Monday, June 25, 2012

Magic: the Gathering - Duels of the Planewalkers 2013 Review




First released way back in 1993, Magic: The Gathering is a rare bastion of stability in our mercurial times. That was the year of games like Doom and Mortal Kombat II; of memorable films like Jurassic Park and that abominable Super Mario Bros. movie, and the year that Rick Astley finally deserted us for retirement. In other words, the stuff of nostalgia and bargain bins--maybe, on occasion, antique stores. Yet somehow Magic continues to get better and stronger despite the passage of years. That’s especially apparent in Duels of the Planeswalkers 2013, which presents a welcome improvement over the previous releases.

If you’ve never played Magic before, the basic concept isn’t really too complex. In most cases, two players (or “planeswalkers,” if you prefer the lore term) sit opposite each other with a customized deck of cards, using it to build up mana and unleash powerful creatures and abilities on their opponents. Each player has 20 health points, and they do their best to whittle the other guy’s points down to zero. Occasionally, as in Duels 2013, you’ll have the chance to play against multiple players, but the one-on-one duel to the death has stood at the heart of the Magic experience since the very beginning.



As with chess, though, such simplicity masks a rich and rewarding tangle of strategies that someone could devote their lives to untangling. After nearly 20 years of expansions and rule tweaks, Magic has built up a dizzying arsenal of cards that's become so complex that even the series' most fanatical adherents have trouble keeping up with them all. The ideas behind the five basic deck colors haven’t changed over the years (red is for brutal in-your-face-tactics, for instance; blue is more about control) but the abilities on the cards allow everything from simply removing an opponent's cards to intricate actions that damage both the opposing player and their cards in play. The result is a game that’s about 20% luck and 80% skill, and it’s frankly intimidating if you’re approaching it for the first time without a friend.

That’s why you won’t find a better introduction to the franchise than Duels 2013. Indeed, it’s not much of a stretch to think of the Duels series as an entertaining and adequate tutorial for playing the physical game. You may never have the chance to fully master things such as the sideboard with Duels alone, but you also don’t have to worry about exasperated sighs from veteran planeswalkers when you try to use an Enchantment at the wrong time or play a Creature card before you have the required mana. In Duels, the computer helps you master all that with hints in the “mage” mode, which prepares you for the online free-for-all mode that will likely pit you against someone who’s been tinkering with Wizards of the Coast’s famed decks for longer than some of us have been alive.

Duels 2013 doesn’t stray too far from its two predecessors, but there are still enough changes here to warrant a look. For one, Duels 2013 features manual mana tapping (or the ability to choose which “land” card you put into play), which is a must when using a deck composed of more than one color. In the past, Duels usually chose the card for you, and it created needlessly complicated adjustments when it chose the wrong one and the occasional loss that should have been a win. It’s also filled with other tweaks that enhance the whole experience, ranging from trackable stats that help you size up your opponents in the multiplayer to a rating system that lets you see how one deck fares against another. It’s all still a little slow owing to the lack of a button that allows you to skip through all of the steps if you don’t have much to play on a particular round, but the rest of the gameplay is so refined that it seems like a minor concern.



The decently sized single-player campaign also does an excellent job of demonstrating the abilities and general strategies associated with the decks in play (10 of which are new), which more than makes up for the absence of any real storyline aside from some brief cinematics with the evil dragon Nicol Bolas. After you've defeated all the bosses, you can undertake the same campaign in “Revenge” mode with tougher AI that more closely resembles the decisions real players make.  That's important if you plan to play in any of the multilayer versions, and I found I learned more from the specialized secondary scenarios that teach you how to deal with tougher tactics instead of the bosses themselves. In my case, I had the hardest time fighting a blue deck that consisted of little more than mana cards and blocks, and I learned enough from the encounter that I’ll probably know what to do if someone ever tries that cheap but challenging strategy in a multiplayer game.

But nothing sets apart Duels 2013 quite like the tradeoff of 2012's Archenemy mode for the multiplayer “Planechaser” mode, a free-for-all affair for four players featuring a six-sided die and the chance to uncover planar cards that can force the removal of all cards in play. It's fun when it works, and dodging the threats from three other players at once adds a welcome dose of urgency that was missing in the more objective-based gameplay of Archenemy. When it doesn't work, it's a snoozefest. Other players either take too long to play their hands or constantly use the die to reveal new planes, which means you usually end up tossing your cards just as a good strategy was forming. Duels 2013 also allows for Planechaser campaigns against the AI if playing well with others doesn't come easily, but the tradeoff of quicker gameplay comes at the cost of questionable decisions on the part of the computer. No human player, for instance, would ever ignore an enemy player with one point of health left for the chance to attacking another with 19 points, but my AI opponents tried that twice.



