instead of Brendan Fraser tagging along (he's not even mentioned here), the film switches things up, with Sean now accompanied by his stepfather Hank (Dwayne Johnson, who knocks it out of the park). Along for the ride is a helicopter pilot (Guzman) and his hot love interest daughter (Vanessa Hudgens, who feels completely out of place). Naturally, not unlike the first film, they wind up finding the island only days before it's about to sink into the ocean. Along the way, they also discover Sean's long-lost grandfather, Alexander. He's played by Michael Caine, who's in the film for much longer than expected, and adds an offbeat, sometimes overstated, charm to every scene. The rest of the film is filled with the usual awe and wonder, paired with great monsters, fast chases and exciting action.


On a comparative scale, Journey 2 isn't a bad sequel. It keeps things light and goofy, just like the first film. Never once does the film pretend it isn't some generic assembly-line picture, but that doesn't stop the film's lavish production design for trying to add some visual splendor to the proceedings. The narrative is pretty dumb, offering up plenty of sappy and/or cheesy moments, and characters aren't very well written, nor is the dialogue that inventive or memorable. But the film does manage to squeeze out just enough action and monster mayhem to keep audiences interested, just don't be surprised if you can't remember anything about the film the next day.


While the other flaws are certainly distracting, the only major bad decision was the overuse of Luis Guzman. It's as though the film's producers were worried about Dwayne Johnson's humor falling flat, so they asked Guzman to “ham up” every single scene, and for some inexplicable reason, the editor kept all those scenes in the film. While he might not annoy everyone who sees the film, he's about as frustrating as a character with a broken limb – someone who's drawing the narrative out, while pulling it down at the same time.


For what it is, Journey 2 delivers a fun, if somewhat muddy, ride. It's not really trying all that hard to impress, but it does have some decent fantasy-action sequences, some occasionally great CG (the large iguana is the film's best visual) and a fun adventurous spirit filled with some clever and occasionally original ideas. If you're willing to look past the walls of terrible hovering over the film's strengths, Journey 2: The Mysterious Island should work for you.



The film comes to Blu-ray with three separate releases – a single disc movie-only version, a two disc Blu-ray/DVD combo pack, and a three-disc 3D Blu-ray/BD/DVD combo pack. All three releases include an UltraViolet cloud streaming digital copy of the film. For this review, we'll be looking at the two-disc combo pack.


Journey 2 features a 1080p/AVC encode, with a soundtrack mixed in 5.1 DTS-HD Master Audio. Shot with Sony CineAlta F35 cameras, the film is quite pristine, rich with a bold, bright palette that never falters. Depth and shadows are striking, and textures pop right off the screen – sometimes in a way that makes certain sets look a bit fake or stagey. The encode is quite clean – no compression, dust specks or heavy noise was detected. Even darker scenes yielded very little motion blur or added noise. The only major distraction here are the obvious 3D effects, which don't really work as well in standard 2D. That said, it would seem Journey 2 will make a pretty great 3D Blu-ray presentation.


Audio is not quite as impressive as the transfer. Some high-end crackles were detected on dialogue from Luis Guzman (he's even the worst part of the audio, too). And the film's lush soundtrack, from Andrew Lockington (who also scored the first film), can get a little overbearing at times, especially during quieter character moments. Still, action beats are incredibly immersive, layered with impacting bass and aggressive, balanced surrounds. While your system might detect some flaws in the sound design, this mix delivers a decent punch in all the right places.


Extras are remarkably thin. There's an interactive map feature (a BD-exclusive) which allows you to explore the island a little more. Personally, this would have made for a great Maximum Movie Mode extra with some tweaks, and more in-depth details about the production. There's also a quick, and somewhat annoying, gag reel, and a 6-minute deleted scenes reel. Nothing too impressive there. Oddly, the disc is missing the Looney Tunes short, Daffy’s Rhapsody, which preceded the film in theaters. It's a shame it's not on this release, or any other release for this film.





