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Sunday, August 31, 2014

PAX 2014: The Order: 1886 Seems Great, Except for One Thing…

The Order: 1886 demo I played at PAX Prime was one of the stranger slices of a game I’ve played in quite some time. It managed to reel me in from the get-go and keep my attention until the very end, despite some deep gameplay flaws. Let’s start with the positives.

I don’t need to tell you that The Order is a gorgeous video game. The characters, setting, and lighting effects are all top-notch. The world is an interesting and unique setting that straddles a nice line between Victorian horror and alternate history. The idea of a game combining werewolves and Nikola Tesla is fantastic -- I love the looking at a historical setting and playing with the idea of what it would be like with a dash of technology here and a bit of magic there. The few major events I was privy to inside of the world were equally intriguing. The voice work and banter between my team was great, and it was genuinely one of the few times where a game transitioned from a cinematic into gameplay, and I just sat there not moving because I didn’t spot the hard-cut from one to the other.

But sadly, as much as I really admired these aspects of The Order, the actual act of playing the game resonated far less with me. This certainly isn't the first time we've had reservations about The Order's gameplay. Once I did actually realize that I was in control of my character, I was thrust into a cover-based gunfight against a mob of enemies scattered across the levels of a nearby building. The sticky-cover system definitely feels like Gears of War, which is not a knock in my book. Epic really nailed that aspect, so there’s no reason to fix what isn’t broke. But while Gears had a great suite of weapons with some fantastic visual feedback when you made contact with an enemy, The Order’s arsenal felt like some really gorgeous prop guns.

...I couldn't help but compare my progression to an early-'70s Disneyland attraction.

My main weapon in the demo was a machine gun that also fired off explosive-flares. I loved the small detail of how the flare would corkscrew through the air on its way to my target, but igniting the explosive never gave me the desired effect. Blasts right on top of enemies didn’t seem to faze them, and certain explosions would cause structural damage while others seemed to just be bursts of light. So I instead decided to focus on picking them off with my rifle. The problem here was that the bullets spread out in such a wide area so quickly, that I could burst-fire an entire clip at an enemy across a street and have every single bullet miss its target.

Trying to pick off the seemingly-endless droves of enemies became a Sisyphean task until I switched over to my tiny pistol sidearm, which didn’t feel all-that great to use, but at least did a better job at dispatching the enemies. As I made my way through the town to my eventual destination, I couldn’t help but compare my progression to an early-'70s Disneyland attraction. Enemies would pop in and out of cover, but exhibited the lack-of awareness and sense of self-preservation of an animatronic. The feedback I received from a direct hit didn’t feel empowering, but rather like when your laser-sight would get close enough to a node in a shooting gallery.

The demo closed with a moment where my party barricaded themselves in decrepit building. I was told to wander around and search for any clues in the environment that might help lead us to safety. The first quiet moment of the demo, I was immediately shocked by how close the third-person camera remained behind my character. The space we were in was relatively small, but the lack of distance between me and my avatar led to a claustrophobic and disorientating effect, and not in a good way like what Bloodborne accomplished. I finally had a moment to soak in The Order's world, and all I wanted was for it to be over.

Given how gorgeous The Order: 1886 is, I want to be able to explore its world. Given how well-defined its environment is, I want to enjoy parsing through every nook and cranny. Given how much I admire its character design and writing, I want to spend time unraveling its mysteries. I’m bummed out that the actual act of playing The Order seems to urge me away from what I want. Reading about the more horror-centric slice of the game that Colin got to play at E3 leaves me with a bit of hope that the demo I saw might not be representative of everything we’ll be playing in February. Here’s to hoping.


computerandvideogames.com
computerandvideogames.com

Ultimate NES Remix Coming to 3DS

Ultimate NES Remix, a new installment in the series of mashup NES-era mini-games, is coming to 3DS for $30 on December 5, Nintendo announced earlier today.

Much like its two Wii U counterparts, Ultimate NES Remix will feature rapid-fire challenges and mashups from 16 classic NES titles.

Other interesting features include regional online leaderboards and Championship Mode, in which will the player will be faced with a series of challenges from three different games.

IGN enjoyed the first NES Remix when it was released on Wii U last November. We were impressed by its crazy franchise mashups and the fact that it has over 200 challenges. NES Remix 2 turned out to be just as good when it was released last April.


kotaku.com
pcgamer.com

ArcheAge Has a Release Date and it's Sooner Than You Think

Sandbox MMO ArcheAge will launch on September 16, Trion Worlds has announced.

This will be preceded by an open beta from September 4-8, before those who purchased Founder's Packs get to jump in on September 12.

For those not in the know about ArcheAge, it's highly-anticipated among Western MMO fans as it subscribes to the sandbox model of gameplay. While games like World of Warcraft, Final Fantasy XIV, Star Wars: The Old Republic and the like are branded "themepark" titles as you get on the ride and have a carefully orchestrated journey of fun, ArcheAge is similar to Eve Online in the sense it hands you the tools to make your own fun, only instead of spaceships there's the usual riffs on traditional fantasy tropes.

We'll have much more on ArcheAge in the run up to launch, including our all important review.


eurogamer.net
gamesradar.com

Saturday, August 30, 2014

PAX 2014: Final Fantasy Type-0 HD: Fast, Violent, and Mature

From the 20-minutes of Final Fantasy Type-0 HD gameplay I saw at PAX Prime 2014, it seems like Square-Enix is redefining what a Final Fantasy game can be. Obviously those fortunate enough to have played the PSP game in Japanese (it never got officially translated or released overseas) know that Type-0 shakes things up, but FF fans that haven’t played it are in for a treat with this Xbox One and PlayStation 4 HD-version.

Full disclosure, I played a super small amount of an imported copy of Type-0 back in 2011. I really dug what was there mechanically, but I just couldn’t leap over the language barrier. However, a bunch of Final Fantasy fans whom I trust fully and who can actually speak Japanese told me that Type-0 was incredible and right up my alley. Turns out, they were probably right.

Much of the core Final Fantasy iconography is scattered throughout Type-0. Spells and items have their traditional names, a cute little Moogle popped up every so often and gave your party advice, and a giant Ifrit was spotted wrecking fools in a crypt. That past sentence has pretty much appeared in every Final Fantasy game over the past 25 years, so there’s no surprise there.

But everything else, though, is a completely different story. While I was chatting with the game’s director Hajime Tabata, he kept on circling back to the word mature. And honestly, that’s what Type-0 seems to be.

The maturity starts right at the ground floor. The story revolves around a pair of warring nations, each of which commands a very specific and very powerful crystal. But instead of focusing on either side’s heroes and champions, Type-0 instead shines its spotlight on a class of 14 young cadets. None of them are the game’s main character; all of them are the game’s main character. Tabata described the form of storytelling more akin to a documentary than something like a superhero comic, which is a far departure from the Lightning-centric XIII trilogy.

Note: The following video is of the original PSP version. At this time, Square-Enix has not provided any footage of Type-0 HD.

Each of the 14 cadets brings their own distinct flavor to battles. One used playing cards as projectile attacks, one was packing the whole suite of high-level magic spells, and another was an incredible fast and agile swordsman. Tabata told me that there's a character who only uses a flute, which seems to be the worst possible thing to ever bring into war. All 14 characters go with you on missions, and if all 14 die in combat, it’s game over. But while all 14 are there, you only manage a party of three at any given moment. You’re able to swap between while of the trio you’re directly controlling at any given moment, which leads me to my next point: Final Fantasy Type-0 HD is ridiculously fast.

Sure, Lightning Returns brought real-time action to the FF series, but the speed at which Type-0’s battles occur is insane. I was watching the game’s director play through a series of fights, and I kept being surprised by how action-oriented everything was. It felt more like DmC or Bayonetta than a traditional Final Fantasy game, and I say that in the best possible way. But within that tremendous speed was an obvious emphasis on strategy. He had to continually swap between his party to combat the situation at hand.