As a person who’s always wanted a workable version of Magic for my mobile phone, I’m pleased to say I had just as much fun with the new iPad version as I did with the PC and console versions--perhaps even more so. It’s essentially the same game from the PC or consoles (down to one-on-one multiplayer, which connects through Apple’s Game Center), but with the difference that you can play through most of the content for free. The controls are intuitive for the most part, and using your finger to select lands or drag creature cards into play capture some of the feeling of the physical game. As the recent explosion of imitation collectible card games on the iPhone, Android, and iPad suggests, mobile devices are uniquely suited to Magic’s 15-25 minute matches, and it shouldn’t take long for Duels 2013 to claim its rightful place over its competitors.

Even so, it feels regrettable that we still can’t design our own decks in an advanced mode of some sort, particularly since I love playing with a green, blue, and white deck that’s impossible to recreate with Duels’ predesigned decks and limited customization options. Players have begged for this option ever since Duels came out, but it's unlikely that we'll ever see it because it would put Duels in direct competition the existing Magic Online, which allows the ability to buy and sell individual cards much as if you were playing the physical game. The income reduction would probably be devastating. But even if Wizards of the Coast can’t or won’t allow us that degree of customization, it would be nice if we weren’t required to have 24 land cards when we’re trying to cram as much power as possible into a compact but efficient deck.



Source : ign[dot]com

Escape Goat Review




A magical, purple goat may not seem like a natural for the role of heroic savior, but that's just one of the many pleasant surprises you'll come across in MagicalTimeBean's latest puzzler, Escape Goat. Set in a mysterious "prison," filled with traps, flame-spouting enemies, and a whole bunch of switches and buttons, Escape Goat walks the line between a dexterity-challenging platformer and a brain-busting puzzle game. Think Super Meat Boy, but with less viscera.



To wit: the titular goat will face a series of areas, each with five separate rooms, that he can reach from a central hub. All of the puzzle rooms in an area focus on a gameplay-related theme. For example, one area's levels might force you to deal with multiple moving platforms and switches, while another might require you to use your companion (a magical mouse) to fit through small spaces and distract enemies. While it's certainly possible to die (a lot), Escape Goat won't punish you for this, instantly respawning you and giving you unlimited chances to get it right. Which, eventually, you will.

That's because the strongest thing about Escape Goat is the way it carefully manages the learning curve to keep you interested without frustrating. Even the main campaign's hardest maps rarely reach the point of "screw this crap, I'm playing something else," because you've been trained in how to approach the challenges by earlier levels. With what you learn, you just have to extrapolate to a somewhat more complex set of circumstances. That said, Escape Goat is at its best when it emphasizes puzzles that challenge your mind, rather than your finger speed, and some of the sections requiring specifically timed platforming motions feel outright unfair.

Thankfully, these are few and far between. For the most part, you'll be treated to Escape Goat's clever puzzles, and you'll also likely note that, for what's very much an indie title, the production values are surprisingly high. Sure, the graphics aren't going to compete with Crysis 3, but the soundtrack is surprisingly catchy, the controls are smooth and responsive (whether you use a keyboard or a gamepad), and it avoids the instability issues that plague many other indie hits. Above all, though, Escape Goat does a bang-up job of providing those all-important "a-ha!" moments of satisfaction, when you solve a puzzle, or get the timing of some jumps just right, and manage finally to complete an area. That's what keeps you playing right through to the end.



An end, unfortunately, that comes all too quickly. I was able to complete Escape Goat in less than 4 hours (although this doesn't include the optional, unlockable area "All Intensive Purposes," which is just ridiculously difficult). Keep in mind that each level is only a single room, and each area only has five rooms, so once you figure out an area's "hook," it's not a long process to finish the whole shebang. The story, such as it is, hints at a much larger and more robust world, and it would've been nice to get more of that to chew on while cogitating through some of the tougher levels. Sure, this is an indie game that retails for just five bucks, but the when it ends the unmistakable feeling is that it's over far too quickly.



Source : ign[dot]com

Final Fantasy XI Producer Leaves Square Enix




Final Fantasy veteran Hiromichi Tanaka has left Square Enix. Known most recently for his work as a producer on Final Fantasy XI, Tanaka departed Square Enix in large part due to health issues. While he didn’t divulge specifics, Tanaka noted that he has a “major illness” that contributed to his departure.