Journey 2 isn't quite as fun or adventurous as the first film, dampened largely by Luis Guzman's overbearing and unfunny character, but the film should act as a decent babysitter for the 5-10 age group. Rent it if you enjoyed the original. Let's hope the inevitable third chapter in the series improves on the adventurous formula.






R.L. Shaffer knows a good pec dance when he sees one. And now, you can follow his TwitterFacebook and MyIGN for quotes, rants, reviews, news and the occasional photo of his cat.




Source : http://www.ign.com/articles/2012/05/25/journey-2-the-mysterious-island-blu-ray-review

X-O Manowar Continues to Impress




We loved the first issue of X-O Manowar, the debut comic of the relaunched Valiant Comics. With this first look at issue #2, it looks like things are only going to get better.


Written by Robert Venditti with art by Cary Nord, expect to see X-O Manowar #2 on the shelves June 6.













Source : http://www.ign.com/articles/2012/05/25/x-o-manowar-continues-to-impress

Tera Review




In a proper and just world, Tera would've launched in 2004 and rewritten the MMO rulebook instead of WoW. I realize that I've just spewed outright blasphemy and am in extreme danger of being stricken down by a bolt of divine lightning, so let me explain. Traditional MMO combat – as popularized by Blizzard's genre-stomping behemoth – isn't exactly thrilling. While PvP and high-end PvE ratchet up the mobility factor a bit, leveling generally involves all the high-octane action that's typically associated with . That is to say, you root yourself in one spot and flip your brain switch firmly into the “Off” position. Tera, by contrast, requires skill-based swinging and fleet-footed acrobatics, leading to adrenaline-pumping last-second dodges against even the most mundane of foes. Also, which would you rather play as: an ugly old gnome or an adorable (and vaguely horrifying) dog person? I rest my case.


My starting statement is, however, a double-edged sword. On one hand, Tera would've made for an excellent neanderthal to kick off modern MMOs' evolutionary cycle. Matched against said modern MMOs, however, Tera's non-combat elements (quest structure, crafting, story, PvP, etc.) feel woefully behind the times – like vanilla WoW as opposed to post-Cataclysm WoW. It is, to be frank, the Big Foot of massively multiplayer role-playing games. Sure, it'll put up a hell of a fight if backed into a corner, but at the end of the day, it feels like an out-of-place missing link – not stuck in the past, but definitely not ahead of the curve.







So then, let's start with the good: the combat – as I noted in my first week impressions – is largely sublime. Climbing into my warrior's upper 30s, though, taught me to appreciate it even more. Put simply, standing still is suicide – especially once Tera starts tossing larger groups of enemies into the fray. Fortunately, my red-skinned Medieval Darth Maul had a whole host of equally potent single and multiple target skills by the time I hit level 30, and I couldn't help but feel this incredible sense of .


If a bad situation sprang up, I felt confident that I could switch gears and tackle it head-on. One Big Ass Monster (Tera's world-roaming boss equivalent – and yes, they're actually called that) vs one small ass me? Sure, it'd take upwards of ten minutes, but – even against a BAM's (sometimes literally) earth-shaking attacks – my carefully timed dodges and pitter-patter strikes could win out in the end. As for a crowd of weaker enemies? Please. They bunch up in their neat little groups, and I mow them down. The buddy system, as it turns out, isn't exactly an efficient combat formation.


This is the first MMO where I can say position – not maximizing DPS – drove my skill choices from moment-to-moment. If a dodge landed me just outside attack range, I'd whirl around with a rangy Legend-of-Zelda-style area of effect strike and then charge back into combo position with a skewering shishkabob strike. Regardless of where I was, I always felt like I could be where I to be in mere seconds. It may not sound like much on paper, but in practice, it made me feel like – not some series of background dice rolls – decided my fate. With proper play style adjustment, my dual-wielding, incredibly rogue-like warrior even made a serviceable tank.


