Wednesday, May 30, 2012

Resident Evil: Retribution Goes Viral




With Paul W.S. Anderson's Resident Evil: Retribution scheduled to hit theaters this September, Screen Gems and Sony Pictures has decided to go viral with their fifth RE installment by launching an official website for Umbrella Corporation.



In addition to frequent interruptions from Milla Jovovich's Alice, the site also promotes a mobile recruiting tour set to hit San Diego sometime in the near future (Comic-Con perhaps?). The tour claims to have already hit Cancun, Mexico in April. No further dates are listed, but Cannes, France and Barcelona, Spain are marked locations of the recently ended Cannes Film Festival and the upcoming CineEurope.

For more info, check out the official website. And if you find any signs of Umbrella Corporation in your area, be sure to let us know in the comments below. Resident Evil: Retribution will premiere in 2D, 3D and IMAX 3D on September 14.

Via ComingSoon.net



Source : http://www.ign.com

Arrow Star Stephen Amell Talks About Playing TV's New Oliver Queen




Coming to The CW this fall, Arrow is a dramatic new take on the Green Arrow story, starring Stephen Amell as Oliver Queen. The series begins with Queen returning home after having gone missing years before – finding himself stranded on an island in the interim, where he has mysteriously picked up some very impressive skills he soon is putting to work via his new, hooded alter ego.

At The CW’s recent Upfront event, I spoke to Amell about playing the DC Comics hero, what the tone of Arrow is, and whether we might expect to see other DC characters on the series, which also stars Katie Cassidy as Dinah Laurel Lance – known to comic book fans as Black Canary.



IGN TV: What is this show’s take on Oliver Queen?

Stephen Amell: We tried to make him as real as possible. The character doesn’t have any superpowers. Nobody on the show has any superpowers. [Arrow pilot director] David Nutter -- I think he said this when a picture of the costume was released -- when he made Smallville, he wanted to find the humanity in Clark Kent. We’re looking for the humanity in Oliver Queen too. He’s gone through a ton to get to where he is, and we’re going to explore how he got there. But we wanted to make sure that he was really properly weighted and real.

IGN: We know the series begins with him having been missing for five years. Is it safe to assume that experience fuels his desire to become a hero?

Amell: Yeah, he gets stranded on the island, and we explore that. We’re going to explore the island as we move along, but he got some really important advice before he got to the island. He’s taken that with him for five years, and comes back with business to take care of.

IGN: Will we explore the island via him going back there, or are there flashbacks?

Amell: I think the idea is to --- not all the time, and not with a set regularity -- but I think it is critical to explore how he went from the person that he was when he left the island -- which is extremely different: he’s spoiled, he’s entitled, he’s a bit of a jerk -- and he comes off it something very, very different. So we’re going to explore how he gets there.


Stephen Amell in Arrow


IGN: There’s obviously a lot of DC Comics you could draw on. Do you know how much you might use certain villains or guest stars from other DC Comics in this show?

Amell: Stay tuned. I know that the people that are working on the show, they love comics. I know that Geoff Johns from DC Comics -- he’s a great guy -- he was up there [on set]. I think that he’s going to write an episode eventually. It would be unfortunate if, being a comic book show, we didn’t draw from all the characters in the DC Universe. I hope we do.

IGN: Katie is playing a character who obviously comes with a lot of backstory from the comics herself. What’s the dynamic like between her and Oliver on the series?

Amell: It’s not good right now. I didn’t treat her very well five years prior, so she has some beef with me -- rightly so. But she is an interesting character.

IGN: People who know the comic books are going to hope that we eventually get to see Katie in fishnets - and not just because she’ll look good in them! Do you think that’s a possibility down the line?

Amell: [Laughs] I don’t know. I hope that Katie eventually -- fishnets or otherwise -- she deserves to be a superhero at some point.



IGN: What was it like for you to put on the Arrow costume?

Amell: Aw, man, it was awesome. The costume is great too. The main idea behind the costume for us was functionality. I can put the costume on by myself, and that was super important. If I can put it on by myself, I think that people will buy it. And that was our idea. That’s our world.

IGN: That is rare, because some of the actors who play superheroes talk about how it’s impossible for them to get the costume on or off without several people.

Amell: Yeah. No way, no. People help me put it on sometimes for the sake of expedience, but I can put the whole thing on by myself.



Source : http://www.ign.com

Epic Wins Silicon Knights Court Case




Epic has emerged victorious from its long-running court case with Silicon Knights. According to a tweet from Epic’s Mark Rein, the jury found for Epic on all counts.

The trial first began in 2007 when Silicon Knights served Epic with a lawsuit alleging that Unreal Engine 3 did not work as promised. At the time, Silicon Knights president Denis Dyack wrote that Epic was “unable or unwilling” to fix the engine’s problems and accused Epic of using licensing fees to develop Gears of War rather than working on Unreal, and said that the technical problems forced them to develop a separate engine, making Too Human significantly more expensive to produce.




Today, Epic said the following in a statement: “The jury rejected Silicon Knights' claim that Epic breached its Unreal Engine 3 license agreement with Silicon Knights. The jury also found in Epic's favor on all of its counterclaims, namely that Silicon Knights breached the license agreement, misappropriated Epic's trade secrets, and infringed Epic's copyrights in the Unreal Engine 3 code. The jury awarded Epic damages totaling $4.45 million. Epic has 30 days in which to file a request to the court for reimbursement of attorneys' fees and costs. The court previously had thrown out Silicon Knights' fraud claims after nine days of testimony.”

"We are delighted with the jury's verdict and all of the hard work done by the Hunton & Williams legal team,” Epic general counsel Jay Andrews added.

In the five years since the trial began, additional information has slowly emerged. As the release of Too Human approached in 2008, Silicon Knights sought a court order to block Epic from viewing code for the game, as the company had developed a proprietary 3D camera system and was seeking a patent. Epic eventually counter-sued and the case went to trial earlier this year. Earlier this month, a judge ruled that Silicon Knights could earn only one dollar if the case had fallen in their favor.

In the wake of today's verdict, the future of Silicon Knights remains uncertain. The developer last released X-Men: Destiny, which received a 5.5 from IGN last year. We've reached out to the studio for its response to the verdict and will update with any comment we receive.



Source : http://www.ign.com

Diablo III Real-Money Auction House Delayed Again




If you logged into Diablo III today, perhaps you noticed the real-money auction house is not yet live. According to an in-game notification, the real-money version of Diablo III’s auction house will go live on June 12, 2012.

This is the third time the real-money auction house has been delayed. Initially it was expected to launch one week following the game’s May 15 release date, then it was pushed to May 29.