Beyond his health, Tanaka notes that he also left out of a desire to create his own game, commenting that he’d rather work as a single creator than be part of a large team. Tanaka first joined Square Enix in 1983, contributing to design work for the earliest Final Fantasy titles in addition to serving as a producer on Xenogears and Chrono Cross.



Tanaka will be replaced by Akihiko Matsui, who is currently hard at work on Final Fantasy XIV. Matsui is described by Tanaka as “the only one [who] could do the job” and will continue to work on Final Fantasy XIV until its version 2.0 update is released later this year, at which point he will focus on Final Fantasy XI.

Square Enix CEO Yoichi Wada revealed last week that Final Fantasy XI is the most profitable Final Fantasy of all time.

Source: Famitsu (Translated by Andriasang)




Source : ign[dot]com

Breaking Down Nintendo's 3DS XL




The rumors were real. The announcement wasn't made at this year's E3, to the surprise of some, but sure enough Nintendo did have a new revision of its portable 3DS hardware to unveil – the Nintendo 3DS XL, shipping to stores around the world in just a matter of weeks. As with any new hardware announcement, there are lots of details to absorb regarding this XL upgrade. So we've compiled them all together here, along with some snazzy visuals, to help you better understand how the 3DS XL is different than the original 3DS.

The Basics

With any new product launch, it's best to first understand the basics. When will we be able to buy it? How much will it cost? And what different versions will be sitting on the store shelves? Let's address those questions first:



The Size Comparison

OK, so those were the basics of when and how to buy. But why would we want to? Is the 3DS XL really all that much larger than the standard 3DS? Let's take a look:



The Games' Visual Comparison

Fine, fine, so the 3DS XL looks larger. But how does that actually translate into gameplay? How much bigger can we expect the viewing area to be? Here are some examples for that issue:



The Hardware Details

Alright, so we'll assume you're convinced about the visuals. But what about the rest of the hardware? The 3DS had issues to address beyond screen size. Here are some other cosmetic changes that have been made:



In Conclusion, and Other Details

The 3DS XL is a fairly straightforward up-sizing of the original 3DS hardware, bringing Nintendo's latest portable back to generally the same dimensions as the DSi XL from 2010. The images above should give you a good sense of what you'll be buying – if you decide to buy – and how it'll be different that what you may be used to already.

Beyond what we illustrated above, there are a few other details to note. There will be no AC adapter included in the box for Japanese and European purchasers. The stylus has shifted to insert on the side of the system instead of the back – and it's no longer a "telescoping" model. There will be a System Transfer utility to bring all of your games, save data, StreetPass Mii Plaza puzzle pieces and more straight over to the new system so you won't lose any progress you've made on your first 3DS. The XL will now come with a 4GB SD card instead of the 3DS's standard 2 GB card. The difference will be noticeable, though not perfect. Check out our feature analyzing 3DS, Wii and HD game sizes for a better picture on what kind of space you might need.

The new system's 1:1 pixel mode should make original DS cartridges, DSiWare games and 3DS Virtual Console titles more crisp and clear when compared to the "blurry" effect the first 3DS applies to those game's visuals. And, if you've encountered trouble with low battery life, Nintendo promises that the 3DS XL will last longer on a single charge than the original 3DS as well – between 3.5 and 6.5 hours, compared to the 3-5 hour time span estimated for good old 3DS Normal.

So what do you think? Are the upgrades enough that you'll fork over the cash for a new system? Or were you holding out on buying a 3DS from the start? Let us know how the details for the XL stack up in your mind through the comments box below.







Source : ign[dot]com

App Store Update: June 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

Big Win Baseball – ($0.99)

Hothead Games’ casual sports management franchise rolls on with Big Win Baseball. Create your team using packs of purchased cards, then watch as they do battle with the teams constructed by opposing players.


Bug Princess 2 Black Label – ($13.99)

Cave’s bananas scrolling shooter Bug Princess 2 has been on the App Store for a while, but now users can grab this “Black Label” version featuring Universal play across all iOS devices.


Price Drops

Red Remover – (Free)

Don’t be fooled by its plain style and casual look. Red Remover is an excellent and very underrated physics puzzler. Grab it while it’s free to enjoy the 100+ puzzles for yourself.


Infinity Control: Starseed – (Free)

Gamers can now grab this intense sci-fi line drawing title free-of-charge.


Toy Defense – (Free)

Melesta’s debut tower defense game is available for free for the first time.