A group of enemies up above the cadets were raining down gunfire. He used his mage to erect a gigantic transparent wall that helped shield his party. He then swapped over to the card-thrower, and dispatched the enemies from behind cover. But as soon as that was finished, a group of monsters busted through to the courtyard, at which point he had to swap back to his heavy and engage them face-to-face. T,All of this occurred in just over 10 seconds. The fact that this dynamic existed so fluidly with just three of the 14 characters got me immediately excited for the possibilities and experimentation that Type-0 will offer, and honestly, the speed of the game seems to be something that will ease player’s into the action of Final Fantasy XV.

While talking with Tabata, I brought up a lot of the questions we had immediately following Type-0 HD’s stealth announcement back in June at E3, first and foremost, why isn’t it coming to Vita. His answer was a bit vague, but he kept circling around to the idea of his excitement of finally being able to play through the portable game on the big screen, on new hardware, and the fact that it’ll now be able to get out to a much wider audience.

Tabata also assured me that Type-0 HD will be a full retail game, and while he couldn’t comment on when we’ll be able to play it, he mentioned that it’s currently about 80% done. From the demo I saw, it looked good and ran super smoothly, but don't expect the kind of visuals we saw at the XV demo back at E3 2013. It's still definitely built upon the foundations of a game from 2011. But honestly, that's not a big deal for me considering how interesting the world seems, and how deep the combat options go.

Obviously die-hard FF fans are counting the days until Square gives us another look at Final Fantasy XV, but Type-0 HD seems like something that will make the wait more-than bearable. Its story, approach to characters, and the speed of the action all immediately helped the game sink its hooks into me. I'm looking forward to seeing if all of those people who told me I'd love it were right.


gamespot.com
computerandvideogames.com

Desert Ashes is Coming to PS Vita

Desert Ashes, a free-to-play turn-based strategy game is coming to PS Vita this fall, Oyaji Games announced yesterday on the PlayStation Blog.

At launch, Desert Ashes will include three single player campaigns, online PvP multiplayer and local PvP multiplayer on the upcoming PlayStation TV.

One of the more interesting features of Desert Ashes is how its multiplayer works. "There are different timers you can set before you can declare victory on your opponent if they take too long. There will be 5 minutes, 20 minutes, 8 hours, and 24 hours. Also, with the online multiplayer you can play on your Vita while you’re out, and then continue your match exactly where you left off at home."

Oyaji Game's most recent title, Mecho Wars, was featured in IGN's list of great unsung iOS games.


ign.com
pcgamer.com

Strife: Taking Lessons from League of Legends, Dota 2, and Heroes of Newerth

[Editor’s Note: The following preview assumes some knowledge with the MOBA genre. If you’re totally new and want to learn more, why not check out IGN’s great Wiki for Dota 2 and League of Legends.]

Strife'€™s design foundation is not that far from soccer.

More than anything else, the word I heard used to describe S2 Games’ new MOBA Strife was “accessibility.” However, since accessibility is often perceived as a negative, S2 Games’ CEO Marc DeForest was quick to point out how Strife’s design foundation is not that far from soccer. Soccer requires one ball and is probably the easiest sport to start to try and play (contributing to the fact that it’s so wildly popular), but player skill varies wildly, from children bumbling around on a street corner to the pros who represent their nations in the World Cup. Like soccer, Strife aims to be easier than its competition to get into, but also have a metagame and competitive level of play that will satisfy the hardest of the hardcore.

So how exactly do you make a MOBA, one of the most intimidating genres of games, accessible? For S2 Games this meant taking a look at their own titles and the competition, and deciding which features supported intuitive, non-toxic gameplay, and which were unnecessary holdovers in their attempt to stay true to the original DotA.

In practice this means cutting out mechanics such as denials (where players kill their own minions to “deny” the team gold), as well as changing how last hits work. Last hits now count for any team member in your lane no matter who got the final hit, hopefully alleviating the constant bickering between players for “stealing kills.” This change to last hits is also intended to make it so each person feels like they have a reason to stay engaged in combat, something S2 takes issue with in other MOBAs.

That idea of keeping you engaged in combat also influences many other changes that Strife brings to the genre. Like Dota 2, Strife has couriers to carry your items in combat. Where Strife diverts from Valve’s game is that every person has their own unkillable courier. The courier in Strife is intended to be a visual indicator to the enemy that you’ve received an item, and to prevent you from having to constantly return to base to shop. It’s convenient, resulting in faster item progression for everyone and no bickering over who gets the courier next.

The out-of-combat health and mana regen of Strife also help matches progress at a faster pace than the competition.

Likewise the out-of-combat health and mana regen of Strife also help matches progress at a faster pace than the competition. In Dota 2 or League of Legends it’s common to return to base in order to rapidly regenerate. You can do this in Strife as well, but you also can passively regen health and mana by simply staying out of combat for a few seconds. The enemy can see this visually, creating a dynamic where they attempt to interrupt your regen. More importantly, though, it just reinforces the idea that you’re meant to stay in the fight, contributing to matches that last somewhere around 30 minutes, as opposed to the 45-minute or hour-long matches of Dota 2 or League of Legends.

When it comes to item building, arguably one of the most intimidating systems in MOBAs, Strife simplifies the process. For instance, no completed item in Strife acts as component in another item’s recipe. Furthermore, you don’t have to make decisions about whether you want to build certain types of damage, you just build one stat called Power and it translates into your character’s type of damage (Magic or Attack). You can still build items to counter another player’s attack type, but fewer items exist overall since they can all be used to boost your specific type of damage.

Where item builds get into the sort of minutiae more experienced players will like is in Strife’s new take on customization. Between games you can spend in-game or actual currency to create augmented recipes of items. For instance, you could take the most basic bracer of the game and augment it so it gives additional power, health, or mana. Doing so proportionally increases the cost to build it in the game, but also allows you to tailor various items to your playstyle. If you want to be a carry, then you might go all power augments for your items; a tank might choose health augments. Items have limits on what additions can be put in on them, too, insuring that low-level items won’t necessarily be amazing into the late game.

Strife also introduces additional complexity via its pet system, but does so with accessibility in mind.

Strife also introduces additional complexity via its pet system, but does so with accessibility in mind. Like League of Legends’ Summoner Spells, Strife gives players additional, account-wide powers that they can periodically cast in battle. However, while you have to click on an enemy or open a menu to see what Summoner Spells they brought in League, in Strife you can simply look at their pet. Each pet gives one additional spell, and this spell is always tied to the avatar. So as soon as I see an enemy player with a turtle, I know that they have additional defensive spell options, while a player with the cat-like pet are likely going to play aggressively.

The changes, or rather abolishment, of strict player roles also makes Strife easier to jump into. If you’ve never played a MOBA and jump into League or Dota 2, you might not understand why certain characters are told to go into specific lanes, or why someone is telling you that you’re a “jungler.” In Strife every character can and should get player kills, most of them have abilities that can support teammates, and you won’t find a single item or character tailored to be in the jungle. The primary focus of Strife is to keep combat in the lanes, keep everyone in the fight, and prevent arguing over who on the team isn’t playing their character “right.”

This focus on keeping all players viable for lane engagements, as well as attempting to make no player feel like they have to do something also influenced the decision to get rid of Wards entirely. Instead of Wards, players get additional vision by controlling Observatories placed in key locations on the map. Taking them like a control point, the team gets temporary sight over key places, allowing them to line up ganks or figure out if it’s safe to take on hero creeps. Vision has always been a problem for newer players to wrap their heads around, and with the deemphasis of roles in Strife this feels like a natural, and welcome, fit.

Strife'€™s boss comes in the form of an angelic being who, once killed, unleashes a giant ape named Krytos into a lane of your team'€™s choosing.