Over the course of the past two weeks the virtual currency auction house has frequently been down for maintenance as Blizzard addressed technical issues.

“We're also continuing to investigate latency affecting search results, active auction lists, posting auctions, and successful sales and purchases on the gold auction house, and hope to have all transactions running smoothly as soon as possible,” said a recent official post.

As of this moment, the virtual currency auction house is up and running, but it’s not possible to sell commodities such as crafting components and gems.



Source : http://www.ign.com

Battleship Review





Battleship Review:


Somehow, the big-budget Hollywood adaptation of Battleship – an aesthetically sterile board game with little plastic pegs – ended up looking a whole lot like the Transformers films, albeit without generating the same kind of audience interest (as evidenced by the comparatively wimpy box office returns). Activision's multiplatform title of the same name actually pulls from both bits of source material, oscillating between first-person shooter segments and a tactical grid that lets you align ships to battle alien carriers and provide occasional ground support from afar.
Much as it's pleasing to see a movie game that isn't another generic hack-and-slash affair, Battleship opts to enter an even more competitive space with a generic shooter, which packs only a startlingly short single-player campaign with not a lick of multiplayer action in sight. And as is often the case with such film tie-ins, the game feels very much like a surface read on the genres it pulls from, offering little in the way of depth or variation from a rigid routine.

Ship or Shore

Battleship stars Cole Mathis, a U.S. Navy demolitions expert who must wander the islands of Hawaii detonating enemy turrets and communications hubs, all while taking down scads of aliens using a paltry selection of firearms. He's not the lead in the film, as the game's storyline purportedly takes place alongside that of the film, though you wouldn't know it from piecing together the dull dialogue snippets and cut-scenes. If the inanity of the plot wasn't assumed from its board game-to-film origins, the game actually prompts you to skip every cinematic on first viewing. So don't worry about missing anything – you're encouraged to dodge the narrative!



Battleship

To some extent, Battleship is a tale of two very different games: the core first-person shooter campaign that dominates the experience and ultimately starts and ends each mission, and the map-based ship maneuvering that plays a strong role in many objectives, and cannot be safely ignored or marginalized. While the disparate elements are nicely intertwined, Battleship is limited by its narrow scope. Neither side of the equation feels particularly fleshed-out or expansive, and pairing them together in the seven single-player campaign levels doesn't make them feel any less shallow. And even within those elements, there's so little depth or variety to the action.

On foot, Battleship generally proves competent, though uninspired. Each stage charts a very straightforward path to its goals, so much so that the game enacts false barriers at times – like an unmovable ally blocking a pathway – to keep you on the intended path. And though they shake up the order and terrain, all seven missions follow the same routine, mixing stop-and-pop encounters with detonation tasks, which means simply holding a button near an object and then watching it blow. Occasionally, you'll protect an ally or installation for a brief period of time, but these moments do little more than trigger light enemy waves to attack.

Beyond the simplistic goals, a lack of diversity within the combat keeps the campaign from picking up steam. Just a few distinct enemy types – common bipedal foes, railgun-toting snipers, explosive rolling balls, and big brutes that take a few shotgun blasts to fell – pepper the stages, and the five firearms (plus standard grenades) encompass traditional fare, from the common pistol and machine gun to a chain gun and the aforementioned railgun. Battleship's on-foot combat has about as much kick and personality as a mobile touchscreen shooter, and doesn't look much better, either, thanks to simplistic models and effects plus some rough texture work.


Battleship

Fire at Will

But wandering the islands and leaving alien guts in your wake isn't the entirety of the Battleship experience, as you'll often swap to the grid map to reposition ships and subs to engage in nautical combat or assist with the on-foot action (like calling in a volley of missiles on a target). Left to their own devices, the ships will attack nearby enemy cruisers, though you can focus their attacks as needed and move them around to any available opening. As they lumber about in the water – assuming you're near the shore while on-foot – you can actually see them move in the distance, which is a nice touch.

You'll take a more active role at times thanks to the wild card power-ups, which often scatter along the battlefield when you take down foes – another example of the strong link between the two aspects. While many of these simply enhance your ships' offensive or defensive capabilities, one wild card lets you take control of the cannons for a 20-second shootout, in which your ship earns a 200% boost to its firepower. Expectedly, these moments pass in a heartbeat as you completely overpower the opposition, and there's nothing more to each than aiming at a large target and hammering the triggers and a shoulder button.


Battleship

That's a symptom of a larger issue with Battleship: every bit of the experience is so rudimentary and superficial that it doesn't add up to much. On the shore, the combat and objectives alike lack both variety and originality, while at sea, the ship positioning requires little tactical planning and the skirmishes are damn near automated. And the game lacks serious design consideration at times, such as absurdly long gaps between checkpoints, plus I experienced a scenario in which a checkpoint triggered right as an essential ship sank, leaving me stranded to restart the entire mission. Battleship lacks not only ambition, but also at times care towards what little is included.


Battleship

Hardly Sunken Treasure

And it truly isn't much. Battleship is easily conquered within just four hours, with no semblance of bonus missions or even a whiff of multiplayer. All for $60 – the same price this publisher attaches to its annual military blockbuster, which sports a bigger and bolder campaign, much better production values, and a multiplayer experience that keeps on giving. Battleship is little more than a checkmark on a to-do list; a completed contractual obligation. Just a handful of red pegs on a board, signifying a failed effort.

Want more information on how we score reviews? Read the "How G4 Reviews Work" article here. 
Editor's Note: Battleship was reviewed using an Xbox 360 copy of the game; however, we also played the PS3 version, and found no differences. If further investigation reveals any differences between the 360 edition and the PS3 edition of the game, this review will be updated to reflect those differences. 




Source : http://www.g4tv.com

Resistance: Burning Skies Review




Resistance: Burning Skies Review:

Resistance: Burning Skies isn't just the debut first-person shooter to grace Sony's PlayStation Vita platform. It's also gaming's very first portable twin-stick FPS, a feat made possible thanks to the Vita's powerful, PSP-topping guts. And yet as powerful as those guts may be, it's not enough to save Nihilistic Software's efforts here. Burning Skies may walk and talk like a Resistance game, but it sure doesn't play like one.

 







 

Burning Down the House

Burning Skies is set against the backdrop of the Chimeran invasion of the United States, with players stepping into the shoes of firefighter Tom Riley. Out on a routine call to a burning warehouse, Riley and his squad run into an alien threat that soon reveals itself as the vanguard for a full-scale invasion.

Although Riley is eventually (and inevitably) caught up in the larger story, his sole motivation throughout the game is personal. He's fighting to protect his wife and teenage daughter, whom he meets up with early on in the game before sending them on their way to a nearby refugee camp. Why he doesn't just join them in that moment when he has the chance is never really made clear, and it's an example that speak to the narrative's larger issues.