Simon and Mojo: Bath Time – (Free)

Simon and Mojo isn’t for everyone. It’s a hybrid text/graphical adventure with a simple goal: give Mojo the dog a bath. It’s free for a limited time so anyone curious can check it out for themselves.


VR Mission – (Free)

This Metal Gear-inspired top-down stealth puzzler has gone free for the first time since it launched in February.


 




Source : ign[dot]com

Dead or Alive 5 Collector’s Edition Revealed




Tecmo Koei has announced the Collector’s Edition for Dead or Alive 5. Available exclusively at GameStop, the set will include a steel case as well as premium swimsuit costumes for the game’s characters. A hardcover book, soundtrack CD and poster will also be included, and the set will be available for $79.99.

Beyond the Collector’s set, new pre-order bonuses were also announced. Anyone who pre-orders the game from GameStop will receive in-game bunny-style swimsuits for Kasumi, Leifang and Hitomi, and anyone who pre-orders from Amazon will receive “DOA Devils” black swimsuits for Christie, Tina and Ayane.



Dead or Alive 5 will hit stores on September 25, 2012. Earlier this week, Team Ninja head Yosuke Hayashi revealed that the game won’t include DLC fighters. It will, however, include a cameo from Virtua Fighter’s Akira Yuki, as announced earlier this year.

For our thoughts on the game, check out our hands-on impressions from last year, as well as highlights from IGN Pro League’s Dead or Alive 5 tournament during E3.



Source : ign[dot]com

Far Cry 3 Delayed




Ubisoft announced today that Far Cry 3 has been delayed. While the game was originally announced for early September, it will now be headed to the UK on November 29th and the United States on December 4th.

According to producer Dan Hay, the delay is because the team is “taking more time to create the best possible gameplay experience.”



Far Cry 3 is an open-world first person shooter set on a tropical island. Players will control Jason Brody, fighting for survival against crazy enemies while taking lots of drugs.

Before Far Cry 3 hits stores, be sure to check out our impressions of the potential greatness of the game’s single player mode and the not-so-greatness of cooperative multiplayer.

Will you be buying Far Cry 3? Let us know in the comments below.



Source : ign[dot]com

What On Earth Is Nintendo Up To?




It would be very difficult to argue that Nintendo had a good E3. It wasn’t exactly disastrous, sure – the Wii U put in a strong showing, and the 3DS seemed in good health despite the lack of games on show – but there was a general feeling that the company had completely misjudged its audience. Hours of time was spent Nintendo Land and the very familiar Super Mario Bros U whilst games like the fascinating P-100 and Game & Wario weren’t even mentioned. After the conference began with a lovely, fan-pleasing Pikmin 3 demo, Miyamoto disappeared backstage – and all the excitement seemed to retreat back there with him.

In the course of four separate press conferences, there was almost nothing from Nintendo itself that was worth getting excited about from a gamer’s point of view. There was no new Zelda, no Metroid, no Smash Bros. It’d be easy to infer from this that Nintendo just didn’t have anything to show. But then, weeks later, the company comes out with three announcements that would have gone down a storm a couple of weeks ago: the 3DS XL, details on the new Smash Bros, and an 8-Bit Summer promotion that will see beloved NES classics highlighted on the 3DS eShop. So why didn’t we see all of that at E3? What’s going on?



Nintendo made a wishy-washy statement on the matter that didn’t really explain anything (“we’re always looking for the most appropriate ways to both inform and surprise consumers”? What does that mean?). Dig into it, though, and you can find reasons for Nintendo’s behaviour that reveal how the games industry has changed, and why shows like E3 are increasingly becoming strange, anticlimactic events for those of us who grew up with gaming.


“ E3 isn’t just for us. It never was. It’s for the shareholders, the financial analysts, the executives that are more interested in where next year’s dollar might be coming from than what people are going to be playing in a few months.

There’s a bizarre disconnect between the focus of the excitement and attention surrounding E3 from the games press, and the focus of the platform holders’ conferences. We’re all getting excited about new games, eager to see what Halo 4 has to offer and guessing what surprises might be in store from favourite developers. Meanwhile, Microsoft comes out with usage statistics for TV watching on the Xbox and spends half an hour on Smartglass, Sony usually brings out the graphs (although not this year, interestingly), and Nintendo shows us trailers for Wii Fit instead of footage for a new Smash Bros. With the exception of Sony, which spent time debuting Beyond and showing off The Last Of Us, actual new games are either not mentioned at all or relegated to thirty-second trailers.