And it's all impressively varied from class-to-class, too. My Slayer alt, for instance, moved with all the grace and agility you'd expect from someone wielding Cloud's buster sword the way it'd work, which necessitated a complete shift in timing. As a result, strikes were far harder to land, but oh so deliciously satisfying – with craterous knockdowns befitting of a cleaver big enough to give other cleavers wedgies and then hang them from flagpoles. Even healers and spellcasters require far more mobility and manual targeting than their comparatively snooze-worthy meter-monitoring cousins in other MMOs.







Problem is, many of those class-defining details hardly even matter outside of BAM battles and dungeons. Quests shamelessly recycle slight variations on the same enemies until leveling's just a giant blur of Big Things, their accompanying legions of Small Things, and the occasional Thing You Feel Terrible About Killing. So one quest might ask me to hunt crowds of tiny rock creatures, and then – a single level later – I'm busting them into even tinier rocks , only now they're called “scoundrels” instead of “minions” or something along those lines. I was also, at varying points, forced to kill fairies and unicorns. Given that you can play as a little bunny girl race (which, in itself, is already disturbing enough), this means you can use a little girl to kill some of the things little girls are allegedly made of. There is nothing right about that sentence.


The end result, however, is that PvE combat strategies rarely ever change, and questing – which consists almost of “kill 10 of these, 25 of these, etc” missions tied loosely together by an extremely generic, badly told “storyline” – quickly descends into eyelid-tugging slog territory. As Bon Jovi once said: “It's all the same. Only the names have changed.” Granted, he was talking about cowboys, steel horses, and comparing guitars to revolvers, but even with that holy trifecta of intrigue, I doubt Tera's tired quest structure could manage to be of any real interest.


Group play, then, really and truly saves this one – at least, initially. In almost complete contrast to solo questing's thinly veiled level treadmill, it's fast, frantic, and rewards tactical complacency with a hulking monster claw to the clavicle. A basilisk BAM, for instance, might charge, pounce, spin abruptly, or leap sky-high and come crashing down, potentially crushing the whole party. Meanwhile, the vampire (sorry, “vampir”) centric Sinestral Manor's final boss – which could best be described as the result of a radioactive spider being bitten by a radioactive copy of Gears of War – is generally less agile, but prone to launching fiery ranged projectiles while you're distracted by its smaller (still disgusting) offspring.


Admittedly, these boss tactics don't sound tremendously different from those in other MMOs, but constant movement and skill-based combat make BAM battles feel less like traditional tank-and-spanks and more like Monster Hunter's intimate encounters with Godzilla's kind. That said, there's still not enough variety – especially given Tera's timesink nature – and even BAMs grow tedious in the game's upper levels.







Unfortunately, the rest of Tera ends up feeling like a flavorless outer shell you have to crush your teeth on to reach its BAM kabiff-pow-thwacking core. The game's opening area – which will eat up five or so hours of your time – varies from mediocre to out-and-out awful, and even an inventive (though brief) prologue that lets you try out your class at level 20 squanders its potential on a confusing, awkwardly paced execution. And while things finally pick up at around level 20, questing actually gets mundane as you progress, with meaningful skill gain perplexingly cutting off at around level 40.


Beyond that, gathering – while cleverly paired with mini-buffs to better tie it into the flow of combat – feeds into a tedious crafting system that's also borderline useless thanks to the ready availability of better items via loot. And while there PVP, it's limited to random open world skirmishes at the moment, as previously promised PVP battlegrounds won't be implemented until the end of summer.


I will, however, make special note of Tera's election system. Basically, its purpose is to elect a series of “Vanarchs,” who – according to Tera's official website – are responsible for “setting and collecting taxes from vendors” and “activating special shops and skill trainers in settlements, opening new teleport routes, and more” in Tera's various provinces. Unfortunately, I can't really evaluate it yet, as it only kicked off at the start of the week, with the first batch of elections set to wrap on June 1. Given its strict level requirement (50) and competitive nature, however, it's the closest thing Tera has to a unique endgame right now. No, the political system probably won't be quite as chaotically player-driven as, say, EVE Online, but I'm extremely excited to see where these monthly bursts of democracy go. If it lives up to all that promise, we'll definitely tell you about it.