The story in Burning Skies lacks any of the emotional depth that made Insomniac's console outings so compelling. You can see the Vita game reaching in that direction, but the two big character moments that come up toward the end ultimately feel hollow and out of place. There's also some nodding going on in the direction of Nathan Hale's adventures, though more in the form of deep cut offhand reference that only the hardest of the hardcore fans will pick up on.

Resistance Burning Skies

Resistance Is Futile

The narrative woes are minor complaints in the context of Burning Skies' larger issues. Chief among those is the feeling that this is little more than a wannabe Resistance game. All of the necessary pieces are here: gun-toting Chimeran forces, imaginitively designed firearms, big boss-like beasties, locked first-person perspective, and more besides. These pieces add up into something familiar, but it feels more like a Frankenstein's monster take on the FPS series than the proper spin-off that it's meant to be.

Take combat scenarios. Which ones, you ask? Try all of them. The settings may change, but the execution is largely the same each time: you enter a new area, access to your previous location is locked out, a wave of Chimera spawn in, you kill them all. Or, more accurately, they kill you a few times while you learn the spawn patterns and then you kill them all. It's a dull process, especially once the difficulty ratchets up in the late game.


The canny AI from the console trilogy is nowhere to be seen in this portable spin-off. Your enemy is definitely aggressive; Chimera forces will know exactly when and where you poke your head out of cover to pop off a few shots every single time. They'll rush your position, and occasionally show a glimmer of intelligence by working around to a flanking position. They're just as likely, however, to confuse a wall for your firefighter hero, and get stuck in a running animation as they endlessly charge a position that you were never close to in the first place.

Combine that dimwitted AI with some uninspiring level design. You'll encounter one or two sections later in the game that almost feel like Resistance on the PlayStation 3 with fights that span multiple rooms or large, open spaces. Unfortunately, these sections are much better at highlighting the flawed AI. Besides that, you'll still spend most of the game taking on the Chimera is much tighter confines, featureless hallways and rooms, broken city streets, that all funnel you along a singular tight path.

The arsenal, at least, is familiar and well thought out. Favorites like the Bullseye and Auger are joined by a handful of new weapon like the Mule, a double-barreled shotgun that doubles as an explosive bolt-firing crossbow. The weapons themselves are fine; they all feel very unique and powerful in their own way.

Resistance Burning Skies

There's even some innovation in the form of Gray Tech, collectible power-ups that can be "spent" on each weapon's set of six upgrades. A New Game+ option opens up after you've beaten the game, allowing you to continue collecting Gray Tech. The upgrades are all weapon-specific and most of them offer some pretty effective boosts, but most players will gather more than enough Gray Tech in a single playthrough to get a sense for the good stuff.

This being a Vita game, touch controls are to be expected. Each weapon's alt-fire capability, a Resistance staple, is relegated in Burning Skies to touch screen controls. Some weapons require swipes across the screen, such as the Mule, while others require you to tap the enemy target's location on the screen.

It's a solid idea in theory, but the actual process of adjusting your grip on the Vita as you let go with one hand, tap the screen, and then grab the handheld again simply doesn't work very well. You're using these weapons in combat situations, after all, and the necessary pause in action that comes when you adjust your grip is enough to significantly diminish the tactical value of secondary weapon attacks.

This isn't to say that Nihilistic's work to integrate Vita-specific functionality into an FPS framework is a total disaster. There are a few ideas that work out well, though we've admittedly seen variations on these in two other shooting-oriented Vita games already: Uncharted: Golden Abyss and Unit 13. Both of those games, just like this one, rely on the left and right fringes of the touch screen for control options that would fit on a SIXAXIS but not the Vita's sligthly stripped-down interface.

Resistance Burning Skies

Melee attacks with Tom's fireman's axe and grenade tosses are both relegated to touch screen buttons that are always visible on the right side of the screen. It's an easy stretch to move your thumb from the face buttons or right analog controls to one of the touch options. Helpfully, the melee attack "button" also doubles as an action button, so you can tap that to open doors and interact with mission-specific objects. You can also double-tap the rear touchpad to sprint, but it's much more effective to press down on the D-pad instead, since the Vita's design makes it possible to hit the D-pad button while still pressing forward on the left thumbstick.

Resistance Burning Skies

Resisting World War

Nihilistic also included a multiplayer component in Burning Skies. Rather than try to deliver an online play experience that is in any way uniquely portable or Vita-focused, players can instead link up with a Wi-Fi connection and drop into competitive online matches for up to eight players in Deathmatch, Team Deathmatch, and Survival (comparable to Halo's Infection).

Multiplayer in Burning Skies isn't bad, per se, it's just entirely unnecessary. It's built with a console audience in mind, just like the rest of the game, but it's also built like a console game. There's a system of level-based unlocks for your various weapons and their upgrades. How many players are really going to invest enough time to climb through 30 multiplayer ranks in Burning Skies' Wi-Fi-only online mode?

The unlocks are also woefully unbalanced; once you've got the Mauler, a ridiculously powerful Chimeran chain gun, or the multi-rocket-launching S.W.A.R.M., there's really no need to ever go back to default weapons like the Bullseye or Carbine.

Burning Skies

So while the multiplayer mode in Burning Skies certainly works, there's really no reason for it to be here in the first place. The Wi-Fi requirement is certainly a technical limitation, but Nihilistic gets some blame as well for failing to come up with a multiplayer mode that actually belongs on the Vita platform.

Nihilistic had an opportunity to set the bar for FPS gaming on the Vita. Instead, we've got this halfway decent first-person shooter whose main strength is the fact that it's portable. Burning Skies is a passable time-waster in that sense, giving you plenty of corridors to run through and alien dudes to shoot. That's also the heart of the problem though. It's technically flawed in some key ways, but the biggest sin that Resistance: Burning Skies commits is its top-to-bottom lack of ambition




Source : http://www.g4tv.com/games/psv/65702/resistance-burning-skies/review/

The Legend Returns: Hironobu Sakaguchi on The Last Story




The man behind the Final Fantasy series, Hironobu Sakaguchi, made his return to the director's chair with The Last Story for Wii. This epic RPG hit Japanese store shelves in early 2011, and will finally be making it's way stateside this summer.


Recently IGN had the chance to chat via e-mail with Sakaguchi-san. We talked everything from The Last Story to his directorial return to his current projects. Check out the full interview below, then be sure to sound off with your own thoughts in the comments afterward.






IGN: How did you go about creating the battle system in The Last Story? It’s decidedly less traditional than many people were probably expecting - was this intentional?