In order to explain this, you have to take into account that E3 isn’t just for us. It never was. It’s for the shareholders, the financial analysts, the executives that are more interested in where next year’s dollar might be coming from than what people are going to be playing in a few months. Nowadays, it’s also for the mainstream press that will be communicating the news to TV and newspaper audiences who don’t know what Pikmin is. To these people, Namco Bandai working on Smash Bros means nothing, whereas a 20-minute demonstration of Nintendo Land is pretty informative and Netflix is an important new revenue stream.

You don’t get this issue with the third-party publishers, incidentally. Ubisoft and EA stick firmly to games, for the most part, because that’s what their business is – they’re not engaged in the battle for the living room that Microsoft and Sony are fighting, and they don’t have to worry about how their stock price might react to a new product launch like Nintendo does. But both still found time to plug their services as well as their games – especially EA, which has willingly embraced social and mobile as part of its core business.



What Nintendo has clearly decided to do is aim big events like its E3 press conferences at the more general observer, be they Financial Times correspondent or someone who wants to know what the Wii U actually is. We saw Super Mario Bros U, a reassuringly recognisable presence, alongside a sequel to the similarly mega-successful Wii Fit and a party game that illustrates how the Wii U controller works and what you can do with it. If you’re a shareholder or financial analyst, you’re reassured by Nintendo’s clear references to previous mega-successes alongside a new product. Meanwhile, the people who are actually in the room for the press conference or watching live – us, basically – are left wondering what on earth is going on.

“ Nintendo hasn’t left behind its fans, but it has decided to open new channels of communication.

What last week’s announcements show is that Nintendo prefers to communicate with us directly, not through someone else’s event, with the Nintendo Direct broadcasts. For the past year, these have been fan service of the highest order, showing trailers, oodles of gameplay footage and really interesting developer roundtables as well as actually making new announcements. The Iwata Asks interviews are another way of talking directly to the most hardcore Nintendo players, delving deep into the games that make us tick.

Nintendo hasn’t left behind its fans, but it has decided to open new channels of communication that enable the company to make announcements on its own strictly controlled terms. This is a case of the company marching defiantly to its own tune, and refusing to have its news agenda dictated by large-scale American events. It’s difficult not to see the announcement of the 3DS XL, the 8-Bit Summer and the Smash Bros details literally weeks after E3 as a bit of a middle finger to anyone expecting big announcements at the show– and, more importantly, to E3 itself.

It’s not the first time Nintendo has done this. Back in the 90s and early 00s, Nintendo had its own Japanese trade show that ran alongside the Tokyo Games Show, Nintendo Space World. The publisher has repeatedly snubbed huge-scale events like Gamescom and TGS, refusing to take those opportunities to make announcements. It has already withdrawn from both of those events. E3 is quite possibly next.



There are obvious advantages to this approach. Nintendo gets to dominate the news rather than fight with all the other platform holders at E3 for attention, building buzz around its own video broadcasts. It can also spend more time talking about the interesting games, because there’s no strict press conference time limit to adhere to. Having Iwata talking directly to gamers lends a sense of intimacy that you can’t deliver at a press conference. And the press is essentially taken out of the picture: Nintendo is talking to journalists at the same time as it’s talking to anybody else who chooses to tune in.

“ We're not whom Nintendo is trying to impress any more.

But the disadvantage is plain to see. If you spent all your airtime at E3 basically ignoring gamers, you’re going to make them pretty angry about it. You might even end up with one of the editors of the biggest gaming site in the world saying that you messed up E3. But that's the thing: I'm not sure that we're the people Nintendo is trying to impress at E3 any more.

If you ever think Nintendo genuinely has nothing up its sleeve, you don’t know Nintendo – but we’re going to have to get used to getting our announcements in a different way. It’s already clear that Nintendo’s E3 presence wasn’t geared towards us. If you’re holding your breath for the next Zelda, Metroid or Fire Emblem rather than the next Just Dance, there’s a strong possibility that E3 is no longer the place to look.

Keza MacDonald is in charge of IGN's games team in the UK, and only just got over that post-E3 hangover. You can follow her on Twitter and IGN.



Source : ign[dot]com

E3 2012: SimCity preview





SimCity Image

Heading into E3, the big news surrounding SimCity was the new multiplayer feature.  Up until now, SimCity had only been a single-player experience. Cities, however, are always part of something bigger, and that was EA’s goal with the latest installment to the long-running, popular franchise.  They wanted to make it bigger, and they wanted players to interact with other town’s mayors — trade resources, work together for common goals, and thrive off of each other’s cities — like real cities should do.