I am, however, rendering a verdict on what Tera is right now – not what it will be in a number of months. And while its combat system is a bonafide cannon ball into an otherwise stock-still (Vindictus excluded) sea of fantasy MMOs, a heavy anchor of mediocrity nearly sinks the whole production. There's nothing damningly egregious about, say, Tera's same-y quests or generic swords 'n' sorcery 'n' giant apocalyptic robot tale, but it all comes together to suck away any sense of vibrancy or moment-to-moment . Bluehole's MMO debut occasionally makes desperate, clawing grasps at greatness (see: BAMs, dungeons, combat's rarely applied nuances), but seems mostly content to trudge along nonchalantly without ever really applying itself. I'd hand this one an “A for effort,” but most of Tera – beyond its combat – is out-and-out lazily designed. No doubt there's a wealth of promise here, but as is, I can only recommend a subscription to avid players who've completely exhausted other, more robust options like WoW or Rift, or absolutely cannot wait any longer for Guild Wars 2 or The Secret World.


But hey, at least you can play as a dog person.




Source : http://www.ign.com/articles/2012/05/25/tera-review

Hero Worship: Why I Love Catwoman




Inevitably, one of the first questions that I’m asked when I meet someone new and they find out what I do for a living – writing about and creating comics – is “who’s your favorite superhero?” After a lengthy explanation of how there’s so much more to comics than just superheroes, I reveal that Superman is my all-time favorite, which usually doesn’t surprise them. I then reveal that a close second is Catwoman and surprise wipes across their face. I’m not sure why – she’s one of the most progressive, interesting, and well-rounded characters in all of comics – not to mention that she’s been a part of the Batman story since Batman #1, right alongside the Joker.


The fact that she’s being featured in The Dark Knight Rises makes me giddy as hell; her past big screen incarnations have never really delivered on the potential that the character holds. While I do adore Lee Meriwether’s interpretation of the character in Batman: The Movie (oh, Miss Kitka…), it’s a relic of the campy Batman era that lacks the gravity of the forty-five years or so of the character's existence since that time.


Even if every aspect of the comic book version that had been seen up to 1966 was put to use on the screen, she would have remained largely the same given her then existence of about 25 years – 10 of which she was unable to appear due to the absurd limitations of the Comics Code Authority at the time. The basic elements are there – the femme fatale-style seduction of Batman, the feline motif – but the more complex elements of the character wouldn’t really be explored until the modern era.


With Batman Returns, Tim Burton brought forth the S&M-inspired Michelle Pfeiffer version of the character that would forever linger in the dreams of young men everywhere. Darker, sexier, and a good deal more unhinged than is typical, Burton’s Catwoman – like pretty much all of the characters in Batman Returns – is a vision tailored specifically to Burton’s visual and thematic interests. I like Batman Returns more than most for this specific reason, but the film’s rendition of Catwoman still fails to capture the core of the character that captivates me so much.



And then there’s 2004’s Catwoman starring Halle Berry, which I’ve since subtitled “The Cruelest Joke Hollywood Ever Played on Me.” As you might imagine, learning of a solo Catwoman film back in the day nearly made me feint from hyperventilation. And then as the details came together, my world collapsed. As suspected, the movie was a disaster in every way, not the least of which was the complete disregard for anything remotely resembling the Catwoman character. The closest we got was a Michelle Pfeiffer cameo (via a still photograph). Happily, I can say that I didn’t have to spend my own money to see the movie – I got a free ticket from the purchase of one of the Batman: The Animated Series DVD sets.


Which brings us to the present with Dark Knight Rises. Played by Anne Hathaway, Christopher Nolan’s Selina Kyle looks to be the closest representation of the character on the big screen to date. No, I haven’t seen the movie yet, but it’s already apparent from the trailers and TV spots combined with the reality that Nolan has established in the two movies previous. I’m not going to assume, of course, but I can say that I’m highly optimistic for Catwoman’s treatment in Dark Knight Rises. She’s got the wit, she’s got the looks, she’s got the skills and, yes, she’s got the heels.