Sakaguchi: In the three years of development, we dedicated the first year to research and development, mainly as a trial and error period for the battle system. The battle system in the game is the culmination of that phase.


IGN: The Last Story marks your first return to the director’s chair in quite some time. Was it difficult getting back into the swing of things, or is directing something like riding a bicycle?


Sakaguchi: Since I was working with the same members as the Blue Dragon team, I was able to get back into it fairly smoothly. Also, from my experience, the producer and director do the same type of workload in the initial development phase, which I think is another reason why it wasn’t so difficult getting back into things as a director. I guess I’m the type of creator that wants to get involved in the grunt work.


IGN: What was the greatest challenge you encountered in your quest to make a brand new RPG adventure from the ground up? Alternately, what was the most rewarding aspect of this project?


Sakaguchi: At the initial stage our plan was completely shot down by Nintendo. To create an entirely new world view and characters again was a bit challenging, but rewarding in the end. That would probably be the answer on both accounts.









IGN: Music always seems to play a huge role in your games, if only in terms of setting a certain atmosphere and tone. What tracks stand out to you from The Last Story? What’s the overall tone you hope to invoke as readers play through the story (whether it be through music, dialogue, backgrounds, etc.)?


Sakaguchi: That would be the track called “Toberumono (The Flying One).” There’s a lot of sentimental value attached to it since I wrote the lyrics, and it also voices the “foreignness” that the game has. The song is about the world you are in not being the place where you are meant to be. The phrase “going home” is used positively as you fly towards the future.


The tone I would like players to invoke while playing this game is “warmth” and a sense of “texture.” I want players to experience the sensation of a handmade craftwork that feels natural, yet very detailed, with beautiful workmanship.


IGN: Creating a game as vast and fresh as The Last Story must have taken quite a bit of trial and error. Was there anything you tried to fit in but for whatever reason just couldn’t make it work?


Sakaguchi: That would be the “Rewind Function.” This was a feature that when a mage’s magic was successful, an icon would appear for the player to shake the remote. By shaking the controller at that moment it would rewind the battle to just before the mage unleashed their magic. From there it would show the sequence again from an overhead view.


Using this feature, players would have been able to see who used what magic, check the battle situation and then strategize on what to do next. However, the feature slowed the battle tempo too much, so unfortunately we decided to take it out. You can still see remnants of this feature in the overheard view while in command mode, or while watching the Lazulis Knights cheating in the match at the arena.


IGN: Characters play a key role in The Last Story. How did you go about creating a cast of characters that players can relate to?


Sakaguchi: We put together most of the characters’ bios while creating the plot. Then, while Fujisaka (artist of The Last Story) was finalizing the illustrations, I’d get inspiration from the art which I used to fine tune their characteristics and backgrounds.


This title also has a lot of voices. In the dungeons the characters converse with each other about random things, and this was something that was very important for me in the game. Because I wanted to convey some of their personalities through this small talk, it was crucial to include some of the voice actors’ adlibs and make small changes to the actual scripts to keep refining them and carefully mold each character.




lots-of-last-story-screenshots-20110120021444492


Characters matter in The Last Story.


IGN: As an overall experience, how was working on The Last Story different from working on other RPG franchises you’ve been linked to in the past (which shall remain nameless).


Sakaguchi: The biggest difference is the battle system. I was aiming to create something that would make people say, “This is the new RPG battle style,” if possible. Additionally, we were really careful about the collision detection in the background graphics. I wanted to be careful about those small aspects because I thought they would affect the overall feel of the “texture” of the game while walking around in the world.


IGN: What’s the one thing you want players to take away from The Last Story?


Sakaguchi: To feel as though they are having an adventure together with the characters. I would be very pleased if players are able to feel truly immersed in the world and share the moments together with the characters.


IGN: Now that development on The Last Story has concluded, what are you working on next?


Sakaguchi: Currently we are developing a surfing game for the iOS. It’s called Party Wave, and is scheduled to come out this July. It’s a small development project, but the environment is very free and open which reminds me of the early Final Fantasy titles.


I’m very excited as I’m involved in creating some number fonts which I haven’t done in a while and writing the music. I’m enjoying it, and at the same time I think it’ll become another title that has that handmade warmth to it. We are also developing two more iOS titles. We’ll be able to release these shortly as well.


IGN: Lastly, what was your experience creating a sweeping RPG for the Wii? Did you enjoy the creativity yielded by having technical limitations to work within, or do you ultimately wish you had created the game on more advanced hardware?


Sakaguchi: It’s unfortunate, but the final issue that always seemed to deny certain ideas was the SD resolution limitation. However, within those parameters we aimed to create a title with beautiful graphics that can compete with modern day specs. I would be pleased if people would view our efforts to their best by switching their cables to advanced connection cables or by playing it in the best environment possible. And though the resolution may be SD, I think players will really enjoy the sophisticated world.









Source : http://www.ign.com/articles/2012/05/30/the-legend-returns-hironobu-sakaguchi-on-the-last-story

App Store Update: May 30




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



Mega Run – Redford’s Adventure – (Free)


Get Set Games’ Mega Run sequel is finally here! With over 60 stages, several playable characters and hundreds of secrets, this sequel is not to be missed. Redford’s Adventure is free-to-play, but players can purchase currency to speed up their progress.


Chin Up – (Free)


Help Mr. Chin climb as high as possible while avoiding falling items like sushi rolls, dogs, cats and plenty more in this lighthearted action arcade title.





Price Drops



Ducati Challenge – (Free)


Gamers can grab this visually impressive bike racer free-of-charge for a limited time.


Charadium II HD – (Free)


iPad gamers tired of Draw Something can now grab Charadium II free for a limited time. The app features a much more robust collection of modes, social features and drawing tools than its Zynga competitor.


European War 3 for iPad – ($0.99)


This deep strategy/board game is now on sale for the first time since it launched last month.


Beat the Beast HD – (Free)


iPad gamers that missed this colorful tower defense title the last time it went free now have another chance to nab it.


World Conquerer 1945 for iPad – ($0.99)


Another strategy title from the studio behind European War 3 is on sale for just $0.99.


Subscribe to the App Store Update via email:














Source : http://www.ign.com/articles/2012/05/30/app-store-update-may-30

The Witcher 2 Sells 1.7 Million




Across PC and Xbox 360 versions of The Witcher 2, CD Projekt RED has revealed that over 1.7 million copies have been sold to date.


The Xbox 360 version of The Witcher 2 was just released this past April, and the PC version was originally released in May of 2011. A Mac version is also on the way, currently scheduled for launch some time this fall. IGN awarded the first PC version a 9 out of 10 and the Xbox 360 version an 8.5 out of 10.


