Showing posts with label gaming. Show all posts
Showing posts with label gaming. Show all posts

Saturday, July 7, 2012

Best Games Quotes of the Week - July 7th




People say the darndest things and IGN is always listening. Here's a new selection of wisdom and weirdness from gaming folk over the past seven days. If this doesn't completely satisfy, you an navigate back to previous weeks' entries. As always, add your opinions on any of these issues in the Comments section. The best one will be featured in next week's column.





Akin to Porn




“Mainstream AAA videogames operate on principles akin to porn: highly repetitive activities premised on visceral pleasure and spectacle.”


Game designer Eric Zimmerman.


Kotaku





Dead Cat




"It's so amazing I think it will appear on news reports. Though it's not a dead cat, by the way."


Peter Molyneux announces his new game Curiosity, in which players chip away at a block, but only one finds the "life changing" prize at the center.


Eurogamer





Or They Will Fail




"Sony and Microsoft cannot let the retailers dictate game prices going forwards if they want to break free from the current over-priced model. Their next consoles, PlayStation 4 and Xbox 720, need to be digital only, or they will fail."


Kwalee CEO and Codemasters co-founder, David Darling.


Kwalee via GameSpot





Everyone is British




“One of the fun questions we get all the time is – are you only killing British people? And the actual answer to that is - yes, because before the end of the game there are no American people, so it’s a ridiculous question. Everyone is British, even the patriots.”


Assassin's Creed III's creative director Alex Hutchinson.


IGN





It’s Not True Innovation




“Y'know, at some point dinosaurs are the hottest thing and everyone is making games with dinosaurs, but there are trends. It used to be WWII, and recently it's been the modern era and people are now moving towards near future. But it's a bit cheap to just say, 'Okay, we're going to switch and go back in time or into the future and that will be innovation'. It will definitely drive the franchise forward for whatever game, but it's not true innovation, it's more a thematic change that has a perceived value to the gamers out there.”


DICE general manager Karl Magnus Troedsson lets off a few shots in the ongoing FPS wars.


Edge





This Industry Will Die




"This industry will die if it doesn't try more to be innovative and to come up with new ideas.”


Quantic Dream’s David Cage.


GamesIndustry





Differentiators in Graphics






"Other companies might launch a next-generation console with more power, but we don’t necessarily think that the difference between the Wii U and such console will be as drastic as what you felt it was between the Wii and the other consoles because there will be fewer and fewer differentiators in graphics.”


Nintendo boss Satoru Iwata.


IGN





Think of Graphical Capability




“They are building a platform that is effectively a 360 when you think of graphical capability."


Microsoft’s Phil Spencer talks Wii U.


GamesIndustry





Rich or Poor




"No company, rich or poor, will continue to fund projects that aren't profitable and have no hope of becoming profitable."


IGN reader phipee2 wades into the debate over studio closures.


IGN



Source : ign[dot]com

Wednesday, June 27, 2012

Jeremy McGrath's Offroad Review




Those who've been gaming since the days when it meant being tethered to a console by a wired controller (crazy, right?) might remember Acclaim's Jeremy McGrath Supercross series. If you don't, consider yourself lucky—they were awful. Thankfully, McGrath's latest video game effort, Offroad, has nothing in common with it, save for the supercross star's name.


The desert can be hell on your paint job.

The first thing you'll notice about Offroad is its lack of knobby-tired motorcycles. Yep, despite Offroad starring the “King of Supercross,” it's all about McGrath's newest passion: racing dirt-kickin' four-wheelers such as Sportsman Buggies, Prolite Trucks, Pro Buggies, Rally Cars, and Trophy Trucks. The second thing you'll discover is that Offroad's a refreshingly accessible, arcade-y romp into a genre that often keeps rookie racers at arm's length.

The streamlined controls, trio of difficulty levels, varied vehicle set-ups, and manageable amount of modes and content welcome anyone to start their engines. Additionally, players aren't punished while learning the ropes; even those who consistently place last in events will see their careers progress and new challenges and vehicles unlocked. Despite being approachable to those whose racing experience is limited to tooling around the Mushroom Kingdom in a go-kart, though, Offroad still packs enough depth and nuance to keep seasoned speedsters engaged. Easy-to-learn, difficult-to-master mechanics make moves such as clutch boosts and powerslides a pleasure to pull off, while carefully maneuvering jumps offers its own brand of eat-my-dust thrills.


They're just a couple hood-mounted weapons away from being in Mad Max.

On top of putting players at the front of the pack, these moves rack up XP which can be spent between events to tweak each vehicle’s handling, brakes, acceleration, and top speed. Our most adrenaline-amping moments came not from winning races, but from successfully powersliding into hairpin turns seconds before clutch-boosting out of them to simultaneously pass opponents and collect triple-digit XP. So, while anyone can cross the finish line, only the best will be able to properly pimp their rides.