So why do I love her so much? Catwoman is one of the few characters in superhero comics that have experienced a true progression throughout the years. She’s evolved from a simple cat burglar villain to one of the most complex characters in comics. She’s overcome a life of prostitution to become a figure of inspiration for young girls (Holly Robinson) while earning her keep in the Bat-family, oftentimes much to the chagrin of Batman himself. Not to mention their on-again off-again relationship that, when exploited correctly (see Paul Dini and Dustin Nguyen’s Batman: Heart of Hush) is the source of great drama.


She’s been a CEO, she’s been a mother, she’s lost and subsequently battled her sister, she’s been a murderer, and she’s got a thing for older men. The important thing is that despite all of these crazy happenings, they’ve successfully built on top of each other throughout the years – perhaps not with flawless continuity, but the emotional effects have continued to shape Catwoman into the character she is today; she’s got many complex layers that other characters simply lack.


While she’s unfortunately suffered from Convoluted Origin Syndrome (C.O.S.: not really a thing), Selina has successfully walked the line between hero and villain more fluidly than most. In fact, she appears with a high ranking in both our Best Comic Book Villains and Best Comic Book Heroes lists -- #11 in the former and #20 in the latter. She plays the game by her own rules, and the only winner she ever sees is herself. She’ll drop Batman in a second if he’s in the way of her objectives; at the same time, Selina acts as the perfect shade of grey to assist in Batman’s war on crime. She’s willing to bend morality more than most. While in the modern era she’s typically been depicted as the reluctant hero, it’s the fact that she’s so difficult to pin down that makes her interesting.


Which leads to the next point: Catwoman’s versatility. Much like Batman, her unique characteristics make her primed for a wide variety of storytelling possibilities. Whether you go the noir-ish route of Darwyn Cooke and Ed Brubaker, the high sci-fi of Salvation Run, the supervillain showcase of Heart of Hush, the deeply personal angle of Her Mother’s Keeper, or the stylish crime caper that is When in Rome, the character’s inclusion feels fitting and true.



It remains to be seen how large of a role Catwoman will actually play in The Dark Knight Rises, but if the early footage is any indication – for this fan, anyway -- she’ll be stealing the film 100%. That’s just how Selina would want it, after all.









Source : http://www.ign.com/articles/2012/05/25/hero-worship-why-i-love-catwoman

App Store Update: May 25




Every day hundreds of new apps make their debut on the App Store, and hundreds more are updated or reduced in price. We have sifted through the noise and highlighted those select few that might be worth your attention.





Game Debuts



Pastry Panic – ($0.99)


Old school arcade action title Pastry Panic is out now. Gobble up as many pastries as you can while jamming to an original chiptune soundtrack.








Open the Doors – ($0.99)


Open the Doors is another original Korean import from M&M Games. “Draw doors” on your touch screen to escape the pursuing ghost. Survive as long as possible!


Jurassic Park: The Game 4 HD – ($6.99)


The fourth episode of Telltale’s episodic prehistoric adventure is out now on iPad. Jurassic Park isn’t one of Telltale’s best efforts, but fans of the movie will probably be unable to resist returning to the island.





Price Drops



Mega Mall Story – ($0.99)


Mega Mall Story might just be Kairosoft’s best mobile sim. And now it’s on sale for $0.99! Grab it.


Furmins – ($0.99)


Housemarque’s physics puzzler Furmins has been discounted from its normal $2.99 asking price for a limited time.


DreamWorks Dragons: TapDragonDrop – ($0.99)


DreamWorks’ How to Train Your Dragon tie-in exploration puzzler is now half off! This one was made by mobile game pros PikPok, so don’t be thrown off by the license.


7th Guest – ($2.99)


The iOS port of this classic CD-ROM adventure is once again on sale for $2.99.


Gamebook Adventures 1: An Assassin in Orlandes – ($2.99)


Tin Man Games frequently offers up discounts on its line of interactive novels, but the very first Gamebook Adventure rarely drops in price itself. Now gamers have an opportunity to save a few dollars on the app that started it all.