Due to the success of The Witcher franchise, CD Projekt RED has two teams working on different AAA role-playing games. One of those, Cyberpunk, was just revealed at their Summer Conference.




Source : http://www.ign.com/articles/2012/05/30/the-witcher-2-sells-17-million

Frozen Synapse Red Expansion is Live




In case you missed Frozen Synapse when it launched in 2011, now may be a good time to check it out. Mode 7 has just released an expansion pack called Red that adds in a number of new features. For 10 USD you get full co-operative play for the single-player campaign alongside new campaign and challenge missions.


A new multiplayer mode and riot shields have also been introduced to the game. You can see a fancy overview of everything included in the trailer below.





If you head over to Steam right now, you can pick up the Red expansion at a slight discount, or buy the Complete Pack for under 25 USD.




Source : http://www.ign.com/articles/2012/05/30/frozen-synapse-red-expansion-is-live

Ratchet & Clank: Full Frontal Assault Coming to PS3




Sure, we already knew that the Ratchet & Clank HD Collection was coming to PS3 later this year, but now, Sony has revealed a brand-new Ratchet & Clank game set to come to PlayStation 3.


Ratchet & Clank: Full Frontal Assault was announced this morning by Insomniac Games CEO Ted Price. “Ratchet & Clank: Full Frontal Assault is a fun-sized Ratchet adventure which will be available for download exclusively on the PlayStation Store. We’ve returned to the series’ classic feel, camera, controls and weapons, while innovating and giving you a whole new way to play. Even better, the addition of online features means you can experience Full Frontal Assault with your friends.”



Full Frontal Assault marks the 11th entry into the Ratchet & Clank series. It’s the fifth Ratchet & Clank game on PlayStation 3 (not counting the HD Collection) and the second downloadable entry that will be available via the PlayStation Network. It’s due out later in 2012.









Source : http://www.ign.com/articles/2012/05/30/ratchet-clank-full-frontal-assault-coming-to-ps3

This Week on Xbox Live (5.30.12 - 6.6.12)




This week's Xbox Live updates are just plain . There's enough nostalgia, casual entertainment, and amazing DLC sales to get any Xbox 360 fan's attention. It's time to fill up that Microsoft Points wallet. Also, IGN is at E3 next week, so you'll also find updates for the week of June 6 here as well.





Xbox Live Arcade



ATV racing joins SEGA classics, some of which may or may not hold up.









  • SEGA Vintage: Golden Axe

  • SEGA Vintage: Streets of Rage


June 6



  • Bang Bang Racing (800 MSP)

  • Virtua Fighter 5: Final Showdown (1200 MSP)





Demos


Nope. Maybe after E3.


 








Add-On Content



Yeah, you're going to want this stuff, for sure.






Discounts



PopCap is having a massive sale -- everything is half-off, amazing, and worth every last one of your Microsoft bucks. Also, the Borderlands DLC is awesome, as is Red Dead's zombie expansion. Go crazy on all of these games.



  • Plants vs. Zombies (600 MSP)

  • Peggle (400 MSP)

  • Peggle Nights (200 MSP)

  • Zuma (200 MSP)

  • Bejeweled 3 (600 MSP)

  • Bejeweled Blitz Live (200 MSP)

  • Heavy Weapon (400 MSP)

  • Astropop (400 MSP)

  • Feeding Frenzy 2 (400 MSP)


June 6



  • Boulder Dash-XL (400 MSP)

  • Borderlands: Claptrap's New Robot Revolution (400 MSP)

  • Borderlands: The Zombie Island of Doctor Ned (400 MSP)

  • Borderlands: The Secret Armory of General Knoxx (400 MSP)

  • Borderlands: Mad Moxxi's Underdome Riot

  • Red Dead Redemption: Undead Nightmare (800 MSP)





Games on Demand



The selection this week isn't stellar, but hey, more Games on Demand.



  • Minute to Win It

  • Cars 2




Source : http://www.ign.com/articles/2012/05/30/this-week-on-xbox-live-53012-6612

Sony Temporarily Cut Vita Price in France




From June 1st Sony will cut the price of the PlayStation Vita by €50 (approximately £39.87/$62) In France.


If you already own a PlayStation Vita, Sony is offering a rebate for the full amount on any Vita purchased between June 1st to July 15th.


The is not a permanent price cut, however, but a temporary offer that will expire after July 15th.


"The PS Vita is the latest generation of handheld console and more than 1.8m have been sold worldwide since its launch,” SCE Europe VP Philippe Cardon stated. “Its innovations are numerous. With this offer we want to make it more accessible to the greatest number throughout the approaching summer vacation.”


By the end of March 2012, PlayStation Vita had sold 1.8 million units, with new Sony boss Kaz Hirai calling the figures "a good start".


There has been no mention of whether the offer will be extended to other regions in the near future.




Source : http://www.ign.com/articles/2012/05/30/sony-temporarily-cut-vita-price-in-france

Game Against Kate Upton… For a Good Cause




As gamers, we live for that moment of triumph: edging an opponent in a close online match, scoring the winning goal, passing the competition seconds from the finish line. But how much better would that feel if your win also helped to save lives? Gamers will get a chance to find out June 1st, when the first-ever (RED)RUSH Games tournament kicks off, and they can join in the fight against AIDS by doing what comes naturally: competing to win.


“Gaming is a passion for millions of people around the world, and (RED) is going to tap into that passion to get people focused and engaged in our efforts to help deliver an AIDS Free Generation by 2015,” said Deborah Dugan, (RED) CEO.  “We’re giving gamers an incredibly fun way to compete in a world-class tournament while doing good at the same time."


Not only will gamers get the opportunity to help (RED)RUSH TO ZERO (going on June 1-10) build on the staggering $190 million the organization has already raised, but participants will have the opportunity to win prizes, including tickets to the upcoming MTV Movie Awards  and the opportunity to game against celebrities like Kate Upton, Jorge Garcia, Michelle Rodriguez and Kris Allen.


IGN is the official media sponsor of the (RED)RUSH Games, and will be bringing you full coverage of the event from E3, where the tournament will have a huge presence. The (RED)RUSH Games are being powered by STiKS GAMING, a new platform that allows gamers to register their Gamer IDs, sign up for teams, and game for charity to "battle for a better world."


“(RED) is one of the most respected, and innovative causes in the world, and we are honored to launch the STiKSGAMING platform with The (RED)RUSH Games,” stated STiKS GAMING partner Brett Claywell.  “We are excited to unite gamers in support of a global cause, and look forward to building a strong community in an effort to better the world while having some fun.”