If you’re going to be focusing on fighting in your lane and staying in combat, the designers of Strife felt they had to redo the way Boss creeps are handled, too. Instead of one uber boss that you fight in order to simply get an item or buff that may or may not influence how a fight carries out, the team wanted a mechanic that forced a fight, pushed the game’s progress forward, and prevented a team from turtling in their base in order to farm for a long-winded rally. To this end Strife’s boss comes in the form of an angelic being who, once killed, unleashes a giant ape named Krytos into a lane of your team’s choosing. Once he’s on the field, Krytos marches forward, destroying enemy towers in a fury until the enemy team kills him or he kills himself (he strikes so hard he hurts himself is the lore, but in practice it just keeps him from winning the game for you).

But before you jump headlong into the multiplayer, which even with its more accessible featureset is still intimidating for a new user, you could always cut your teeth on its single-player content. Yeah, really, you read that right, Strife is the first MOBA that will feature regularly released single-player campaign levels. The first only takes about a half-hour to complete, but does a good job at introducing basic mechanics and providing the foundation for Strife’s lore. More content is slated to roll out regularly, though the schedule has yet to be defined.

If you end up loving Strife, S2 wants you to be able to share that love via streaming, and the game’s integrated Twitch makes it easier than the competition. No need to download additional software, just jump into the game, login to Twitch, and then start your stream. With League and Dota 2 being the top two most-streamed games on the service, it’s very forward-thinking of S2 Games to make the process as painless as possible for users.

If you’ve played other MOBAs and hated the toxic community, lamented about how hard it was to learn the characters or systems, or just wanted to dive in and not worry about what role you should play, then give Strife a try. I don’t think it’ll act as a replacement for Dota 2 or League of Legends, but it differentiates itself enough to stand out, and is a good reminder that accessibility shouldn’t be used derogatorily.


computerandvideogames.com
n4g.com

Friday, August 29, 2014

Bayonetta 2 Release Date Confirmed

Nintendo has confirmed Bayonetta 2 will be released in North America on October 24.

There's still no firm date for other territories beyond October, though we're chasing up to see if the company is prepared to spill the beans.

Bayonetta 2 is a Wii U exclusive, and will come bundled with the original game too. Though fans have been fairly insistent that Platinum rethinks the exclusivity situation, the developer has explained on more than one occasion that the circumstances surrounding the sequel's development means this is unlikely to happen.

For more on the hotly-anticipated title, check out our thoughts when we went hands-on with the title and found it to be unrelenting, gorgeous and totally outrageous.


gamespot.com
ign.com

Nidhogg Coming to PlayStation Vita

Multiplayer party game Nidhogg is coming to PS Vita, and will be released simultaneously alongside its PS4 version.

It will be cross-buy between the two platforms, meaning you only have to pay once in order to have them on both Vita and PS4.

You can play locally, Vita-to-Vita, in ad-hoc mode. You'll also be able to connect to PSN and play against people online.

In a pinch, two players can even play on a single Vita with one thumbstick per player.

Nidhogg is an indie two-player fencing game developed by Messhof, originally released on PC in early 2014. In IGN's review, we named it "the most exhilarating competitive game" that we'd played in years. The PS4 version was announced in May, though a fixed release window has not been named for either the PS4 or PS Vita versions.


joystiq.com
joystiq.com

ASUS Transformer Book Flip Launches at COMEX 2014

​ASUS has once again returned to the COMEX Show in Singapore with a slew of new devices that come with attractive price tags. The 4-day tech exhibition is one of Singapore's largest IT and consumer tech shows, taking place at Suntec Convention and Exhibition Hall.

One of the star products of ASUS lineup this year is the new ASUS Transformer Book Flip, a 2-in-1 Windows 8.1 laptop with a 360-degree rotating touchscreen. The stylish-looking notebook comes with hinge design that enables the screen to be set at any angle. The Flip is also a solid performer too, packed with up to NVIDIA GeForce GT840M graphcis card and the latest Intel Core processors.

The ASUS Transformer Book Flip's display can be set at any angle

Available in two different screen sizes - 13.3 inches and 15.6 inches - the Flip is now available at COMEX as well as all ASUS authorized retailers and brand stores at S$1,098, S$1,198 and S$1,398 for the 13.3 inch and 15.6-inch i5 and i7 models respectively.

In addition to the ASUS Transformer Book Flip, ASUS is showcasing several products from their lineup of powerful computing devices, such as the Transformer Book Trio, the MeMO Pad 8, and ZenFone 5 LTE.

For more great deals and promotions on ASUS products, visitors can check out the ASUS booth at COMEX 2014, Suntec Convention and Exhibition Hall, Level 4, booth 8218.


ign.com
n4g.com

New 3DS and 3DS XL Announced With Extra Buttons

Nintendo has revealed redesigned models of the 3DS and 3DS XL featuring an additional directional button and trigger, along with NFC support.

Referred to simply as the "New 3DS" and "New 3DS XL", the refreshed handheld models purport to feature an improved screen enabling the 3D effects to be viewed from more angles than before. They also boast improved CPU and longer battery life.

New_3DS

Despite the new additions, the handhelds will be the same size as the ones currently available. A new C-button grants the ability to control games with dual analogue controls, while a micro SD card slot and NFC-technology are also part of the package. Interestingly, this means the planned NFC reading device the company's talked about in relation to its new Amiibo range is likely only relevant for older models.

Nintendo UK PR has confirmed we won't see it before 2015, but a Japanese release is expected first. As an additional quirk, a new range of face plates will be released for the handhelds, much like the ones you can get for mobile phones. Ones shown off include Mario and Animal Crossing.

Finally, a new 3DS firmware update should crop up soon, bringing with it the ability to change your devices theme. Classic Mario and The Legend of Zelda: Link Between Worlds are the only ones seen so far.


eurogamer.net
gamespot.com

Call of Duty: Advanced Warfare - Supply Drops Trailer Call of Duty: Advanced Warfare - Supply Drops Trailer

kotaku.com
gamespot.com

Thursday, August 28, 2014

Grunt work.

I know that Firefall is a massively multiplayer online game, because my first steps in it are dogged by another human player who deliberately places himself--for the better part of an hour--directly in front of my face any time I stand still. I know that Firefall is also a shooter, because any screen space not immediately occupied by this most ancient of trolling rituals is devoted to a very large gun, and this gun is the sole consignee of that all-important left mouse click. And I know that Firefall is a role-playing game, because my quests involve traveling to far-flung fields and perforating ten of whatever I find there.

That's a bit glib, I know. But would that I could leave it at that. Because while it's true Firefall doesn't outright botch its social scene, shooting, or role-playing elements, each is marked by that perfunctory sort of execution that always defies criticism. There's nothing fun or thought-provoking about designating these things "standard," so let's table them for the moment and instead talk about the thing I prefer to spend most of my time in Firefall doing: climbing.

Firefall's colorful environment manages to override most fatigue with its lush battlefields.

Climbing won't make any back-of-the-box features list, and not just because the free-to-play Firefall is only distributed digitally. Here, the action has that unrehearsed, clumsy manner of games where climbing is included but not quite "designed," like in Borderlands with its trash heap jungle gyms, or Skyrim's mountainsides that have to be scaled with a sort of zigzag humping motion. Like the former game, Firefall confers a floaty, powerful jump (here bolstered with a jetpack), and like the latter, it offers plenty of alluring heights to test it against. Looming crags, giant coral formations, and neo-futurist superstructures litter the horizon, practically begging to be scaled. Of course, Skyrim and Borderlands nestled Easter eggs in the promontories and nooks of their open worlds, items and secrets that acted as an assenting nod to the player's vagabond explorations. By contrast, if you reach the top of a giant mountain in Firefall, or the depths of some strange and glimmering cave, you might find at best a few cast-away assets: a desk, or maybe a crate. As developer nods go, that's almost imperceptible.

But at such heights, you can get a good view of "The Melding," a towering, weirdly inert cloud wall that fences in the playing populace, and the Arclight, the giant, crashed spaceship that serves as the other grand monument to Firefall's stillborn lore. You and the rest of the protagonists are on Earth, ostensibly, though creative license has run roughshod over the topography and filled the beaches and jungles of Brazil with bulbous, otherworldly rock formations and oversized nautilus shells. The planet's been ravaged by meteors and aliens in turn, and the last dregs of humanity are staking out a milito-corporate lifestyle in the fringes of the tropical wilds--Borderlands again, by way of Halo.