In our E3 preview, we were shown a few separate, but very distinct towns working together to create an airport, one of several major buildings that can benefit everyone.  The distinct cities, which included a friendly neighborhood, thriving metropolis, and a booming but rundown coal town, each provided the necessary resources to build this airport.  The goal was for each of them to benefit in some way from it being built.

Outside of them benefiting from the airport, each town relied on the neighbors in some form.  Some of the examples showed to us include one city providing electricity to the other. The multiplayer spreads beyond just providing resources.  The cities relied on neighbors in other ways.  For instance, the metropolis was looking to expand its commerce and retail, but it needed people to run the businesses.  Therefore, it relied on the neighborhood which needed to increase its population to provide the necessary workforce.

Here is where the airport enters.  In addition to the extra people it would bring in to the newly built stadium, it could help people arrive in the neighborhood suburb.  The airport also allowed goods and resources to be flown in for the coal town.  It may sound complex, but SimCity simplifies everything.


Sim City

From electricity to water pipes to public transit, SimCity says goodbye to spreadsheet numbers and introduces color-coded or other useful symbols to convey the message.  They showed us building an above-ground electrical railcar, and instead of just building tracks, a colorful line showed where traffic would be heavy for the railcar.  Green was good, yellow was medium, and red is heavy.

Multiplayer isn’t the only addition, however.  EA showed off SimCity’s new Glassbox Engine which literally simulates everything going on in the city.  From the street lamps turning on to the street lights switching from red to green, Glassbox simulates everything going on in the city and presents it as if it were real life.  Individual lighting for buildings, cars’ headlights, street lamps, and more are all present in the game.  It doesn’t only simulate lights either.  It simulates sims’ actions.  In our preview, the devs showed us a bank robbery play out as a result to crime from the neighboring city pouring in.

Neighboring cities don’t only help your town, but can also harm it. The coal city focused heavily on production and business, but lacked the necessary police stations. Because of that, the city was littered with graffiti and crime began spreading into adjoining towns. Unfortunately, that friendly neighborhood we saw was right next to the coal town.  As a result, crime began spilling into the streets and the aforementioned bank robbery occurred.

SimCity was already a fun game, but this added multiplayer component just adds a whole new level of interesting gameplay.  You can choose to help or harm friends’ cities.  And it’s not like everyone’s city is the same.  You can choose to make the city you desire.  If you want a bustling city, create it.  Just remember, you need people to work there and that is where the fun begins. There’s an all-new aspect to , and EA has done a remarkable job incorporating multiplayer.




Source : gamezone[dot]com

Heroes of Ruin Review




Heroes of Ruin is a 3DS success that’s almost certainly destined to become a failure. In some ways that echoes the inconsistencies that lie at the heart of the game: it’s graphically weak, yet technically excellent, while its generic mechanics slot into a boldly designed, connected framework. The latter point is both its biggest triumph and its Achilles heel: this is an online-focused game for an audience that I’m not sure is big enough to sustain it.

Certainly the lack of enthusiasm that greeted its arrival would suggest as much, though the collective efforts of Square Enix and Nintendo to generate interest have been feeble. An eShop demo and a brief appearance during Nintendo Direct broadcasts does not equate to an effective promotional campaign. This is a game that deserves a bigger push than it has received so far.



Then again, outwardly it’s not the easiest sell. To all intents and purposes, this is a straightforward dungeon crawler that looks pretty ugly in screens and 2D video. Developer n-Space clearly hasn’t had the biggest of budgets to work with, and so we’re treated to awkward animations, a lack of detail in both characters and environments, and a frame-rate that’s alarmingly erratic in places. Turn the 3D slider down and things improve slightly, but you’ll be reluctant to do so because the image depth is the most striking of its visual qualities. It lends a sense of tangible solidity to the otherwise unremarkable environments, even if it has the unwanted side-effect of highlighting a few PSone-era textures in the foreground.


“ Offer a man trinkets of a slightly higher numerical value than the ones he possesses and he will snatch them up greedily.


The trade-off for the ugliness is that, frame-rate issues aside, the netcode holds up pretty well in a four-player game. There are occasional glitches and loading times are excessive, but on the whole the online game is surprisingly robust for a Nintendo console.  Indeed, the game would rather you tackle its dungeons with friends or strangers than alone: the default mode is multiplayer, and n-Space eagerly ushers you towards options that allow you to link your account to the Heroes of Ruin website to track and compare stats, and to set up StreetPass for trading purposes. There’s even voice chat, though the sound quality is akin to someone speaking through a sock into a microphone while sitting in a particularly echoey bathroom. Still, it’s more than we’ve seen from any other developer on 3DS so far, including Nintendo.