We’re giving gamers an incredibly fun way to compete in a world-class tournament while doing good at the same time. --Deborah Dugan. (RED) CEO




Gamers can get involved immediately in the (RED)RUSH Games effort by visiting STIKSGAMING.com. The tournament will pit two teams against one another: TEAM INSPI(RED) and TEAM POWE(RED). After signing up on STIKSGAMING.com, gamers will get to choose which team they'd like to represent, and after making a small donation (as little as $10 USD), they will get to select a platform (PS3 or Xbox 360), and choose from a variety of games to compete in. Games in the tournament include EA Sports FIFA Soccer 12, EA Sports NHL 12, 2K Sports' NBA 2K12, KINECT SPORTS Season 2, and Forza Motorsport 4.


STiKS GAMING partner Michael Wasserman explains. "Once you make the donation and enter the system, that $10 is turned into a certain amount of points… As you accumulate points, you can then use those points to have the opportunity to play against your favorite celebrity who is part of the campaign."


After playing in a match against another (RED)RUSH gamer, wins and losses will be recorded on the STiKS GAMING website, each player's accomplishments will count toward the team score, and their donations will count toward the team's efforts to raise money for the cause.


"We narrowed the issue from just AIDS in general to one Millennium Goal which is quantifiable," said Dugan. The virtual elimination of mother-to-child transmission of HIV is the ultimate goal, and will be instrumental in halting the spread of HIV/AIDS by the target date of 2015.


During E3, the (RED)RUSH Games will be in full swing, and celebrities will be in attendance to play their games against each other and online against contest winners. Show goers will get the opportunity to visit the (RED)RUSH booth on the E3 floor and get a taste of the Games live. The booth will feature huge video screens to capture the celebrity gaming action, a live DJ and private gaming rooms.








We are excited to unite gamers in support of a global cause --Brett Claywell, STiKS GAMING partner




"The booth is designed for two main purposes. It's designed to give celebrities the opportunity to play from our booth against donors around the world, and for us to put on big exhibitions to create awareness at E3, with a huge jumbotron screen where people can watch celebrities battle each other," said Wasserman.


In addition to those already mentioned, celebrities involved include Wayne Brady,  Chingy , Samantha Ronson, Michael B. Jordan, Scott Porter, Ryan Cabrera, DJ Colleen Shannon, Aldis Hodge, Al Shearer, Kerli, Brian White, Cobi Jones, Stephen "tWitch" Boss, iLuminate, Chad "Madd Chadd" Smith and Fatal1ty. And the list keeps growing. "Every day, we're getting more and more people in," said Dugan.


Gamers can track who will be at E3 gaming at various times. Donors to (RED) who register through the STIKSGAMING.com site can have the opportunity to play celebrities two ways: by gaining points or by entering into a sweepstakes where they will enter a code to play a particular celebrity.


Players who participate will have a stake in a global effort to halt the spread of HIV. Once the goal is met, Dugan says, "There's culturally a victory lap at the end. You can actually check a box and say, 'We did this.' All these gamers came together for the first time in such a huge way, and we'd like to do it every year."


Stay tuned to IGN throughout E3 for updates on the (RED)RUSH Games, including celebrity gaming interviews and more.




Source : http://www.ign.com/articles/2012/05/30/game-against-kate-upton-for-a-good-cause

Square Enix Announces Mensa Academy




Square Enix has announced a new brain-training game titled Mensa Academy.


The game will contain "fun and stimulating" mini-games, and is fully endorsed by Mensa, the largest and oldest high IQ society in the world. Challenges will be divided into 5 disciplines: Numeracy, Language, Logic, Memory, and Visual.



Roger Cheung, Head of Acquisitions at Square Enix Europe, said that "Mensa Academy is the most credible game of its kind to date from the definitive experts in the field of measuring and fostering intelligence. The power of the mind is fascinating, the real challenge is how to best maximise its potential. Mensa Academy tangibly tackles this in a user-friendly way, whilst providing hours of entertainment.”


Mensa Academy is out on July 27, 2012 in the UK, Scandinavia and PAL regions on Wii and Nintendo 3DS, PC. But the games will be coming to HD consoles and iOS and Android phones in the near future.




Source : http://www.ign.com/articles/2012/05/30/square-enix-announces-mensa-academy

Win IGN's Top 10 Games of 2011




2011 was one of the greatest years for big-budget, quality video games yet. But if you missed out on any of the great games, fear not: Blockbuster is giving away five collections of IGN's top 10 games of last year, from BAFTA winners – Portal 2 and Arkham City – to record-breakers – Call of Duty: Modern Warfare 3 and FIFA 12.


The full collection includes:



  1. FIFA 12

  2. The Elder Scrolls V: Skyrim

  3. Call of Duty: Modern Warfare 3

  4. Battlefield 3

  5. Uncharted 3: Drake's Fortune

  6. Gears of War 3

  7. The Legend of Zelda: Skyward Sword

  8. Batman: Arkham City

  9. LA Noire

  10. Portal 2





How To Enter



To win this great prize, head over to the Blockbuster site, sign-up for the VIP Gamer service, and answer the following questions: 


Simple. Just make sure you get your answer in by 25 June, 2012.


As an added bonus, anyone who signs up through IGN gets 10% off any Marketplace pre-owned game, so you could pick up a copy of Uncharted 3: Drake's Deception for as little as £13.50, or Batman: Arkham City for £12.60. Simply enter the code IGN10J to get the money off. Be quick though, the offer expires on June 5th.


Blockbuster VIP Gamer is a free-to-join club that rewards its members with the chance to win money-can’t-buy prizes, as well as offering deals on the latest games. And with so many awesome games coming out in 2012, getting them for a bargain always feels good, right?




Source : http://www.ign.com/articles/2012/05/30/win-igns-top-10-games-of-2011

FIFA 13: Predicting the Unpredictable




Every year the EA Sports team headed up by Executive Producer David Rutter unveils a new FIFA game and every year it’s such a dramatic step forward from the previous year’s release, it leaves its predecessor in the dust. This year continues that trend. At the time of its release, FIFA 12 felt like – and probably was – the pinnacle of the football sim genre. Next to FIFA 13, it feels outdated and unrealistic.


This is down to the fact that FIFA 13’s gameplay has benefited from myriad tucks and tweaks, all aimed at achieving the same overriding objective: to bring FIFA’s on-pitch action ever closer to resembling the real thing. According to Rutter, the guiding principle behind the changes made to FIFA 13 is encapsulated in a quote from Real Madrid manager Jose Mourihno, made at the end of a match that saw Chelsea march into the Champions League final after defeating Barcelona.


“One of the great things about football,” he said, “is that it’s unpredictable.”