The action has that unrehearsed, clumsy manner of games where climbing is included but not quite "designed."

From the cel-shaded, intermittently quirky cast of quest-givers and their predilection towards remote communication (even when standing next to you), to the lazy twang of the ambient soundtrack, Gearbox's shooter feels just a bit too present. Even the game's mission-giving job board--one of the basest, most ham-handed conventions to be found in modern video games--makes an appearance, playing its usual role of making saving the world feel like punching in at an assembly line job. Grab a ticket, kill [number] of [bandits/wildlife/aliens], report to [location], click on [object], collect [rewards].

Other than shooting, of course, the particulars of your job are dependent upon your selection of battleframe (mechanical exoskeletons are the new future's flying cars), which serves as your traditional MMOG class. I picked the Dreadnaught, the game's euphemism for "tank," but the decision really only amounts to a bit of garnish on the shooting drill all classes partake in: line up the enemy in your crosshairs and press the mouse button until the red bar symbolizing its joie de vivre wanes. Each class gets a smattering of more specific hotkey abilities, but I found myself employing those more out of desire to speed things along than to save my hide. Forget a need to group with other players--there simply isn't enough risk in the greater part of Firefall to warrant it. Most enemies aren't equipped with the smarts to step away from incoming gunfire, let alone process your ability to jetpack to high ground or a few hundred feet away. Even if you manage to die, the only consequence is the long jog back to the battlefield.

Hop onto a nearby ledge, and you've effectively won most battles against the inept AI.

If you can't entertain yourself by clambering around the environment to line up a nice screenshot, then this remediation of rates becomes the salient feature of Firefall. The game is a cold war against the extra seconds, minutes, and hours that are cast in front of you to turn the eye towards the real-money marketplace. If you want to craft items, you need to pay your tithe in either time or dollars, but the more efficient player sees that mission rewards supersede anything you could create anyway. Even savvier players might eschew the missions entirely, to better focus on the pop-up side-quests that can be turned in a bit quicker, without any of that tedious exposition.

While there isn't anything inherently wrong with a free-to-play model, it does stretch what would otherwise be a once-a-month decision to re-up a subscription into a perpetual state of cost-benefit evaluation. It's hard to invest in lore that's so inextricably tied to the grind of missions or side-quests, hard to suspend your awareness of that grind when you're awash in constant pitches for boosters and special unlocks. A purchasable vehicle might mitigate the dreary 1,200m hike between mission markers, but a better game wouldn't have the dreary hike in the first place. I could avoid all that for a time, and maybe do some climbing, but you always have to come down eventually. In Firefall, there isn't much waiting for you when you do.

Silent but deadly.

CounterSpy is a slick operation. The stop-and-go nature of your average stealth game often makes it difficult to strike a balance between proper pacing and mechanical consistency, as dodging vision cones and memorizing patrol patterns forces the flow of combat to pop and sputter. However, CounterSpy's responsive espionage action and polished movement keep the tempo moving at a steady clip. Precise gunplay and close-quarters combat gives you tactical freedom when clearing out rooms of grunts, and rich customization options present new ways to play each of the procedurally generated missions. A few nagging AI inconsistencies and the stunted runtime are disappointing, but CounterSpy's superb presentation and satisfying executions make for a sterling package that deserves the spotlight.

It's CounterSpy's simplicity that makes it so instantly appealing. Instead of encumbering you with complex systems, the side-scrolling missions have you simply jumping and shooting your way through a series of safeguarded rooms in order to grab critical intel. Natural cover provides a bounty of openings to slow down and pick your shots, but quickly raising your weapon and popping off a few rounds once you elevate suspicion can be just as efficient. You're encouraged to silently snap necks and deliver hot lead between your opposition's eyes, but your crafty spy has enough dexterity and raw firepower to deal with the repercussions of being spotted.

It's easy to pick up and play, but that doesn't mean that the game lacks depth. Peeking over cover alters your perspective, transforming CounterSpy into more of a third-person, gallery-style shooter than a 2D side-scroller. Leaning against walls emphasizes that effect by letting you fire at enemies in the distance, deepening the environments. This perspective shift occasionally breaks a few key mechanics; I often awkwardly wrapped my arms around guards who were standing in the background, for instance. What did and didn't grab someone's attention also seemed to shift from one cover spot to the next, but effortlessly emptying rounds into enemies on multiple planes without alerting a single soul is genuinely satisfying.

The most obvious armament to have at the ready is your silenced pistol, but if things get hairy, you have options. Collecting schematics unlocks new weapons to take into the field, giving you the ability to go loud with a shotgun if the numbers begin to stack against you. Modifiers, on the other hand, offer competitive advantages like greater endurance and silent steps even as you dash across the screen. Of course, everything costs a bit of in-game cash, and since purchased modifiers disappear after completing a level, you have to cleverly budget your resources in order to tackle the more difficult missions with the most effective loadouts. But as long as you play smart and explore the supplementary screens of a given location, you won't be short on money.

Please click above for more CounterSpy images.

Getting spotted won't result in mission failure, but there are consequences if you don't practice restraint in combat. CounterSpy takes place in an alternate Cold War setting, meaning there's an ever-present threat of a nuclear attack--in this case, on the moon--hanging over your head. It's a constant race against a doomsday clock, and being seen on security cameras or letting a soldier alert a superior of your presence over radio will expedite the launch. As an agent of the impartial C.O.U.N.T.E.R organization, it's your job to keep both The Imperialist States and The Socialist Republic at bay by monitoring the separate alert states for each fictional nation.

The '60s setting is best represented through its smooth jazz jingles and cel-shaded aesthetics, which are sharp on both the PlayStation Vita and home consoles. Period-appropriate uniforms and propaganda create a strong sense of place, while the reactive shadows and deep reds and blues produce a consistently soothing tableau. CounterSpy never breaks character, and while you're often scoring headshots and snapping necks, the game still finds time to add a healthy dose of dry humor into the sparse dialogue.

The red scare.

CounterSpy is just a cool cat, but regrettably, it's over before you've had enough. No two levels are the same, so you can keep rolling the dice before reaching the game's conclusion in order to discover fresh level geometry. However, it took me about two hours to reach the credits, and I still wanted to see more. You can spend additional time finding weapon schematics or boosting your high score on the global leaderboard, but I wish there were better reasons to continue playing with the game's refined systems.

It might be short, but I enjoyed almost every minute of my time with CounterSpy. The movement and gunplay are smooth and responsive, and the lovingly crafted presentation remains stunning throughout. This is a stealth game that makes you feel as silent as you are deadly, and is wonderfully, wholly refreshing.

Let your light shine before men.

Some games are about people--their struggles, their hopes, their dreams, their powers. Other games are about systems and logic. Blocks fall from above and you maneuver them into place, you twist dials into the correct pattern, or you collect enough currency until you can afford a stronger helmet or a sharper sword. Then there are the games about place. The Chronicles of Riddick, for instance, is less about Richard Riddick and his throaty threats than it is about Butcher Bay, a stifling prison that serves as a parched planet's only bastion of intelligent life. Assassin's Creed features plentiful characters--heroes, lovers, and betrayers among them--but the cities of Damascus and Jerusalem, their temples and mosques, the way the golden spires reflect the sun, are the centerpieces of the historical journey.

And so it is with Metro Redux, a collection of two melancholy games, each of them crushed by the weight of a ruined Earth with little hope to tender. Both adventures allow you time to choke on their dusty, irradiated air, time in which you simply are, time that makes you wonder how the survivors of humankind's nuclear error find the will to carry on. In both Metro: Last Light and in the refashioned Metro 2033, there is more dread in the deafening silence than there is in the retort of a shotgun. In the metro tunnels beneath Moscow, you scavenge for ammo to use as currency as well as munitions, burn away cobwebs with your lighter, and search for gas masks that allow you to breathe the perilous air should you approach the surface. There are pockets of humanity within these depths, and while they provide you some companionship and even an occasional shimmer of joy, even outposts prove perilous. You might weather the factional turbulence that pits brother against brother, but the emotional fog of desperation still proves noxious.