Visually, Offroad's a bit hit or miss. From snow-blanketed mountains to dusty deserts, the track environments are drenched in postcard-pretty detail. Vehicles, however, are a bit bland, and their occupants could pass for crash test dummies. We also could've done without most of the “dynamic obstacles”; turning a picket fence into a pile of matchsticks is a fun, XP-earning affair, but having a perfect run spoiled by a wayward, cartoony-looking snowball or bale of hay only serves to break the pedal-to-the-metal immersion.



Source : ign[dot]com

Thursday, June 21, 2012

An E-Tank Full of Every Classic Mega Man Song




Did any classic gaming series have better music than Mega Man? Answer: no. And now, according to Andriasang, Capcom is revving up to celebrate the audio history of the Blue Bomber with a totally awesome CD collection. The cause of the celebration? Mega Man’s 25th anniversary, of course.

The collection, which will be available through e-Capcom, contains 10 discs with every track from Mega Man 1-10. For Mega Man 1-6, that includes both the original Famicom/NES versions of the songs as well as the upgraded PlayStation rerelease versions from the late ‘90s. The CDs come bundled in a steel case E-Tank replica that, unfortunately, won’t refill your health bar.


Complete soundtracks from the following games are included:
  • Mega Man (NES, 1987)
  • Mega Man 2 (NES, 1988)
  • Mega Man 3 (NES, 1990)
  • Mega Man 4 (NES, 1991)
  • Mega Man 5 (NES, 1992)
  • Mega Man 6 (NES, 1993)
  • Mega Man 7 (SNES, 1995)
  • Mega Man 8 (PSX/SAT, 1996)
  • Mega Man 9 (Wii/PSN/XBLA, 2008)
  • Mega Man 10 (Wii/PSN/XBLA, 2010)
The collection will be available beginning September 19th, and will cost 14,700 Yen, or roughly $180.

(Picture courtesy of Andriasang.)



Source : ign[dot]com

Monday, June 11, 2012

E3 2012: BandFuse: Rock Legends Preview





Anyone who wants to work in the gaming business must be passionate -- I think that goes without saying. Still, it's a breath of fresh air when you receive a demo or interview from someone who knows how to show their enthusiasm and project that excitement onto others. Jon Heiner, game director at Realta, is an example of a developer who knows how to make you believe. At E3, I had the chance to talk to him about his first gaming project, BandFuse: Rock Legends.


BandFuse, much like Ubisoft's Rocksmith, is a rhythm game that features a full guitar experience as opposed to the 5-button experience typically associated with Rock Band and Guitar Hero. It currently supports guitar, bass, and vocals, although they were primarily showing off guitar at the show. Realta hopes to differentiate BandFuse from the competition through authenticity. They claim their technology offers a zero latency experience and the use of tablature, guitar's equivalent to sheet music, instead of exploding gems will teach BandFuse players how to read any guitar magazine or lesson book. By the sound of it, Realta has a no compromises approach to creating their guitar experience.



Despite being new to the scene, Realta pulled in a growing list of names from the rock industry to assist them in development. Slash, Zakk Wyld, and Nancy Wilson are already tied to the project, and there's no telling if there will be more to come. Bringing so many musicians on board gives Realta the ability to create perfect to near perfect tabs of the songs. "This is how the part is played." Jon Heiner told me, in reference to Slash's song Back From Cali. "I know this, because I asked Slash." It sounded like the legends would also play a role in teaching the player guitar techniques, telling rock stories, and motivating the player to keep picking up his or her instrument. The legends are integrated into the experience and aren't just names on the box to sell copies. 

Realta has also courted favor from John Nady, developer of a wide array of wireless music technology. For BandFuse, Nady has developed the guitar cable that ships with every copy of the game and an acoustic guitar attachment to allow players to use their acoustic guitars in the game. That's right. For the first time in a game, songs like Drive by Incubus can be played using the proper type of guitar. Unfortunately, since they use their game is designed around their technology, Rocksmith's guitar cable has too much latency to be usable in BandFuse. Jon also showed me an audio adapter that will ship with their game that allows the player to plug a pair of headphones directly into the Xbox. There's a surprising amount of tech being developed for BandFuse; all in the effort to allow players to play how they want.



Realta wants BandFuse to be more than just a personal journey; they want it to be a social experience. Every time you play a song in BandFuse, your performance is recorded. Afterward, you can upload that recording to their BandFuse cloud and share it with friends or even ask someone to record a backing track to combine with your leads. They were not showing any of the social aspects of BandFuse at E3, but Jon described it as one of the three major pillars supporting their game. The ability to share is woven into the fabric of BandFuse, but we'll have to wait to see how it all plays out. 

Any good guitarists knows you don't become great without practice. BandFuse's practice options were not finalized by my E3 appointment, but they understand how crucial practice can be to an experienced player. They know they want to make practicing simple, fun, and worthwhile. Realta also plans to build tutorials to help players learn and get better at guitar. Jon told me they want to "Game-ify guitar practice," and they may be on their way to accomplishing just that.