“When we heard [Mourihno say] that, we thought ‘Thank God!’”, says Rutter. “It’s pretty much what we’d set out to do with FIFA since last Christmas. We wanted to capture the drama through the unpredictability that is football.




Attacking team AI is much stronger in FIFA 13.



“What we’re talking about are those unexpected moments that get you out of your seat cheering,” he continues. “I’m not talking about random stuff – in video games that’s just irritating. I mean that, in FIFA 13, when things go off script, it happens for a reason. They make sense after the fact – after that moment when you just weren’t expecting them.”


To that end, Rutter and his team have added a couple of features that play on the relationship the beautiful game has with the gods of fate and chance.


The first and most noticeable change from FIFA 12 governs the individual players’ first-touch capabilities. As early as last year, players with a rating as low as 60 could receive a lobbed pass with ease, the ball sticking itself to their feet like their boots were made of felt, and the ball of Velcro. Now authentic ball physics have been tossed into the mix.


“First touch control is the equivalent change to the game that tactical defending was last year,” says Rutter. “We’re calculating the outcome of a pass based on the context of what the ball is doing – whether it’s spinning, what speed it’s travelling at – and what the player is doing – whether he’s running, whether he’s stationary, whether someone’s pushing him and whether he can successfully control the ball at his feet.”


When players are on the receiving end of a lobbed pass, the ball bounces off their head and body, and it’s down to each individual players’ skill level as to whether they’re able to bring the ball under control quickly. Not only does this make long passes a more risky proposition, it makes defending a potential nightmare.


If players have a defender intercepting a long ball with opposing strikers bearing down on them, they’re more advised to punt the ball into the stands rather than try to finesse it to a teammate. Unless the defender in question has the requisite skill level to control the ball, they risk handing a scoring opportunity to the opposing side.


Their defending efforts aren’t helped much by the game’s re-jigged attacking AI, which jettisons the indecisive attitude from yesteryear, and actually makes a concerted effort to stay onside.


“Last year, [players] sometimes didn’t really feel like their entire team was involved in the attacking effort,” says Rutter, “so we’ve done a lot of work with off-the-ball runs with the AI. [It’s able to] to stay onside on attack a lot better and there’s a real feeling that the team is attacking with you. That makes the whole attacking dynamic of the game a lot more enjoyable.”




Players' skills impact the way they're able to control the ball a lot more.



Players also have a lot more control over the ball thanks to the tweaked dribbling mechanic. By holding in both triggers (or R2 and L2 on a PS3) and using the left stick, they can activate FIFA 13’s precision dribbling mechanic, which is built off the back of FIFA Street’s gameplay engine. Each individual players’ overall score is called into account – Christiano Ronaldo is far better at this sort of thing than Kolo Toure – but even at base level the agency provided by the engine is superb.


The new dribbling mechanic opens up a whole new one-on-one player-battle for possession of the ball. Players are better able to fake out opponents and create crossing and scoring opportunities based on their ability to outfox their opponents on a one-to-one basis. This is tempered somewhat by the new impact engine; aside from slide tackles, players can now push and shove opponents off the ball. There’s a new physicality to FIFA 13, that really comes into its own in the game’s set-pieces.


In previous FIFA titles, when players were awarded a free-kick, they’d either try a finesse shot towards one corner of the net or blast towards the goalmouth and hope for the best. FIFA 13’s free-kick set up offers players a whole host of new options. Players now have the choice to have between one and three players fake-taking a kick before the selected player steps up to hammer the free-kick home. This also enables them to pass to players in the attacking set-up, rather than have to commit to a shot on goal.


The new attacking options are counterbalanced by the choices the defending player now has. Apart from being able to add a player to a wall, and move the wall forward, defenders are free to mark threatening players or simply charge the kicker. The whole free-kick scenario has been deepened for both the attacking and defending sides and is all the better for it. Players can even edit their own attacking and defending strategies based around free-kicks.




The Player Impact Engine feels much more realistic this time.



“We have a massive tool in the game that acts as a tactics editor”, says Rutter. “We put it in there a couple of years ago and it turns out that, while it’s fantastically fun to play with, it was probably a bit too hardcore for people. This is why the new tactical free-kicks is there – for more casual players, who want to be able to do this immediately.


“But you can spend a couple of days, probably, figuring out in the editor exactly what you’re going to do with every player on the pitch and how they’ll react in a free-kick scenario.”


Graphically, FIFA 13 is certainly a step forward on its predecessor and its impact engine has been tweaked as well. In FIFA 12, players were often treated to the odd unintentionally hilarious collision animation, which made players fly up in the air as though they’d just trodden on a landmine. FIFA 13’s impact engine makes everything look far more authentic; when a player crashes to the ground, it looks eye-wateringly painful – even if the player in question bounces back to his feet seconds later.


While these changes, when described separately, probably don’t sound like a massive upheaval, on the pitch they translate into a whole new way of playing FIFA 13. Quite frankly, FIFA 12 players are likely to experience teething problems when they manage to get their hands on the game this September. The new first-touch physics require some getting used to, the improved AI adds speed and aggression to attacks and the new free-kick and defend options can prompt small breaks in matches as each player weighs up their options. The only immediate win here is the new dribbling mechanics, as they agency they give to players is an absolute boon.


But if our experience is anything to go by, FIFA 13’s new gameplay is worth getting to grips with. Once players factor in the changes and impact on the pitch action, FIFA 13 plays incredibly well. It feels like the next evolutionary step for EA’s football sim and, as is the case every year, after an hour or so at the new game’s controls, going back to last year’s iteration feels wrong in a way.


Rutter and his team are tight-lipped about any other new content slated for FIFA 13 in the way of modes, DLC or online challenges. For now, though, the most important aspect of their game – the on-pitch action – looks stunning and this should prove a solid foundation to build on. Roll on September…




Source : http://www.ign.com/articles/2012/05/30/fifa-13-predicting-the-unpredictable

Why You Should Pay Attention to Lost Planet 3




IGN has had a lot to say on Lost Planet 3 lately, and for good reason – it’s shaping up really well. You’ve heard from the Brits and the Yanks, but what about the Aussie team? You raise a good point, but we want to talk about it, so click away if you don’t want to read our thoughts, little bird.


IGN AU’s senior editor Cam Shea and games editor Luke Reilly on the game…


Cam:  I'll be honest with you, Luke – and you too Internet Massive - I didn't play a huge amount of Lost Planet 2. My eyes tend to glaze over a little when a game is built around co-op, and when you throw in clunky Capcom Controls™ I start backing slowly away. I've also been a little ruined for sequels ever since Breakin' 2: Electric Boogaloo. How can any sequel ever hope to top that? Lost Planet 2 categorically didn't. There was barely any dancing at all. In any case, the grappling hook gameplay and perilous setting of the original had a bunch of potential, so it's great to see how well Lost Planet 3 is taking advantage of that, while also upping the ante in a bunch of areas. Luke - if you had to characterise this game in the form of a one-sentence Hollywood-style pitch, what would that sentence be?