If the online focus is admirably brave, the game itself is a little more risk-averse. You begin your adventure with a choice of four player classes. The leonine Vindicator is a sword-wielding warrior with healing abilities, and the Gunslinger is your standard ranged fighter. The elven Alchitect is a powerful mage from afar and an average melee combatant in close quarters, and finally you have the brutish Savage, who compensates for his limitations with the ferocity of his attacks. A relatively short campaign – most players will finish somewhere between six and eight hours – and four save slots betrays the developer’s intentions: they want you to go through the story once with each character type. It’s a testament to n-Space that you might well be happy to do so.



That may come as a surprise given the disappointingly uninspired setup. Each mission begins at a hub city so generic it’s actually called Nexus. Quests are accepted here, and there are plenty of merchants to trade with. Otherwise it’s a lifeless setting populated by static characters, your interactions with them purely text based, aside from the variations on “hello” and “goodbye” that bookend every conversation. From here you’ll travel to various areas to fulfil requests, which tend to comprise rescue missions, boss fights and the occasional item hunt. The few puzzles are embarrassingly simple, requiring you to trigger switches in the correct order, or move statues until they form identical poses. Upon completing a dungeon you return to Nexus and repeat the process.

What keeps things interesting is the steady stream of loot you’ll gather from defeated enemies and treasure chests. It’s one of gaming’s oldest and most effective hooks: offer a man trinkets of a slightly higher numerical value than the ones he possesses and he will snatch them up greedily. Though the overhead perspective makes it difficult to see the visual changes that come with equipping a new pair of pauldrons or boots, you’ll find it difficult to resist the allure of newer, shinier gear. In four player mode, you’ll all be racing for the same prizes, adding to the thrilling sense of chaos wrought by the basic but satisfying combat.



It’s not quite as nourishing as it could be, however. There’s never any real need for team tactics given the regularity with which the game showers you with new items and healing potions. The desire to provide players with immediate gratification and to keep teams alive results in a difficulty curve that’s far too gentle. Even the end-of-dungeon bosses can fall quickly to a squad doing little more than collectively jabbing the standard attack button over and over.

Other minor flaws gradually begin to niggle. The ability to instantly sell unwanted items is extremely useful for the solo gamer, though in online sessions it allows avaricious dungeoneers to instantly profit from loot that may have benefitted their fellow players. Elsewhere, you’re required to shift from circle pad to d-pad or touch controls to negotiate menus, a pointless and unnecessary change. These are very minor usability issues, but they betray a general lack of polish untypical of a Square Enix production.



Source : ign[dot]com

Did Uncharted 3 Change Too Much?




Video games often mean more to us than we realise or have the language to explain. Playing a franchise’s next instalment is filled with as much nervous anticipation as reading a new book from a favourite author or watching a film from a beloved director.

At the same time, video game technology is changing much faster than other media. The intervening time between two games often sees new techniques, technology and even new platforms on which developers can create their experiences. There is a danger of falling for the trap of bigger is always better.

Uncharted 3: Drake’s Deception introduced all sorts of changes. The amount of animation, number of polygons, environment interaction and player control were all significantly enhanced. Some of these, like the refined aiming, caused an instant reaction in the community. Other changes were more subtle; Elena’s new appearance and Nate’s penchant for touching door-frames have taken longer to process.



Naughty Dog Producer Richard Lemarchand talked us though these changes before his recent departure from the studio, starting with the visual differences in Uncharted 3’s main characters. “We made a huge number of improvements to our character modelling processes for Uncharted 3 – too many to list, really! The characters in our games are really important to us, of course, and making sure that their character models are top-notch is a major focus.”


“ We made a huge number of improvements to our character modelling processes for Uncharted 3 – too many to list, really!


“For instance, one of our Senior Character Artists made Drake’s beard stubble by first creating a dynamic hair simulation of Drake’s whole beard in 3D Studio Max. We used this simulation to get the hair follicles in his beard looking exactly how we wanted them to look by combing them in the simulation.  Then we exported perfectly matching texture maps which we used for his in-game model.

“We applied similar techniques to Sullivan’s moustache – in previous Uncharted games Sully’s ‘tache was just painted into his texture maps, but this time we set it up using planes of geometry, and painted in every single strand of the moustache hair individually!”