After my interview with Jon, I strapped on one of the guitars and tried out some of the tracks. I played through Reptilia by The Strokes and Harder to Breathe by Maroon 5 on two of the intermediate difficulties and had varying experiences. Multipliers in the thirties and fourties were not uncommon during Reptilia, but I couldn't even break ten in Harder to Breathe. It was hard to tell if the difference in score was because of the software, an out of tune guitar, or just my mediocre guitar playing. E3 is not the best venue to test a game with so many things that could go wrong. I will say the scoring system is more strict than Rocksmith, but not as restrictive as Rock Band 3's pro guitar. You still have the freedom to play what you want during guitar breaks, and you are never punished for not playing what's in the tablature. Your multiplier will slowly decrease if you aren't playing the notes as they are shown, but you will never fail out of a song. 

I had low expectations walking into BandFuse. Rhythm gaming has gone through a lot of turbulence the past few years, and I'm incredibly skeptical of new IPs in the genre. Rocksmith felt like a lucky strike, but BandFuse may solidify this as a trend. Rhythm gaming could be reborn with a focus on learning and playing real instruments. Based on what I saw at E3, could easily lead that charge.




Source : gamezone[dot]com

Tuesday, May 22, 2012

Minecraft Review





Minecraft Xbox 360 Edition:
I’m a jealous of gamers who are getting their first hit of the gaming-crack that is Minecraft. Those who download this diamond will be rewarded with a totally unique and wonderful gaming experience. 4J, the developer of the 360 version of Minecraft, have done an amazing job translating Mojang’s PC and Mac game over to the 360, but it’s not an exact translation. New gameplay elements and trappings have been added for consoles, but a lot has been taken away as well. Minecraft remains a once-in-a-lifetime game, but the 360 version suffers more for what’s missing than it gains from its additions.

The basics of Minecraft are represented well on the 360. The low-tech-looking sandbox gameplay is in place, as is the self-directed search for survival and material goods. You punch trees, collect ingredients from a blocky, 3D world, craft increasingly complex tools, delve deep into endless, dangerous caverns, and create a space that’s safe from the inexplicably terrifying 8-Bit skeletons, spiders, zombies and creepers that spawn at night. Once you’ve got basic survival locked (a huge accomplishment), you can move on to creating a beautiful home, a 1-to-1 scale re-creation of The Defiant from Deep Space Nine or anything else you can imagine… Or you could just walk around in the woods and shoot arrows at skeletons. In other words: If you’re the right kind of person, this barely guided, creative experience will become more like a way-of-life than a video game, for a time, anyway. Eventually, most 360 gamers will run across the boundaries of Minecraft, both physically and conceptually, long before PC players will.
Let’s start with the positives: The 360 version of Minecraft adds two much-needed and appreciated elements designed to make Minecraft more user-friendly: Tutorials and a map.

Building Blocks Of Minecraft Learning
The original Minecraft lacks any in-game documentation, leaving you at the mercy of your own ability (and online wikis) to figure out how a relatively complicated game works. The 360 version of Minecraft, gives you a tutorial level that walks you through the basics of how to get wood (heh, heh), mine rocks and build basic shelter to keep from being eaten alive when night falls and the monsters come out. It also includes a little village and an impressive castle to give you something to aspire to in your Minecraft-ing.

The learnin’ continues into the game-proper, with context sensitive menus to identify any new items you find. Crafting has been streamlined, and trial-and-error has been eliminated. No great loss, as almost every PC Minecraft player uses a wiki anyway. All of this will be very helpful to beginners, but it’s not so exhaustive that it takes away from the discovery elements of Minecraft or feels like school.


Minecraft 360

Along with the docs and hints, the 360 version of Minecraft gives players a map at the start of each game, for free. Getting something for nothing in Minecraft is almost sacrilege, but it’s much appreciated here. Maps are craftable in the PC version, but not until you’ve found some redstone deep in the earth and crafted iron to built a compass, which means you have to figure out how mining and smelting works before you’ve ever figured out where you are.

Sitting next to loved ones (or tolerated ones, anyway) and playing a game is an often overlooked source of fun in the age of online multiplayer, and in an open-world game like Minecraft, it’s like bringing your friend to a massive playground, except with more zombies.

Even with a four-player split screen going and other players in your server, navigating through Minecraft’s complicated menus is quickly mastered, if your television is big and HD enough. The menu system is about as serviceable as you could realistically expect from a 360, which is not to say it’s good or anything. Consoles just aren’t suited to complicated menus–a mouse and keyboard is the much preferable input solution.


Minecraft 360

“I Played Minecraft Before It Was Cool.”
So that’s all the good, but here comes the bad: Overall, console-Minecraft is based on an early version of the game. The PC version of Minecraft has evolved through updates to contain a whole lot more stuff than the 360 version, as well as noticeably improved lighting and graphics. A partial list of content that’s missing: Modding. The hunger mechanic that drives the PC version. The ability to raise animals from babies. Jungle cats. The jungle biomeme. Ruins in mines. NPC characters and villages. The enchanting system. The alchemy system. The End World, Ender Men, and the Ender Dragon final boss. And more. While some of these “later” additions aren’t all that great, and none are necessary for having a good time, on the whole, the PC Minecraft experience provides greater diversity and much deeper gaming, especially for more seasoned players. While 4J has said it’s interested in frequently updating Minecraft-360, those updates are not available at the time of this review. Let’s hope they’ll come soon.