It's possible you may have filled the role of series hero Artyom and trudged through this thick misery before. Returning to such a dismal place may not sound too appealing, but there's something to be learned about the resilience of humankind down there, where mutants and other grotesqueries lurk. Metro 2033 most benefits from this new iteration, practically feeling like a new game given the newly structured storytelling and a visual upgrade that raises it close to the bar Metro: Last Light later set. Given the recency of Last Light, your memories of 2033 may be colored by the more recent game, which featured far better lighting and a more sensible user interface, but a side-by-side comparison of the original and the remastered 2033 is striking.

Consider, for instance, the first moment you emerge into the Russian winter. The original game suggested the frigidity in part by way of crystalline fractals upon your gas mask; in the Redux version, a full snow is underway, and the sense is less of a brisk chill than it is of a piercing bite. When a massive door opens and an explorer returns from his excursion, you now see the passage behind him rather than a murky suggestion of it. Character models are brand-new, replacing the dead-eyed originals with faces and bodies that look somewhat more natural, if still a bit stiff. In some cases, I prefer the original vision to its replacement; I still find vanilla 2033's nosalises more terrifying than their newer models, and hunters that once donned alien-looking gas masks with night-vision goggles attached sometimes wear more mundane masks now. But once was a high-contrast haze now looks more natural, objects casting proper shadows and beams of light no longer washing away the finer details.

You might weather the factional turbulence that pits brother against brother, but the emotional fog of desperation still proves noxious.

You'd be harder pressed to find sweeping visual changes in Redux's version of Metro: Last Light; it is the standard to which 2033 has been raised. The more meaningful difference here is the ability to apply 2033's more stringent supplies of gas masks and ammunition, thus addressing a shift in difficulty that the original's most strident fans bemoaned. Conversely, should you prefer Last Light's original balancing, you can apply it to 2033. In either case, choosing similar levels of challenge between the two games helps smooth their differences, making playing both games in succession a heartrending and rewarding experience that feels less like playing a game and its sequel, and more like playing a single game that has been split into two units.

The differences between Last Light's and 2033's innate levels of difficulty aren't so vast that they evoke different emotions. Instead, the difference is in degrees--degrees of tension, degrees of fright. However you choose to play, the tunnels and the surface above are both fraught with dangers, dangers that feel all the more harrowing when you confront them after long stretches of only seeing signs of them and being warned of their presence. In both games, I remember the first time a winged demon soared in from above, grabbed me with its fearsome talons, and dropped me to the ground. It was terrifying, this sudden loss of control, the sight of the scorched earth beneath me, the demon drilling its screeches into my skull. I knew these moments were coming but I was still left breathless each time. And when the creature dropped me into the poisonous water below, I grimaced as I caught a glimpse of another victim's visage before succumbing to death.

However you choose to play, the tunnels and the surface above are both fraught with dangers, dangers that feel all the more harrowing when you confront them after long stretches of only seeing signs of them and being warned of their presence.

Clearly, Metro Redux owes as much of a debt to survival horror games as it does to shooters, no surprise given how so many members of its development team lent their talents to the S.T.A.L.K.E.R. series. You spend as much time if not more soaking in the darkness as you do firing a weapon, and even when violence is imminent, you can approach many situations as a stealthy hunter. Metro: Last Light's levels are more carefully structured than 2033's, giving AI-controlled Nazis and Communists room to spread out and flank, whereas a few too many of Metro 2033's levels squeeze the action into chokepoints that can give the game a smidgen of a shooting gallery feel. I enjoy the silent lurking, sneaking from one light source to another to plunge the area into darkness and then knifing soldiers one by one. When guns begin to blaze, it is the Valve rifle with reflex sight that I am most drawn to when at medium range, thanks to its powerful blast and the way headshots land with such drama. Up close, each shotgun proves a vital tool of brutality. The weapons and enhancements introduced in Metro: Last Light are available in Redux's version of 2033, again making this package feel like a single cohesive experience.

Whether or not the AI is aware of your presence, it doesn't go out of its way to prove itself resourceful. Once on alert, enemies are aware of potential danger but not of each other, allowing you to pick one off after another as they turn the same corner, or simply bump into each other and walk in place should their respective destinations force them cross paths. Off the battlefield, your fellow humans prove somewhat more capable as conversationalists; they're weary and sometimes wise. I cannot speak to the authenticity of the Russian accents, but I am struck by how so many characters find ways to laugh and sneer at destiny. You are often joined by others, on the battlefield and off, each of them speaking with both regret and a kind of morbid cheer, as if they had just recently drowned their sorrows in a liter of vodka.

Other attempts to bring humanity to the shadows are ultimately more laughable than they are compelling. In Metro 2033, you encounter a little boy who, like so many children in video games, neither looks nor sounds like a boy but instead like a miniature adult doing his best impersonation of a kindergartner. The following sequence, in which your movement is hindered because you must carry the child, would have been tense were it not for the the unrealistic way your ward speaks, acts, and moves. Metro: Last Light, in the meanwhile, raises its supernatural stakes during the final third with a gameplay hook that isn't to everyone's taste. I am still moved by the events that follow, and by the way Artyom acts as a conduit between forces that don't understand each other. Yet I can't help but recognize that many of the game's most poignant moments come by way of the metro's residents and their stubborn refusal to succumb to travesty. The later moments feel more forced and manipulative, less about the needs of those that suffer and more about the needs of the writers to lead the game to its natural and heavily foreshadowed conclusion.

Then again, Metro Redux isn't really about any one of these people--not Artyom, not any so-called Dark One, not Bourbon, and certainly not any of the game's few women, most of whom exist as entertainment for men, whether as can-can dancers or as naked silhouettes. No, this compilation is about a place. It's a place where you can hear the laughter of children long since dead, and the screams of aircraft passengers moments before their incineration. It's a place where you must fear both the hideous mutants that prowl as well as humankind--and yet it's only with humankind that you might find safety. It's that ebb and flow, that movement in and out of danger, and the panic you feel when danger finds you even when you think you should be most at peace, that makes Metro Redux such an excellent tour through the best and worst of a society in ruins.

Simple serpentine.

Hohokum shows you respect from the very beginning. Instead of leading with tutorial messages explaining how to make use of the slick and stylized movement, this vibrant, abstract trip lets you experiment with what’s provided to discover how to interact with the world around you. No one tells you to drag the contours of your multicolored serpent through the petals of a towering flower, or collide with the porous edges of a sea sponge in order to affect the nearby wildlife. Each new world presents a medley of subtle environmental puzzle pieces that need to be pushed, pulled, flipped, and correctly bumped into place to create a clear picture, and it takes patience to fit them all together.

The non-linear, experimental gameplay is the greatest strength of this audiovisual jewel, but it’s also the core of its most pervasive fault. At its best, Hohokum provides pure, cathartic bliss through hypnotic movement that’s extenuated by the free-form puzzles. No two worlds are the same, and the creative manner by which you complete them often slap a contagious grin on your face. However, once the heavy dopamine dose dwindles to a drip and your progression stalls, you begin to curse the given respect that was once so cherished. Failing to see the next step forces you to slither through every element of the geometry in frustration to find how to progress, transforming your previously relaxing session into a true test of commitment.

The greatest challenge might come from describing the game itself, though, as most of the worlds in Hohokum are brimming with nonsense. You direct a single serpent, dubbed the “Long Mover,” to sashay from place to place. You can’t attack or communicate with the many people or objects that paint the backdrop, so you’re instead left with no other choice but to bump into things. And once you bump into the right things, a light bulb goes off. Flying over a clay pot sends it crashing to the ground, so what happens if I break all of them? What will that change?

