Wednesday, May 30, 2012

Square Enix Announces Mensa Academy




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


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



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


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




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

Win IGN's Top 10 Games of 2011




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


The full collection includes:



  1. FIFA 12

  2. The Elder Scrolls V: Skyrim

  3. Call of Duty: Modern Warfare 3

  4. Battlefield 3

  5. Uncharted 3: Drake's Fortune

  6. Gears of War 3

  7. The Legend of Zelda: Skyward Sword

  8. Batman: Arkham City

  9. LA Noire

  10. Portal 2





How To Enter



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


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


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


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




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

FIFA 13: Predicting the Unpredictable




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


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


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


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




Attacking team AI is much stronger in FIFA 13.



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


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


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


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


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


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


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


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




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



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


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


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


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




The Player Impact Engine feels much more realistic this time.



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


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


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


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


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


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




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

Why You Should Pay Attention to Lost Planet 3




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


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


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


Luke:


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




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



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


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


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


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


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







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


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


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


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




Massive damage etc etc.



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


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


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




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



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


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






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




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

Tuesday, May 29, 2012

Resistance: Burning Skies Review




When the world you know is being overrun by ferocious hordes of murderous aliens, things can get frantic. The Resistance series has always done a great job of complementing its dire circumstances with equally fraught action, but in Burning Skies, both elements lack their usual luster. The story fails to capture the desperation of humanity's plight, and your Chimeran enemies attack with patterned diligence as opposed to the swarming intensity of Resistances past. There are some fun guns to shoot and a competent online multiplayer offering, but if Burning Skies is any indication of the fervor with which we would fight for our survival, humanity is in trouble.






Though better suited for long-range, the hunter rifle is still plenty deadly up close.






The problems start with your enemies. From foot soldiers to jetpack jockeys and dog-sized arachnids to truck-sized berserkers, the Chimera are an ugly bunch that have a reputation for attacking in substantial numbers with startling ferocity. Their vigor has long fueled the frantic combat of the Resistance series, but in Burning Skies, the Chimera seem to have lost much of their appetite for destruction. Squads are smaller and less aggressive, and if you can find a solid place to take cover, you can safely potshot your way through most encounters. Move aggressively against an entrenched enemy, and you'll be in danger, but many enemies spawn in and take a few long seconds to fire on you, leaving you plenty of time to jog up to them and hit them in the head with your axe by tapping a conveniently located onscreen icon.


This lackadaisical attitude is exacerbated by the fact that the majority of the action takes place in corridors. From a visual standpoint, these areas are drab and repetitive; Burning Skies is not a pretty game. The dull industrial areas and ubiquitous blurry rubble do not make a good showcase for the Vita's capabilities. From a gameplay standpoint, the aforementioned corridors are perfect places to use your shotgun or melee attack, both of which kill in one hit. There's certainly some satisfaction in dispatching your enemies with casual efficiency, but Burning Skies spends too much time running you through these lopsided scenarios.


Fortunately, there are times when the balance swings back the other way. Later levels use the more spacious areas to better effect, and the variety and quantity of enemies demand that you sit up and pay attention. There's a light cover mechanic you can make use of by simply crouching behind a low barrier or sidling up to a corner wall, letting you poke your iron sights out to pick off your advancing foes and allowing you some breathing room to make better use of your enjoyable arsenal.





Series standbys like the carbine, bullseye, and auger return, bringing with them regular bullets, bullets that can home in on enemies, and bullets that can travel through walls, respectively. Though Burning Skies doesn't debut any particularly clever or brutal weaponry like Resistance 3 did, the new shotgun/crossbow combo is handy at close range, while the burst fire rifle and its auto-targeting drone can help you control a large room. Effectively taking down the more formidable waves of foes usually requires juggling different weapons while repositioning yourself and slinging a few grenades for good measure. It's a gratifying feeling to pile the ferocious dead at your feet.


The more creative (and more powerful) secondary fire options on each weapon make your eight-weapon arsenal feel bigger than it really is, and the upgrade options can help you pack an extra punch. The dual analog sticks of the Vita are perfectly suited to the first-person action, though tapping the screen to trigger your secondary fire or to throw grenades definitely takes some getting used to. At first it's awkward, and you might have a few misfires while attempting to tap onscreen prompts, but before long you get the hang of it, and it works just fine. There are even some weapons, notably the bullseye, for which tapping is actually an easier way to take advantage of their full capabilities (that is, tapping enemies to tag them rather than getting them in your sights and pulling the trigger).


The short campaign takes place during the invasion of New York City. This is the first time the US has suffered direct Chimeran aggression, and there are some interesting glimpses of the preparation and misinformation campaigns that preceded this inevitable event. Quasi-animated comic images chronicle the chaos between missions, but jagged edges and ghostly geometry clutter up these simple sequences. You play as Tom Riley, a firefighter who just wants to save his daughter, his wife, and every other human he encounters (hello, contrived campaign detours!). His one-note humble heroism shtick is boring, and his homegrown militia companion, Ellie, does little to liven things up. Even the return of radio man Henry Stillman is a disappointment; his heart-wrenching monologues in Resistance 2 evoked the despair of a country overrun, but here, his by-the-book broadcasts fail to channel the panic of a nation under attack.





Once you've completed the campaign, you can go back and battle through it on a harder difficulty level, but your increased fragility doesn't do much to improve the action. Going online for some multiplayer competition is a good way to find a more dynamic challenge, though the options are limited to deathmatch, team deathmatch, and survival (every human is converted to a Chimera when killed until no humans remain). Up to eight players can compete on an array of small, well-designed maps. As you earn experience for success in battle and level up, you unlock all the weapons from the single-player campaign, and experience-boosting "infections" that pass from player to player can speed your progress.


Though fairly basic, the multiplayer action in Burning Skies is solid and satisfying. The array of weapons in play varies from game to game, and making good use of grenades, secondary fires, and salvaged firearms is key to success, especially when playing against higher level players with deadlier guns. You can die quickly and kill quickly, and this imbues the action with a welcome urgency. There are some issues that crop up, like missing sound effects and inconsistent explosives, but on the whole, this compact multiplayer suite delivers nicely.


That is, if you can get into a match. Pre-release multiplayer sessions yielded hours of entertaining matches with no network issues, but retail release has put a serious strain on Burning Skies. In hours of trying, we were only able to join one active lobby, and similar matchmaking issues are widely reported.


Technical issues may abate, but this entry in the Resistance series still falls well short of its pedigree. Burning Skies leaves little doubt that the Vita is a comfortable home for first-person shooters, but the platform's first FPS is disappointingly dated. Toothless enemies and simplistic level design make for tepid campaign action, and the solid multiplayer suite is too limited to be a big draw. There is definitely some fun to be had in Resistance: Burning Skies, but the series, the system, and the poor citizens of alternate-reality New York City deserve better.




Source : http://www.gamespot.com/resistance-burning-skies/reviews/resistance-burning-skies-review-6378997/