Minecraft 360

It’s A Small World After All
The list of Minecraft features missing from the 360 is long, but the most egregious omission is the sheer scope of the PC version of Minecraft. While computer Minecraft’s procedurally generated geography is limited only by the amount of memory your PC has, the 360 version takes place on a 1024 by 1024 block level. That’s pretty big in terms of many games, but tiny in terms of Minecraft. It’s dispiriting to get to the edge of the map with so little effort, especially when the boundary has been so shoddily defined. A wall of lava or an un-climbable peak would have been preferable to Minecraft’s lazy invisible barrier. The absence of endless open spaces means that you can essentially never get really lost, and it also limits the amount of sheer raw materials in the world, potentially scuttling hugely ambitious building plans.


Minecraft 360

Speaking of resources, the PC version of Minecraft contains a creative mode where you have access to everything the game has to offer. It’s perfect if you prefer building with an infinite Lego set and don’t feel like being ravaged by skeletons. The 360 game offers only the survival mode. Big points off for that. And big points off for not allowing gamers to change difficulty in the middle of games, too.
On the whole, any Minecraft is better than no Minecraft, and the 360 version is a full, satisfying game, when not judged against the PC version -- even in slightly-gimped form, Minecraft is better than most games on earth.




Source : http://www.g4tv.com

Tom Clancy's Ghost Recon: Future Soldier Review




The decades to come may be full of unknown potential for wondrous inventions, but in the gaming realm, the future is old hat. Invisibility, X-ray vision, and miniature floating cameras are modern marvels that have long since become familiar. Though these tools are potent in Tom Clancy's Ghost Recon: Future Soldier, there's precious little novelty in your futuristic arsenal, and this can make you feel like you're undertaking missions you've run many times before. So is Future Soldier just another by-the-book third-person shooter?


Sometimes the silent route gets loud.

Fortunately not. Though there's plenty of familiarity to be found here, Future Soldier's brand of stealthy action and streamlined teamwork gives it a distinct appeal. The lengthy campaign lets you wield your AI allies like autonomous weapons; their guns are yours to command, but they handle their own maneuvers, pushing the action along at a slick pace. Replacing them with your fellow humans brings its own challenges and rewards, as does facing off against said humans in the lively competitive multiplayer modes. Though it's more of a product of the past than a vision of the future, Ghost Recon: Future Soldier is a robust package that provides plenty of satisfying ways to exercise your itchy trigger finger.

In the campaign, you play as the ghosts, a four-man team of elite soldiers. Cutscenes and mid-mission dialogue combine to create a nice sense of camaraderie among the crew, and hackneyed archetypes are downplayed in favor of more understated characterization. Personalities are colored in during small moments, like a song streaming out of earbuds, a fleeting facial expression, and a conversation about used trucks. Interactions with other military personnel reveal how isolated the ghosts are from the soldiers they break bread with and how oblivious those soldiers are to this fact. This segregation creates a connection among the ghosts that is a refreshing change from the familiar "bonds forged on the crucible of combat" trope.

On the field of battle, the ghosts try to emulate their namesakes, moving silently with the aid of slick optical camouflage that dissolves if you jog, sprint, or fire your weapon. Staying stealthy is often a mission requirement, and even when it isn't, avoiding detection gives you a distinct advantage. It's easy to maneuver unseen, and you spend a lot of time silently eliminating foes. Stealth melee kills and suppressed weapons are your basic tools, but the key mechanic is the sync shot. Spotting enemies through your scope or tagging them from aloft with your aerial drone, you can designate up to four targets for you and your squad to eliminate in one fell swoop. To execute, simply open fire on your own target, or issue the command with a press of the right bumper.

It's a neat trick, and the seconds of slo-mo that follow are a welcome flourish that allow you to silently mop up more than the few targeted foes. Using sync shots to eliminate enemies is pleasing and relatively easy, thanks to the array of detection methods at your disposal. Drones, sensor grenades, and a few flavors of optical gadgetry give you plenty of ways to detect nearby foes. As long as no one sees the dead bodies, no one gets suspicious, and many situations lay out foes in discrete, easily sync-shot-able groups.

Only in later levels do you encounter larger groups that put your coordination skills to the test. You must now take into account multiple lines of sight and interlocking movement patterns, as well as calibrate the exact speed at which you can tag and take down a new set of targets. Methodically carving your way through these scenarios is very satisfying, and you might even find yourself choosing to reload checkpoints when you are discovered, even if you aren't forced to. Though an alert doesn't always bring your mission to a close, challenging yourself to maintain stealth is usually more engaging and fun than blasting your way through.