You play with the different pieces until the systems start to become clear, and after completing the given tasks in a world, a fellow serpent with its own distinctive colors and features is freed and sent back to your hub world. There are other secondary “objectives” to consider in each environment, but the real goal here is to find and free all of the serpents.

Credits roll once every serpent is safe, but Hohokum doesn’t push you to progress to the conclusion. There were times when I wondered if I was even working toward a true ending, as the cheerful nature of this often aimless jaunt does its best to keep you in the moment. Each location has a personality all its own, and when you’re barreling through silhouetted lamps that brighten to expose an otherworldly milieu, it’s difficult to think about much else but the brilliant lighting and melodic tones.

Hohokum plays like nothing else out there, and its presentation is just as idiosyncratic. Unearthly critters scurry by as you float between purple mountains and bright yellow monuments. A gem-strewn cave draped in darkness is just a short trip away from a farm with dynamic reds and blues that coat fields of wheat and healthy oaks. The fantastical characters blend perfectly with the make-believe worlds, and the glue that holds it all together is the soundtrack. The reactive electro beats ting, fizz, and buzz as you fumble over items, creating a singular sensory package that sticks with you.

All the worlds are open from the word “go,” giving you what initially feels like endless things to see and do. It’s not necessary to free each and every serpent from the 17 available worlds to have fun with Hohokum, but I like seeing credits roll. I enjoy actually completing a game, and while I understand the appeal of spending 15 minutes after work casually exploring Hohokum’s charming locales, I wanted to get to the end. Unfortunately, that can be a chore.

Exploring all the available options within a given world is a treat, as there’s great satisfaction that comes from the many “ah-ha!” moments that lead to freeing a new serpent. But I found myself unsure of the next destination on far too many occasions. Fresh worlds are accessed by opening portals in previously discovered areas, but without knowing where you should go next or how to get there, you find yourself frantically stretching from level to level without a clear focus. It becomes a boring scavenger hunt that sullies the pacing, and it often forced me to try to interact with objects in less obvious, more tedious ways in an attempt to crack the code.

It’s easy to get lost in Hohokum’s enchanting scenes, but it’s just as easy to come crashing back down to Earth when you lose your way.

The silky-smooth flow of Hohokum amplifies these aggravating moments. How and in what order you want to complete the worlds is up to you, but you settle into a soothing rhythm once you begin to understand the systems. It’s easy to get lost in Hohokum’s enchanting scenes, but it’s just as easy to come crashing back down to Earth when you lose your way.

The through line can be frustratingly faint at times, but Hohokum is just too creatively rich to pass up. The vibrant environments are ceaselessly pleasing, and few soundtracks better match their visual counterparts than the pair found in this ebullient playground. Whether you’re carrying citizens on your snake-like back to a Ferris wheel or leading a school of fish through pockets of water, the charm so deeply embedded in Hohokum–even at its most frustrating points–never wears thin.

Magic mirror.

Video card games currently enjoy a significant niche in the gaming landscape thanks to Blizzard's Hearthstone, Stoneblade's SolForge, and even paper stalwart Magic: The Gathering's abundant online options. The once-physical phenomenon that is the collectable card game is now being leveraged in the digital space thanks to the genre's easily-exploitable business models. That means more options and enjoyable experiences for card game fans, but also more iterations of what came before. Might and Magic Duel of Champions: Forgotten Wars stands in the middle of these two possibilities, offering a derivative experience that is at the same time fun and rewarding in its own right.

You don't have to look too closely to see what other familiar mechanics Forgotten Wars is stitched together from. Each deck requires a hero card be included--the mechanic Hearthstone is built upon--which determines your starting health, base attributes, and other abilities, some of which are unique to that hero. The resource statistic you expend to play cards is also reminiscent of Hearthstone: you receive a set amount of resources each turn, starting at one and progressively increasing by increments of one during each supply phase. Hearthstone caps this progression at 10, but Forgotten Wars expands the limit even further. Still, the idea is the same: you start each game playing less powerful cards and gradually play more powerful ones later in the game.

Positioning also plays an important role. You can play creatures, spells, and buildings in one of eight slots on the board, which form lines and rows that game effects can target. If a creature is unimpeded by an opposing one in front of it, it can attack the opponent's hero directly. Otherwise, you'll damage the creature standing in its way, though you also have the option of moving your creature to an empty space instead of attacking. This system is much like SolForge's, though Duels offers eight potential slots to SolForge's four, which greatly increases both the possible interactions and the complexity of play.

You may have noticed the not-so-subtle trend at this point: Duels of Champions aims to take proven mechanics from high-quality competitors, mix them together, and turn the volume up to 11, making for a bigger, badder end product. Since there is no ceiling to the amount of resources you can produce, you can create game states that completely turn the tables on opponents later in the game. The expanded positioning system gives the game a greater tactical crunch and multiple visual dimensions, allowing you to fight the enemy on multiple fronts. Grouping creatures into three different types that determine where you can deploy them--melees in the front, shooters in the back, and flyers anywhere--reinforces the emphasis on greater complexity and puts an original stamp on Duels's contributions to the genre.

The idea of Duel of Champions is simple enough: you build decks of cards that act as creatures, damage spells, and other effects with the sole purpose of reducing opponents' life totals to zero using these cards in concert.

While pumping familiar mechanics full of steroids is a surefire way to wring as much out of them as possible, that doesn't mean the experience you create in doing so is vastly different. The main crux is about poking holes in your opponent's defenses, which is exactly what you already must do in SolForge, albeit in a much more streamlined package. The same can be said for its handling of the hero mechanic so reminiscent of Hearthstone. And in some cases, the game's “bigger is better” mantra works counter to itself. The infinitely increasing resource counter does allow for some big late-game moves, but unless you've established a killer card-drawing engine, you'll have very few ways to spend those resources. The limited board positions also hamstring late-game shenanigans: if your board is full, you can't cast any more creatures, and you must sit on your hand until a space frees up.

Duels also suffers from balance issues inherent to the few quirks it claims ownership to. Each hero starts with three stats that determine which cards you're able to cast. Each turn, you may increase one of them by one; the problem is that the different types of cards each run primarily on one stat--creatures require might, spells use magic, and fortune cards need destiny--so you're forced down one route during the beginning of the game, usually the might path, so that you can start casting creatures. If you find yourself needing to kill an opposing creature, you have to wait until you increase your magic points across multiple turns. This dynamic means that the opening five or six turns of the game is an arms race in which both players play creature after creature, and the first player whose defenses fall is suddenly at a huge disadvantage. Because of this, bigger creatures take over fairly easily, forcing the opponent to spend multiple cards to deal with it. Removal spells are also pretty hard to play, with hefty magic requirements and symmetrical effects that can hurt your own creatures. As a result, creature battles bloom only in the later rounds of the game, which is unfortunate.

Still, Duels does make an impressive enough bid for a CCG player's attention, so it's a good thing its online play works well. Multiplayer is lacking in options--you can only play the base game--but interactions are smooth and the interface accommodates fluid play. Ending your turn requires you to hold a button for half a second, so accidental passes are rare. You also needn't worry about rushing unless you take an extraordinarily long time taking your turn, a good move for a game with so much going on at once.

The game rewards extended play as well. Not only does your ranking go up the more you win, but you also get free spins of the randomized card slot machine, which lets you buy additional cards from the base set using gold you earn from playing. You can also spend real-world money to add cards from any of four expansion sets to the reel (which you then need to spend gold on to get the actual cards), though to the game's credit, you never need expansion cards to have an effective deck. Daily quests that are basically repeatable achievements further entice you to keep playing.

Duel of Champions revels in the current video CCG boom, offering a light remix of some of the genre's best and most successful games contained within a pumped-up package. Duel of Champions is a quality mixtape of current trends, offering a fun, complex option for competitive card game enthusiasts. The problem is that, in this moment in time, we're spoiled for options in a genre where replayability is key. It would be a shame if Duel of Champions' lack of innovation caused it to slip through the cracks, because though it's stuck in the familiar, its commitment to making card games feel more epic is both fun and commendable.

Charged and ready to go!