Luke:


To be slightly more accurate, you might say it’s Tim Allen wearing Nic Cage’s hair and beard.




Is it just us, or are there also shades of 'Wilson' to Jim?



I hear you on Lost Planet 2. I remember playing the first one briefly but I instantly forgot everything else about it, and Lost Planet 2 didn’t grab me in the slightest. It had the personality of a potato. I was pretty downbeat on Lost Planet 3. I’ve got no investment in the franchise and Spark Unlimited didn’t exactly blow my trousers off with Turning Point or Legendary. Yet, I was disappointed when the demo ended. It’s surprising. Maybe it’s precisely because I didn’t expect much, but I think there’s more to it than that. The game doesn’t feel markedly more special than any other third-person shooter, but this Jim guy is really well characterised. He seems like a really likeable guy; I want to get him out of this.


Cam: Yeah, I mean, that demo alone gave us a good glimpse into who he is. The game industry is getting very proficient at delivering grounded protagonists and Tim, sorry, is another one that's immediately easy to identify with. The dialogue is natural and well-delivered, his place within the world of off-planet mining is suitably believable, and while the messages from his wife are something of a cliché, they still work to give him a life outside the events of the game.


Another thing that the game industry is getting good at is creating very directed experiences. For better or worse, it allows for more cinematic presentation and more consistent pacing, and Lost Planet 3 - at least in the limited demo we played - seems to be following that template.


By way of example, in the original game, players had to keep killing to top up their thermal energy or they’d freeze to death, and Lost Planet 3 keeps this thematic concept, but appears to take it out of players' hands. It's still a fight for survival in a harsh environment, but the moment to moment beats are imposed upon the player more so than in the original. No more monitoring your own personal thermal levels; that's replaced by the impact of the environment on your massive hulking mech, which freezes up as a huge storm rolls in, forcing the player to get out and chip the ice off once the weather subsides. Naturally, the akrids are waiting when you do so. It's a great way to undercut the feeling of power and strength players get from being inside a lumbering metal giant - albeit one designed for mining - and make them suddenly vulnerable.


But perhaps these comparisons to the original are misguided. Would it be more apt to instead compare it to the Dead Space series, Luke?







Keza MacDonald's excellent video preview. Want a good overview? Check it out.


Luke: That’s valid; I highly doubt it’ll be the last time anybody compares the two. The portion of the demo set within the abandoned facility and crawling with small beasts smacks of Dead Space, with monsters scuttling around out of sight and bursting floorboards and such. Horror games aren’t part of my normal diet but Dead Space was a game I’ve always appreciated artistically, and anybody who’s spent even a short amount of time with Dead Space will see the similarities. Of course, that’s hardly a criticism. That’s like complaining your partner’s new hairstyle makes her look too much like Emma Stone.


To be fair, Lost Planet 3 is more than just a homage to Dead Space. If anything the reason my interest was sustained throughout the demo was the variety. There’s something draining about being completely vulnerable for the entire duration of a video game; at some point the whole experience becomes more stressful than fun. Similarly, being powerful and well-protected all the time quickly becomes boring. Without a little threat there’s no thrill, but you want to give people the thrill of danger and the thrill of relief. In the demo there was a moment when we were running from several akrid back to the mech, and got to the winch to be whisked into the cabin with mere inches to spare. All in the space of a few moments there’s the fear of being killed by the charging akrid, the relief of making it back to safety just in time and the satisfaction of being able to deal with them with your mech. It has you take on a giant crab-like akrid on foot, as a puny human, which is a tough fight. However a short time later it lets you take on another one with your mech, in a classic ‘pick-on-someone-your-own-size’ moment.


One of the best things, though, is that it’s a prequel. I’m sure familiarity with the first two Lost Planet titles will come with certain benefits, but it seems like a good entry point for people like me who have had no previous interest in Lost Planet at all. Your thoughts?




Massive damage etc etc.



Cam: Definitely. And rather than being forced to make things bigger and more over-the-top, the devs have been given an opportunity to cleverly pare things back, which sits well with a more horror-tinged experience. Forget being in a super-powered mech: the one in this demo is designed for functionality; for labour. You can grab stuff and you can drill stuff. It's a much more interesting starting point than having shoulder-mounted rocket launchers and a chain gun. Been there, done that.


And coming back to what I was saying before about it being a very directed experience, the pacing throughout this demo really is great. I love the way the setting is established. I love how mechanical the process of getting into the mech and preparing it to leave the base is: there's a palpable sense of anticipation that builds as the most mundane of things - the anti-icing spray being applied, for instance (not that it helped) happen as you prepare. The visuals really pop too. Emerging outside to see jagged peaks in the distance cloaked in cloud, a sun's orange glare piercing the haze, offsetting the rich blue of the snowy landscape; it's beautiful. The claustrophobic interiors have their share of atmosphere too, and more than a few nods to the Aliens films in design.


All told, it's a fresh take from a fresh team. Capcom has had an uneven time outsourcing games with a Japanese development heritage to Western studios, but this could be one of the success stories. It's certainly looking promising from what we've played to date.




Spoiler alert: we're pretty sure this is going to become a man and machine love story. Why else would they go to Make-out Point?



Luke: Uneven indeed. I’m glad you mentioned the process of actually leaving the base in the first place; I really liked that. It confidently inserted you into the world itself. I feel if they’d opted for a brief cutscene, and simply dumped you into the snow when the gameplay begun, the effect would’ve been completely lost. Emerging from that gigantic steel airlock and out into the barren ice was a very classy way to introduce players to the dangerous outside world. Inside you feel huge, stomping past ground crew. Outside the vastness of the frozen vista makes you feel small, even inside your giant mech. It has a real frontier feel to it, actually, leaving the safety of this installation and riding out into the icy wilderness, something I recall a music cue at the time reinforcing.


I’m intrigued. The controls felt decent and Spark has done a great job so far with the presentation. I’ve never had any interest in Lost Planet, at all, and yet I want to see more of this. Whatever it is, Spark’s doing right.






Luke and Cam are a 'bonzer' pair of 'cobbers' from the IGN Australia editorial team. Crikey! (And so forth.) You can hurl abuse at them on IGN here and here, or follow the adventures of the Aussie team on Facebook here.




Source : http://www.ign.com/articles/2012/05/30/why-you-should-pay-attention-to-lost-planet-3