Aside from sync shot orders, your AI allies are mostly autonomous. They follow your lead but move, take cover, and engage alerted targets on their own. They are very reliable, but they are prone to a number of unrealistic behaviors that can hamper your immersion. Shooting effectively through multiple thick walls, sprinting past enemies while maintaining camouflage, or failing to acquire a marked target in line of sight are all intermittent AI oddities.



Source : http://www.gamespot.com

Friday, May 18, 2012

Road to E3: Halo 4





The biggest video game trade show in the country, E3, bombards Los Angeles with gaming love starting on June 5th, 2012. With the biggest names in gaming gathering in one spot, it takes a lot of effort to keep track of it all. Every day, we'll cover a different game we expect (or know) will flex its digital muscles in LA.


To celebrate Craig and Smokey’s favorite day of the week, we’re talking about what will arguably be the biggest game of the year: Halo 4. We haven’t heard from Master Chief since 2007, leaving us plenty of time to ponder the possibilities for the the future of everyone’s favorite Spartan. Why did Cortana wake him up? What gives with that giant iris that’s tractor-beaming his ship into its maw? And why was he missing his codpiece in the debut trailer, only to have it appear later? All questions needing answers!






Halo 4 



  • Developer: 343 Industries

  • Publisher: Microsoft Game Studios

  • Release Date: November 6, 2012

  • Genre: Cyber-warrior battle fest



Under the guiding hands of 343 Industries, Halo 4 is the first game in the series-proper made by Bungie. With shades of reboot and origin story shaping the narative, it promises a deep dive into John-117’s world -- territory Bungie historically left to the supporting fiction, comics and novelizations until now.


The first entry in the brand new Reclaimer Trilogy, a trifecta of titles 343 says will take 10 years to complete, Halo 4 will feature a direct connection between the single-player story and multiplayer modes for the first time via an in-game mechanic -- or giant spaceship, specifically -- called Infinity. Aboard this UNSC ship of ships, the galaxies finest warriors will continue the endless red versus blue, using wit, charm, firearms, sticky grenades, and an all-new persistent progression system that’s similar  to the perks in Call of Duty.



We should learn the first Halo 4 story details at E3, along with a full introduction to the new antagonist race (other than the leaks from Todd McFarlane’s Halo toys, of course). We know we’ll see the return of the Covenant, but we’ll likely find out what role they’ll play, and if any other enemies like the Flood or the Brutes will return. E3 should also provide our first hands-on time with multiplayer, and likely will include the introduction of new maps, a detailing of the new aforementioned persistent upgrades, and more details on Spartan Ops -- a new cooperative mode that 343 will update every week with new content and objectives.


IGN will begin its domination of E3 on Monday, June 4th. Until then, tune in for our continued coverage as we travel down the road to E3.




Source : http://www.ign.com/articles/2012/05/18/road-to-e3-halo-4

Monday, May 14, 2012

Ask Us Questions On Feedback! Ads By Google » Blog Tags Today's Most Popular Videos »


Feedback's Question Of The Week

Tons of rumors are pouring in from gaming outlets all over the world, like rumors that Internet Explorer will be added to Xbox or rumors about Beyond Good & Evil 2 being a next gen title.  Next week on Feedback we're going to be discussing the rumors, the speculation and the hype leading up to 2012's E3. Have you heard any rumors that you would like us to discuss? Do you have any questions about what we expect to see at the convention? Ask us anything! The time is now!


Source : http://www.g4tv.com/thefeed/blog/post/723677/ask-us-questions-on-feedback/

Thursday, May 10, 2012

Gaming Urban Legends - Polybius and the Haunted Pokémon Ads By Google » Blog Tags Today's Most Popular Videos »


Urban legends are prevalent throughout all mediums of popular culture, with dozens dating back to mysterious happenings on movie sets and subliminal messaging worked into popular musical hits, but the gaming industry has somehow managed to debunk or confirm most of these legends rather quickly.

This doesn’t leave much to be shared in terms of legends or tales, but rest assured, there’s a small number of urban legends surrounding videogames that still have players questioning their validity.

Polybius

The Polybius Initiative

In 1981, a small number of mysterious cabinets started making their way into arcades throughout Portland, Oregon. There wasn’t much that was known about these machines, but they gained popularity at an alarming rate before causing extreme problems and disappearing completely.

The internet wasn’t around much in 1981, which meant that most of the information on arcade cabinets came from newsletters or straight from the cabinet distributor themselves. When Polybius started making its way around the Portland suburbs, there wasn’t too much information on it. It has been said that the gameplay was of a tempest-style but could have possibly had mazes and other puzzles built-in, there’s really no way to confirm either way.



This might not seem like all that unusual of a game, but some believe that the game was meant to test experimental behavior modification through subliminal and undetectable methods. The game was said to have had weird side effects as there were reports of the game causing players to suffer from cases of amnesia, night terrors, terrible nightmares, intense stress, seizures, and suicidal tendencies due to the subliminal messaging. It also introduced extreme addiction which cased problems at arcades due to the machine’s popularity. There were more reported cases of these side effects than usual after playing this game specifically, lending some credibility to the fact that the machine might have been the cause.