In Azure Striker: Gunvolt, you charge through a series of missions in the order of your choosing within a colorful 2D world, contending with pitfalls and robo-fodder until you engage in a boss battle confined to a single screen arena, and if you're successful, you're rewarded with a new type of gun. So, yes, it shares a few things in common with Mega Man. But, what I've just described is in effect an armature, a skeleton, and the game that's designed around it, which forms its own identity through experimental mechanics and an electric, eye-catching presentation, is a fast-paced ride and a fantastic side-scrolling action experience. Although the main mission path isn't difficult to finish, completing Gunvolt's optional trials and seeing everything through to the end will challenge and please even the most hardened veteran looking for a fresh, Mega Man-like experience.

The story behind young Gunvolt's charge takes cues from X-Men's cautionary tale of mutant discrimination and Final Fantasy VII's energy-monopolizing megacorporation, Shinra Electric Power Company. Sumeragi, an ancient order that's seized control of the world's energy supply, is using captive adepts--people with special powers who were once feared by humanity--to control its slice of the economy. Gunvolt's an adept with the ability to control electricity, and before being rescued and initiated the ranks of the resistance group, QUILL, he was one of Sumeragi's prisoners. The story definitely takes a backseat to the action, but with self-aware writing and an array of strong personalities, you'll get a kick out of the game's story sequences even if it doesn't grip you on an emotional level.

Gunvolt comes from Inti Creates, a team with twelve years of Mega Man games under its belt, so it's not surprising that a gun is central to the action in Gunvolt. Thankfully, the flow of action deviates from your traditional run-and-gun side-scroller, which is a pleasant surprise given that you still, for the most part, run to the right while firing a pistol. Rather than firing bullets in the traditional sense, your sidearm shoots metallic tags that allow the lightning from Gunvolt's spherical Flashfield to arc across the screen and inflict damage. Since you'll drain your fuel reserves--known as EP--after a few seconds, you can't keep it activated indefinitely. Deplete your EP meter and you'll overheat, which delays the amount of time before the auto-recharge effect kicks in. You have the ability to recharge it on the fly by double tapping the directional pad, but only if the field is disabled and you haven't already overheated. During a frantic barrage of incoming fire, this is easier said than done.

Quickly and cleanly soaring through missions while managing your EP levels is a dance that takes time to master, but every little bit of progress pays off in the rankings and rewards you receive at the end of each mission. The ranking you receive, in addition to the number of collectible medallions you find during each mission, give you chances to reveal squares on a grid representing different materials at the end of a level, though you only get to walk away with one per mission. These materials are used to synthesize new equipment that alter Gunvolt's movement abilities and EP expenditure, and as you progress, taking advantage of these possibilities make Gunvolt a more adept soldier, and the hunt for higher rankings that much more enjoyable.

Quickly and cleanly soaring through missions while managing your EP levels is a dance that takes time to master...

Though you earn a new type of pistol for each boss you defeat, new weapons simply introduce new paths for your tag bullets or increase the number of tags that you can interact with at a given time. There's room to master the intricacies of each, but you're better off focusing on improving the speed of your game and the destructiveness of your Flashfield. By stringing together consecutive attacks on enemies without taking damage, the amount of experience you earn increases. The faster you level up, the sooner you unlock new offensive or recovery skills that become critical tools during more challenging boss battles. They're often powerful, with some capable of fully recharging your health or cutting a boss's health in half, but with only three, slowly recharging skill points to spend at any given time, it's impossible to abuse the more powerful skills that eat up two points at once. If you need some extra help, however, there's an optional roll-of-the-dice that you can initiate between levels that gives you the chance for a one time revival upon death during your next outing, which also gives Gunvolt an EP meter that never drains and a mid-air jump that never tires.

Gunvolt can be challenging at times, but these moments are limited to endgame boss battles and optional skill trials, the latter of which are necessary for obtaining some of the rarer synth materials. Some early trials are a walk in the park, but the challenges that follow are incredibly demanding, and one slip up can make the difference between a successful or failed attempt. Playing with the equipment and crafting system can make things easier, but you quickly find that completing challenges, more than the main mission path, is the ultimate sign of mastering Gunvolt's abilities.

It's enjoyable to be able to breeze through the main game while learning how to wield Gunvolt's abilities with newfound confidence, but considering that most levels can be completed in about ten minutes, and there are just over ten to explore, it's also a bit deflating when the game runs out of new things for you to see. The challenges and the hunt for hidden items are worthwhile endeavors that will encourage you to play for a few additional hours, but you're still repeatedly retracing your steps, and this is Gunvolt's only downfall. That's not to say you won't find yourself going back in for just one more run, but this take on the core Mega Man formula ultimately runs out of new scenarios quicker than it deserves to given how exciting and fun it is to play.

Blood on the sand.

The "trapped on a tropical island" trope is one that's been used in storytelling for centuries. Frequently, it represents characters of varying socioeconomic backgrounds working together to survive and find a way to return home--or, barring that, engaging in wacky comic hijinks and making radios out of coconuts. It's a scenario that fascinates and uplifts, showing the spirit of cooperation and care for our fellow humans in the face of adversity.

Leave it to Danganronpa 2: Goodbye Despair to twist the scenario in every way imaginable. Instead of being stranded due to disastrous circumstances, the characters in Danganronpa 2 are taken to the sunny, scenic, and strangely abandoned resort of Jabberwock Island as part of a field trip organized by their school, Hope's Peak Academy. All of the students at Hope's Peak are members of what are called the Ultimates: youths of extraordinary talent fostered into the school to cultivate their skills and create hope for future generations--save for protagonist Hajime Hinata, who isn't entirely sure how he wound up in the class. The class of 16 is ostensibly here on the island to learn about the magic of hope and friendship, or at least, that's what the strange rabbit creature claiming to be their teacher says.

Elocution is not part of the curriculum.

The trip goes to hell in the blink of an eye, however, as the malevolent mascot Monokuma makes a violent return. He's transformed the former resort into a nigh-unescapable prison: even though the islands have plenty of resources for the students to live comfortably, they will be stuck there forever unless they engage in his own version of Battle Royale. Kill another student and get away with the crime, and you could be the lucky one to survive and escape. As the situation gradually degenerates, will Hajime and the other students live long enough to discover the truth behind Jabberwock Island and Monokuma's disturbing game?

Danganronpa 2, like its predecessor, fuses text exposition with mystery puzzle-solving and action elements. The game is divided into several chapters, and each chapter has three parts. During Daily Life, you spend time interacting with your fellow students and advancing the story. After a certain point, what feeble harmony might exist shatters into Deadly Life, in which you must explore and find clues about a vicious murder. Every chapter wraps up with a Class Trial, where the surviving cast must convene to discover who amongst them is the killer. Choose correctly, and the killer is punished with execution; assume wrongly, and the life of everyone remaining is forfeit. The class trials are the highlight, brilliantly interweaving game mechanics with metaphors for arguments: you "shoot down" onscreen text arguments with truth bullets representing evidence, break down characters' verbal defenses and mental blocks, and dive into the depths of your own logic to uncover truths. As accusations fly, arguments heat up, and more pieces of the mysteries come together, you must guide Hajime through tension and raw emotion to uncover the culprit, as shocking as the truth may prove to be.

The years have not been kind to Teddy Ruxpin.

What fuels Danganronpa 2 is the sheer strength of its narrative. The story's twists and turns keep you riveted, delivering emotional highs and lows with true impact. Characters have distinct, unique quirks--part of their existence as Ultimates--that range from a narcoleptic gamer, to an aggressive bisexual chef, to a yakuza prodigy with short man syndrome. As the situation devolves you see the characters change, grow, and reveal other sides of themselves that give them depth beyond just being single-gimmick personalities. It's very easy to grow attached to the cast, which makes finding one of them dead--or discovering that they have a murderous streak to them--a terrifying and emotionally draining moment. All you can do is hope beyond hope that your favorites might make it through mostly unscathed.