Reminder: Hundreds More Games on Sale!



Yesterday’s App Store Update spotlighted 50+ games on sale from EA, and 100+ indie games on sale as part of the Because We May promotion. All these discounts run through the weekend and include many of the absolute best games on the App Store. So stock up!





Updates



Clear Vision


New missions! Players can now continue Tyler’s story with a short five-level mini-expansion, released free-of-charge.


Subscribe to the App Store Update via email:














Source : http://www.ign.com/articles/2012/05/25/app-store-update-may-25

Fringe: John Noble Looks Towards the Final Season




With the happy news that Fringe had defied the ratings odds and was renewed for a fifth and final season, I recently had the chance to briefly chat with John Noble ("Walter Bishop") at last week's FOX Upfront presentation. While production has not resumed yet, Noble told me his thoughts on going into the final year of the series and what he'd like to see resolved by the end of Fringe: Season 5.






IGN TV: Congratulations on the renewal! What did you guys think when you heard it?


John Noble: It seemed like the logical thing to do, for are all sorts of reasons - certainly story-wise. I think it’s a good thing for television to do to keep its audience. We’ve done on our job on Friday nights, what was expected of us, so there’s really no reason for us not to keep going.


IGN TV: And as you mentioned when you did our podcast, you had that last scene in the season finale -- people would have been going crazy if we didn’t see what was going to happen next.


Noble: Oh, God, yeah. I know.







IGN: You don't go back to work for a couple of months. Have they given you any inkling of what's to come?


Noble: Well, probably what I’ve told you already. I think that episode 419 that we did is the way forward.


IGN: “Letters of Transit,” right.


Noble: Yeah, exactly. Yes. That will show the way ahead. But I’m not sure yet. We've had preliminary talks, but that’s it.


IGN: What's it like for you knowing that this begins the Fringe farewell tour? I was thinking, “Aw, this is Fringe's last Upfront.” It's a little sad, but at least you have that closure.


Noble: No, it’s a wonderful feeling to have closure. We know that when we do things for the final time, we’ve done them. The last scene we do together, we'll be doing the together. I’d say it’s glorious.


IGN: Suffice it to say, I feel we’ve got to see William Bell again. 


Noble: Given that we saw his hand in “Letters of Transit!”


IGN: Yes!


Noble: I actually haven’t had that discussion with anyone, truthfully. [Leonard Nimoy] was terrific when he came back for those two episodes. He did a brilliant job, and I know he had a good time. I don’t know. I simply don’t know. But he would always be a popular choice, I think.


fringe-20120511091216622


IGN: Is there anything you’d like to see by the end of the show, either a character moment or a plot tun you’ve always wanted to see?


Noble: There needs to be resolution of the Triumvirate. Basically, we’ve been pulled together in this strange, dysfunctional little family. There has to be some, in a spiritual sense, some sort of resolution of that. I think they’ll give us that too. I think Walter’s got to take responsibility of what he’s responsible for, and I think there’s something rather noble in that if we can make it work.


IGN: Do you think that we’ll see the "other side" one more time?


Noble: I don’t know. I’d like to, but I don’t think so. I don’t think we need to go back there. We gave them a really good farewell.


IGN: Yes you did. It was very emotional.


Noble: It was very touching, wasn’t it? We will miss them.




Source : http://www.ign.com/articles/2012/05/25/fringe-john-noble-looks-towards-the-final-season

CBS: Full Trailers for Elementary, Vegas, More




CBS only initially released behind-the-scenes videos for their new series last week. However, the network have now put up the full trailers shown at their Upfront presentation last week, including those for their Sherlock Holmes series, Elementary, Vegas (starring Dennis Quaid and Michael Chiklis), Partners and Made in Jersey.


You can check them all out below. Beware that, like most Upfront trailers, they are pretty spoilery, taking you through much of these respective shows' pilot episodes.
















Source : http://www.ign.com/articles/2012/05/25/cbs-full-trailers-for-elementary-vegas-more