Unsurprisingly, all this enhanced facial hair had less of an effect on Elena, but she was still significantly different from the androgynous young woman of the first Uncharted game. In Uncharted 3 she has a more feminine gait and is facially much closer to character actor Emily Rose – indeed, her new persona came dangerously close to eclipsing her remembered identity from the previous games.



Perhaps it’s Naughty Dog’s ability to create such believable people that makes even subtle changes so noticeable. It’s not just a videogame character they are tweaking, but someone we know and understand.

“What’s most important for us is our focus on the people in our games as individuals, as unique characters. It’s all too easy, with any kind of writing, to fall back on clichés and stereotypes, but if you can avoid doing so then I think it helps your character’s voices sound fresh and authentic, and that’s the key to populating a story with interesting, believable people,” says Lemarchand.

Lemarchand turns to the contribution of actors and motion capture studios to pull this off. “Of course, writing and game design is only half of the equation: it’s the performances created by the talented actors we collaborate with that literally bring characters like Elena Fisher to life. We’re very lucky to be able to work with Emily Rose, who plays Elena, as well as Nolan North, Richard McGonagle and the rest of our cast. They work very hard in rehearsal and on our motion-capture stage, when we’re capturing their performances to put into the game, and they also contribute a huge amount to the game in terms of the ideas that they bring to the table, many of which we’ll work into the dialogue or even the game design.”



It’s interesting that while Naughty Dog would find it hugely problematic to switch actors, the studio is happy to substantially alter how they look in the game. The actor is there to speak up if they are asked to say or do something out of character, but their virtual alter-egos can’t stand up for themselves. An interesting comparison is the Toy Story series: while there has been similar progression in terms of fidelity and depth of animation during the life of those three films, there is much less of a jarring difference in terms of how the characters look from one film to the next.


“ It’s all too easy, with any kind of writing, to fall back on clichés and stereotypes, but if you can avoid doing so then I think it helps your character’s voices sound fresh and authentic.


Other changes in Uncharted 3 were more quickly identified by players – the aiming mechanics in particular. Where other developers may have become defensive over such criticism, Naughty Dog engaged with its community and introduced a patch that rectified these specific issues.

Lemarchand comments on the tension between perfectionism and continuity that can lead to these problems. “We made lots of improvements to the way that Nathan Drake controls between Uncharted 2 and Uncharted 3. We’re constantly working to refine and improve the controls of our game, even though we’ve always been pretty happy with the feel that Drake has… Of course, in turn, the expanded ability to fist-fight has a relationship with Drake’s traversal gameplay, and changes how you move around the levels when enemies are present.”

This traversal technique was another big change, and it wasn’t everyone’s cup of tea. Did these changes make Uncharted 3 felt different to play? Lemarchand doesn’t think so. “The mechanics you mention – the way that Drake puts out his hand to touch a wall or a door jamb as he runs past it, or the unprecedented twelve-minute idles that we were able to include in Uncharted 3 thanks to our new in-game animation streaming system – these mechanics add something special to the game, I think, but they don’t interfere in any way with the player’s control of Drake.”



There were noticeable changes in Uncharted 3’s storytelling too, with much less time spent with the female characters and an increased focus on Nate’s personal quest. “The way that Drake’s friends fall away over the course of Uncharted 3, finally leaving him alone, is an important and deliberate part of the game’s intertwined storytelling and game design technique,” explains Lemarchand.

“In part, Uncharted 3 is about how relentless Drake can be when he’s pursuing a goal, and the dangers of that single-mindedness.  He’s so fixated on following the chain of clues that the story puts in front of him, and in such disregard of the growing danger around him, that he barely notices as his friends drop out of the adventure one by one. Even Chloe, who is normally so reckless, won’t go along for the ride beyond a certain point.

“So when he ends up alone for one of the later sequences of the adventure, he’s really facing one of his deepest fears. We all fear being alone, but it’s a particular demon for Drake, given what we learn about his background early on in the game.”



These efforts to stretch and change the sort of story Naughty Dog is telling with Uncharted 3 actually feel very comfortable. It goes without saying that a new episode in a drama needs to find fresh themes to address. Even when there is outrage at a particular game’s ending (Mass Effect 3 for instance), these are the creative decisions we expect story tellers to make.

But videogames are still mapping out what can and can’t be altered from one franchise outing to the next. How closely are players paying attention to movement, visuals, character modelling and controls? How much do they care about them, and how much change is too much?

Perhaps it’s inevitable for a maturing medium to accept more change than older, more established art forms. It will be interesting to see if technology continues to be the main driving force for change in videogames, or if other considerations will come to the fore as the pace of technological advancement slows down.



Source : ign[dot]com