As if that wasn’t weird enough, the legend states that men in black suits would come to the arcades every week and dump data off of the machine. This could have been them simply dumping high scores off of the machine, but they came back at such a rate that it seemed like they were gathering large information off of the machine for research, citing the lease agreement as a reason to come check on the machine.

The strange behavior surrounding the game started gaining more attention, but all of the machines disappeared before anything could be done; only a month after they first appeared. It isn’t clear what caused them to move so quickly, perhaps they only needed to gather a month’s worth of data or things were escalating too quickly, whatever it was, they didn’t want it found.

Polybius

There isn’t really any official evidence or documentation of the machine’s existence either, we’re mostly running off of secondhand stories from unconfirmed sources but what those sources independently remember of the game stays consistent throughout.

There was a man who posted on Coinop.org back in 2007, claiming that he was involved with the creation of Polybius, but when he was interviewed at a later time, his story started to fall apart. There were several inconsistencies that didn’t fit with what had been established earlier and it just didn’t make that much sense. He attempted to dispel the rumor, saying that it was a bad version of a game that they had been working on in South America that had been recalled, but again, it didn’t fit with the rest of the story; unless its existence was all being made up in the first place.

While there are collectors out there who claim to have ROMs of Polybius, none have come forward to show any proof or release it to the public. However, in July of 2007, a version of the game and cabinet art made its way online, hosted at www. sinnesloschen.com, which is actually significant, but was most likely a fan site rather than anything connecting to the original release.

It is believed that Polybius was by Atari in collaboration with the US Government under the code name Sinneslöschen, meaning sense-deletion in German. This makes it somewhat more believable that it was either an internal name for the title or a term that was mixed in as the name of the development studio throughout the years. If it was the name of the company, it would appear in the German corporation registry or the US corporation registry through the Secretary of State, but shows up in neither.

There’s no way for any of this to really be confirmed either, as the only real proof of the cabinet’s existence is a black-and-white photograph and a recreation of the game’s title screen. That is what makes it a great urban legend though, landing it references in popular shows like The Simpsons. It is entirely possible that something like this existed though, with the rise of videogames in the early ‘80s and the Cold War raging on, the military was doing whatever they could with new technologies. If the cabinet did exist, I’m hoping that more information will emerge in the next few years.

Ghost Pokemon

Haunted GHOST Pokémon Black Cartridge

Now, this legend supposedly originated on 4chan, so that should be kept in mind when discussing it. The original post can’t be found, but it was republished on tinycartridge.com back in 2011, so that’s where the credibility of this legend comes from.

As the legend goes, a collector of Pokémon bootlegs was scouring a local flea market and came across a Gameboy cartridge that showed the typical Pokémon cart label, but everything was in black. When booted up, it showed the title ‘Pokémon Black Version”. This was well before the DS version and appears to be based off of the source of Pokémon Red Version.

Things seemed normal from the start, but when the player is presented with the option of choosing a starting Pokémon, there is an extra choice. Along side Charmander, Squirtle and Bulbasaur is GHOST. Nothing seems especially out of the ordinary with GHOST, until he enters his first battle, that is. He starts at level 1, but only has one attack, Curse. (It has been noted that while Curse is a real Pokémon attack, it wasn’t introduced until the 2nd Generation, meaning that it isn’t in typical Red, Yellow, or Blue) The attack doesn’t work as it normally does though.

According to the original poster, when it is used, the screen turns back and the defending Pokémon lets out a warped and disturbing scream. When the battle returns, the enemy is gone and it is heavily implied that they have been killed. This is completely different than how the battles work normally, where the enemies only feint and can be revived later; no one dies.

What if the enemy was faster? They were too scared of GHOST to attack. This meant that it didn’t really matter if the enemy was better, they couldn’t attack and were too scared to run. Every battle was a guaranteed win.

This wasn’t the end of Curse’s effect though. Unlike the standard versions of the game, the battle commands would stay up after a battle was completed. If the player chose RUN, then things ended like they normally would. But if they chose Curse, GHOST would attack the trainer and kill them. When the player left the battle, there was a tombstone where the character had been standing prior. This definitely wasn’t normal.

Players could apparently get through the entire game using this one strategy, only capturing other Pokémon for the purpose of equipping HMs and defeating Ghost-type enemies. The person who found the cart claimed that they played through the game this way, but after they beat the Final Four and was touring the Hall of Fame, something even weirder happened.

The screen cut to black. Instead of ending, a dialogue prompt popped up with ‘many years later...’. The camera follows a much older version of your character, looking at a group of tombstones throughout Lavender Town. As the player is given control, they realize that they have no Pokémon, no items, and no restrictions on where to go. They have no direction though either. Once they make their way back to Pallet Town and to the starting point inside their house, the screen cuts to black again.

Haunted Pokémon

This time is different though. The sound warps and photos of Pokémon begin to flash across the screen. These are the Pokémon and rivals that the player killed using Curse. A message then appears.. “GHOST wants to fight” and enters the player into a battle against GHOST with nothing to attack or defend themselves with. GHOST attacks and kills the player. Once killed, the screen cuts to black. And it stays there. That’s the end.