The feelings of danger, fear, loss, and justice play well into the theme that's been established for the series since the first game: the duality of hope and despair, and how one begets another. When you participate in the class trials, you must find the truth to save yourself and your peers--but you are also condemning a person to death in the process. There are numerous mysteries about the island and its purpose to be solved, and it's satisfying to uncover answers to these questions, in many cases. One character in particular comes to embody this concept of duality in a very unique and interesting way, and the way their saga plays out over the course of the game is exceptionally memorable. Danganronpa 2 definitely not a happy game, but the underlying messages of hope against overwhelming odds and not giving in to despair is both uplifting and inspiring.

Due process has no place in this world.

This is a great game, and much of the actual gameplay is very similar to the original--which certainly isn't a bad thing. The most significant changes are some of the mini-games played during the class trial sections. The new version of Hangman's Gambit, where you must collect letters to spell out an answer to a question, takes a more puzzle-game-like form this time around. The problem is that it's a pretty awful puzzle game, with confusing collect-and-place mechanics and frequently so much going on at once that you errantly focus on minimizing damage rather than actually solving the puzzle. A new element, the Rebuttal Showdown, has you "cutting down" arguments with swipes and button presses, which is an interesting concept. In practice, however, it's not particularly enjoyable: the directions you need to "slash" to destroy arguments and get the advantage seem random, and it's far too easy to cut down an important statement and get penalized.

Other issues relate to the game's localization, particularly where text formatting is concerned: In several instances, line breaks were misplaced, leading to text rolling off the screen and requiring me to open up the log to read all of the dialogue. In a game that's overwhelmingly text-driven, this is quite the annoyance. Another problem is in translation consistency: an image or location with text written in English when you first see it might be shown in flashback later with Japanese text instead, which can cause confusion.

Beneath Nekomaru's gruff exterior is an equally gruff interior.

But given how good the rest of the game is, these quibbles don't drag Danganronpa 2 down from greatness. I was hooked from the get-go, enthralled by every surprise turn taken by the story, stunned by every unexpected character revelation, devastated at every death, and pumping my fist at every small victory against that bastard Monokuma. The game's extra mode, which let me interact with the cast without the constant fear of looming death hovering above them all, cemented my love for the game's characters, and the bonus text story made the universe of the two games feel that much more fleshed out. Danganronpa 2 is a simultaneously terrifying, uplifting, painful, thoughtful, funny, and heartbreaking delight. Anyone who cherishes engaging stories, unique gameplay experiences, and great characterization would do well to invest themselves in this series.

Miyamoto Looking to Shift Focus Away From Passive Gamers

In an interview in tomorrow's issue of Edge magazine, Nintendo's Shigeru Miyamoto explained his philosophy going forward for making games. He wants to move away from the passive attitude of someone who approached gaming with an attitude of "Okay, I am the customer. You are supposed to entertain me."

Miyamoto lamented this passivity, saying "they do not know how interesting it is if you move one step further and try to challenge yourself."

The Wii's incredible success, with lifetime sales of over 100 million, was fueled by its appeal to the "casual" market. While "casual" has become somewhat of a pejorative term, Miyamoto feels it's no longer Nintendo's place to court this demographic.

"Because of the spread of smart devices, people take games for granted now," he said, adding that this shift was a good thing for Nintendo. Moving away from the casual market, Miyamoto says, means they no longer have to worry about making games that are relevant to the daily lives of the general public.

In the interview, Miyamoto also admits that there was some doubt about the Wii U gamepad initially within the company, but he was sure that they would still be able to create something "unprecedented and revolutionary."


gamesradar.com
gamespot.com

Big Hero 6 Characters Headed to Disney Infinity 2.0

Two characters from the forthcoming Disney and Marvel movie Big Hero 6 will be coming to the Disney Infinity 2.0.

Players will be able to use Hiro's mind-power and Baymax's super strength, along with hundreds of items, locations, props, and vehicles from across the Disney and Marvel universes.

There will also be a Big Hero 6 "Chem Capsule Power Disc," which allows players to create a frost cloud to freeze enemies with.

The Hiro and Baymax figures will become available in 2015, with further Disney/Marvel characters being announced in the coming months.

Disney Infinity 2.0 is a software upgrade for the existing Disney Infinity, along with an entirely new retail line, due for release this fall. Other characters coming to 2.0 include Tinker Bell and Stitch, Maleficent, and The Avengers.

Big Hero 6 is due to be released in cinemas on November 7.


gamesradar.com
n4g.com

Mega Man X4 and X5 Coming to PlayStation 3, Vita

Both Mega Man X4 and Mega Man X5 will be available on PlayStation 3 and Vita within the first half of September.

Releasing on September 2, the classic Mega Man X4 will be available first, followed by Mega Man X5 a week later on September 9. Prices for each title are unknown at this point in time.

Many earlier installments in the Mega Man franchise are currently available on the Wii U Virtual Console, with several games releasing this month. Nothing has been said about whether or not any other Mega Man installments will release on PlayStation platforms in the future.

In related news, Mega Man creator Keiji Inafune announced earlier this year that Mighty No. 9, the upcoming spiritual successor to Capcom's classic franchise, will become a 'multimedia IP' expanding its universe beyond games and film. So far, the only proof of the IP moving away from games has been seen in this animated series teaser.

Mega Man will also be a playable character in the upcoming Nintendo brawler Super Smash Bros. on 3DS and Wii U.


pcgamer.com
ign.com

Did Game of Thrones Author George R.R. Martin Have a Hand in Creating Chewbacca?

A new discovery suggests Game of Thrones author George R.R. Martin may have unwittingly helped create everyone's favourite Wookie (sorry, Tarfful).

The likes of Reddit and Slashfilm have compiled some pretty compelling evidence for the idea that an illustration done for one of Martin's short stories way back in 1975 was used by Ralph McQuarrie as the basis for Chewbacca's concept art.

Let's start at the beginning. Back in 1975, McQuarrie was working on the concept art for Star Wars. There were a host of variations here from the finished product, including the fact Luke Skywalker was a woman, but it's a bit of a struggle to see any link between this Chewbacca and the one we know today.

Chewie1

chewie2

McQuarrie confirmed later that while George Lucas liked this design, he reckoned it could be pushed further. As a result, the decision was made to take off the flak jacket and generally explore other options.

Now, this is where the connection comes in. Before his death, McQuarrie explained how Lucas helped with the development of Chewbacca. In essence, the director gave his friend a bundle of artwork along with more descriptions.

"George said he wanted Chewbacca to look like a lemur, so he had great big limpid eyes in some of my early sketches," McQuarrie explained. "George also gave me a drawing he liked from a 1930s illustrator of science fiction that showed a big, apelike, furry beast with a row of female breasts down its chest. So I took the breasts off and added a bandolier and ammunition and weapons, and changed its face so it looked somewhat more like the final character, and I left it at that."

Here's the thing though. That drawing from the 1930s? Yeah, it wasn't from the 1930s. It was actually from a year earlier in 1975, done by artist John Shoenherr to illustrate a short story by George R.R. Martin called "And Seven Times Never Kill Man!" which was published in Analog in July 1975. Here are the two images below, side-by-side.

Chewie3

And here are the final looks as they appear in the Star Wars films, and alongside Martin's 1975 story:

chewie4

It's important to note out that this kind of thing isn't unusual and there's no suggestion Lucas knew the sketches were any more recent than he claimed. Concept art created by artists other professionals admire is often used as a source, and the finished products certainly look reasonably different. What's interesting too is the bowcaster-esque weapon used by the creature in Martin's story. Did the Star Wars prop department see the original sketch and decide to riff on it a little bit?

So there you have it. A story by George R.R. Martin certainly seems to have inadvertently provided the inspiration for Chewbacca. Don't feel too bad for McQuarrie slaving over his original designs, however. After many years they're finally set to be repurposed and used to create the character of Zeb Orrelios in the upcoming Star Wars Rebels. It's the circle of life... or is that another Disney movie?

Chewie5


kotaku.com
n4g.com