Only a reset can get anything but the black screen. When booted back up, NEW GAME is the only option available. After GHOST killed the player, it erased the save. It’s not clear whether this mysterious version is real or not, as the original poster claims to have lost it in a move a few years back. Assuming that this version is real, it’s unclear where this Black Version came from. It could be a version that was modded by a fan and distributed in small numbers, but it could also have been put out in a more organized fashion by someone who was in a position to have access to the tool necessary to do this. Either way, I want nothing to do with it.

With the industry as secretive as it is, it wouldn’t surprise me to know of more games like these existing, known only of by player accounts, with no real evidence around to support it. But with the availability of the tools required to mod games, it is certainly harder to follow up on the validity of a situation like this. There are plenty more gaming urban legends out there to find and uncover. What are your favorite legends like these that people may not have heard of?


Source : http://www.g4tv.com/thefeed/blog/post/723678/gaming-urban-legends-polybius-and-the-haunted-pokmon/

Saturday, May 5, 2012

Next Xbox hardware already in manufacturing - Report




Microsoft has said gamers shouldn't expect to see its next gaming console anytime soon, but developers might already be getting their hands on the system. IGN is citing an unspecified source with the news that the next Xbox hardware has entered manufacturing.
The report says hardware for the next Xbox has been produced at the Austin, Texas, branch of electronics firm Flextronics, which was the first manufacturer of the original Xbox and one of three Microsoft initially employed to work on the Xbox 360. The firm also reportedly created a testing group focused specifically on "comprehensive marketing, software, and hardware tests of the next Xbox."

As for what exactly is being produced, IGN speculates Flextronics is producing dev kits so the next Xbox developers have hardware on which to create their games. Microsoft had not responded to GameSpot's request for comment as of press time.


Source : http://gamespot.com/news/next-xbox-hardware-already-in-manufacturing-report-6375148

A Valley Without Wind Review




As someone who cut his gaming teeth on 2D platformers like Manic Miner and Adventure Island in the 1980s, I was looking forward to losing myself in A Valley Without Wind. On paper, at least, there's a lot to love here. Nostalgia-laden platformer mechanics rub shoulders with "procedurally generated worlds" in Arcen Games' new creation, and a dizzying array of craftable spells trade nervous glances with playable characters that permanently die. It's a fantastic concept that screams of the flashes of indie genius we've come to enjoy in recent years, but in execution it plays like a rough draft that's unable to wiggle out from under the weight of its own ambition.

There's not much of a story in A Valley Without Wind aside from a block of text that boasts a variation of the usual post-apocalyptic babble, partly because each game begins with a randomly generated world in the spirit of Minecraft and Terraria. That might be nice for players wishing to experience new and unfamiliar landscapes with each playthrough, but it also means that the almost nonexistent narrative limits itself to vague references to evil overlords out of necessity. As a "glyphbearer," it's your job to scrounge around the shattered husk of the world for resources and the occasional survivor to build up settlements, and once you've finally done all that and beaten the bad guy, you do it all again on another continent. Let's admit it: when the world around you is called "Environ," story's probably not going to be a major selling point.



Instead, much of the game's charm rests on its retro visuals and audio. A Valley Without Wind looks so "Metroidvania" that you could probably swap the randomly generated avatars you choose from after each death with Simon Belmont's original model and no one would be the wiser, and most levels feature music that sounds like it came from discarded drafts for the score to Mega Man 2. In fact, the eclectic art style comes off as an homage to those golden years of platforming, with building entrances that perform like those in Zelda II: The Adventure of Link to blocky interiors that look like they were borrowed from the castle levels in Super Mario Bros.

At times, though, it's frankly jarring. Part of Valley's block of story states that a cataclysm shuffled eras of time so they exist at once in the same world, but when you jump from futuristic villages with decent textures into simplistic dungeons that look like they were transposed from 1985's Gauntlet, you could be forgiven for thinking they meant eras of video game history as well. At the very least, it makes for ugly settings; at the worst, some of the enemies almost disappear into the shoddier backgrounds.

That might have been a problem if so many of these baddies didn't look the same. There are plenty of bats and the occasional rhino lurking about Environ, but most of the time you'll be fighting goons like slender robots or floating blobs of liquid. I'm not saying floating spheres can't be scary (cue: "That's no moon!"), but when one hovers toward you with a name like "Oldsto the Warlock," it's worth wondering if some dude with a skull-capped staff and a demon sidekick wouldn't have done a better job. They're not even all that challenging once you learn a few tricks. Since one of your key abilities lets you place wooden platforms anywhere at will, you can just make one above you and fire down on the robots below. As for blobs like Oldsto? Just keep moving, avoid their ranged spells, and blast them with ranged skills of your own while you bounce around.

The good news is that you have plenty of things to blast them with. One of the big selling points of Valley is that it allows for a ridiculous number of spells. You can throw rocks if that's your thing, or you can fling fireballs and shoot lightning bolts. That's exciting in theory, but in practice you'll likely only use about three good ones most of the time and switch out when you find enemies with immunities to certain spells. At times, enemies that weren't immune before become immune for the rest of the game. Kill enough bats, for example, and all future bats become flame-immune "fire bats," which means that calling down a meteor shower on them has all the effect of using a feather to stop a freight train. If you find that you don't have the spell you need, you're expected to retreat and explore levels for rare materials that can be used to make new spells.


That exploration lies at the heart of A Valley Without Wind, and it's where you'll find the most fun--that is, if mining nodes for hours on end without much knowledge of where the right ones are sounds exciting. Unfortunately, these subterranean expeditions also showcase the shortcomings of marrying platformer gameplay with randomly generated levels. Platformers work best when there's a grand design behind them, and Valley's rambling open spaces and hodgepodge of caverns never reach the glory of carefully planned stages in games like Outland or Super Meat Boy. The very continents are random, and they unfurl on blocky maps with the titular windstorms deciding where you can travel.

There's a constant tease in play here since you can access the lair of a continent's evil overlord at any time, only to find that advancement is impossible because you don't have the proper abilities. The same holds true for most of the regular levels as well. Indeed, much of what counts as progression in Valley consists of coming back to areas you've already visited with new spells and seeing if you're ready for them, which you may not even know until you reach a crushing difficulty spike midway through a level.

You'll usually die in these cases, and the game's multiple achievements for getting yourself killed prove that this is exactly what's supposed to happen. That sounds ominous, but it's not all that bad aside from running the risk of battling the angry ghosts of the fellows you let die, which adds a extra touch of difficulty to the scenario that killed you in the first place. Your new character has all the same spells as the last one did (but not the upgrades); you'll just have a different name and different stats. More than a mere inconvenience, the design discourages you from the trial-and-error suicide runs in other platformers and forces you to look elsewhere for advancement, as in simple quests or missions against mini bosses that grant civilization points so you can nab better spells and tackle harder areas with greater ease.


The whole process gets rather tedious when you're alone, but the online multiplayer mode livens things up a bit. Here you can chat and tackle obstacles with other players (with the caveat that enemies scale according to how many players are around), although you might have a problem finding them since the infinitesimal level map used for quick travel merely gives a general idea of their location. When you finally find them, however, it plays sort of like a primitive MMORPG, right down to concerns of "ninja looting" since drops always go to the first person that picked them up.


Source : http://pc.ign.com/articles/122/1224384p1.html

Thursday, May 3, 2012

EA 'destroying' gaming, says Minecraft creator




FIFA, Battlefield, and Mass Effect publisher Electronic Arts is "destroying" gaming, according to Minecraft creator Markus "Notch" Persson.
Persson sounded off today via his Twitter feed about EA's newly launched Indie Bundle, which is presently available on Steam. Notch said, "EA releases an "indie bundle"? That's not how that works, EA. Stop attempting to ruin everything, you bunch of cynical bastards."

Persson later said his studio, Mojang, is no longer indie (something he had alluded to earlier), and offered a more damning take on EA.

"Indies are saving gaming. EA is methodically destroying it," he said.

[UPDATE] After the publication of this story, Persson dispatched a tweet of clarification. He wrote, "I got into trouble on the interwebs again! The games in the bundle are good, I'm not questioning them. I'm questioning EA."

Persson is not the first to speak out publicly against EA. Earlier this year, readers of consumer affairs blog The Consumerist named EA the "worst company in America," following more than 250,000 votes.

The EA Indie Bundle in reference launched this week on Steam, and includes DeathSpank, DeathSpank: Thongs of Virtue, Gatling Gears, Shank, Shank 2, and Warp for $20.98. The offer expires on May 9.



Source : http://gamespot.com/news/ea-destroying-gaming-says-minecraft-creator-6374907

EA 'destroying' gaming - Minecraft creator




FIFA, Battlefield, and Mass Effect publisher Electronic Arts is "destroying" gaming, according to Minecraft creator Markus "Notch" Persson.




Persson sounded off today via his Twitter feed about EA's newly launched Indie Bundle, which is presently available on Steam. Notch said, "EA releases an "indie bundle"? That's not how that works, EA. Stop attempting to ruin everything, you bunch of cynical bastards."


Persson later said his studio, Mojang, is no longer indie (something he had alluded to earlier), and offered a more damning take on EA.


"Indies are saving gaming. EA is methodically destroying it," he said.


Persson is not the first to speak out publicly against EA. Earlier this year, readers of consumer affairs blog The Consumerist named EA the "worst company in America," following more than 250,000 votes.


The EA Indie Bundle in reference launched this week on Steam, and includes DeathSpank, DeathSpank: Thongs of Virtue, Gatling Gears, Shank, Shank 2, and Warp for $20.98. The offer expires on May 9.




Source : http://gamespot.com/news/ea-destroying-gaming-minecraft-creator-6374907