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Friday, March 1, 2013

Play Gears Of War: Judgment Early

The fourth instalment in the Gears Of War saga will arrive on March 22nd and we've teamed up with GAME to give you the chance to play the game before its UK release.

GAME are hosting ten Gears Of War: Judgment First Look events at stores across the UK, offering 40 lucky people the chance to play the game before anyone else in an exclusive VIP in-store experience. Each winner will be invited into the GAME store nearest to them at 9pm on Thursday, March 21st to play the game with two of their friends, cloud-save their in-game progress, and enjoy complimentary food and drinks, before jumping the midnight queue and getting the game for free at the end of the night!

Participating GAME stores:

  • London – Stratford Westfield
  • Manchester – Trafford Centre
  • Glasgow – Glasgow Fort
  • Birmingham – Bullring
  • Liverpool – Lord Street
  • Sheffield – Fargate
  • Bristol – Cribbs Causeway
  • Leeds – White Rose
  • Edinburgh – Ocean Terminal
  • Newcastle – Metro Centre

Please note, no travel or transport costs incurred attending the First Look event is included in the prize.

HOW TO GET INVOLVED

To be in with a chance of bagging an exclusive VIP opportunity to play one of the most anticipated Xbox 360 games of the year, before anyone else, here's what you need to do.

  • Pre-order Gears Of War: Judgment using your GAME Reward Card online here (or the Steelbook Edition here)
  • Or Pre-order Gears Of War: Judgment using your GAME Reward Card in store anywhere across the UK

You need to pre-order before March 3rd to be in with a chance of winning. 100 runners-up will also have their Reward Card credited with 1000 GAME reward points too. Please note, you must attend the First Look event in order to claim your free copy of the game. Winners will be notified by Friday the 8th of March.

This competition is open to residents of England, Scotland, and Wales who are over the age of 18 only, with full terms and conditions here. Please note, photo ID will be required on the night.


Source : ign[dot]com

IGN UK Podcast #175: Embargoed Until the End of Time

This week, the podcast team pulls no punches in questioning why the games industry is the way it is.

We dissect EA’s decision to include microtransactions in all future games as well as Cliffy B’s heated defence of the practice. The highlight though has to be all the talk this week about [redacted] and the fact that we’re not allowed to talk about [redacted] due to [redacted]. Kidding! It’s the Assassin’s Creed IV embargo. We’re talking about embargoes. Promise it's more interesting than it sounds. Promise.

IGN UK Podcast #175: Embargoed Until the End of Time – 62.9 MB

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Source : ign[dot]com

IPL6 eSF Group C Qualifiers

In partnership with the eSports Federation (eSF), IPL granted seed spots to the winner of each group qualifier. Spanning from group A to D, Korea's best players were pitted against each other in an effort to make an IPL6 spot for Wings of Liberty. Today's Group C finished with a stacked bracket of names: SoN, First, Supernova, MarineKing, finale, Lucky, and jjajki.

First v. Supernova

The lack of AOE cost First and his army as Supernova plowed through.

Ohana -- Game one

First went for the defensive macro start with an expansion into an immortal/colossus build. Supernova committed to a heavy bio ball off of his two bases with some tank backup. With no real area of effect units, First invested heavily in psionic storm. With such a skill build in the army, Supernova just split forces and powered through for game one.

First's lack of units to combat Supernova's vikings ended his tournament.

Daybreak -- Game two

Supernova went with hellion pressure into an expansion to take the first lead in economy. First broke through the disadvantage by turtling and probing up, but Supernova's transition to bio ball controlled the map. First added more colossus into his army composition, but a lack of stalkers meant that follow-up damage to psionic storm was limited. Supernova pushed out with a bio ball/viking with SCV army to finish off the set. First did not have enough units to take out the vikings of Supernova.

MarineKing v. Finale

A four-gate, proxy, attack on MarineKing ended game one in favor of Finale.

Ohana -- Game one

Finale went for a proxy pylon and a fast four warpgate beginning. MarineKing played defense, but an accidental supply depot opening allowed for the Finale attack to be effective. Finale constantly warped in units to destroy all of MarineKing's building blocks and marine/tank reinforcements.

Daybreak -- Game two

MarineKing went for his own cheese play with two proxy barracks at 11 supply. With the scout, Finale defended it perfectly and transitioned for a counter attack from another four-gate build. Unfortunately for MarineKing, he decided to expand instead of creating units. The stalker army of Finale finished off whatever defense MarineKing had and it was over.

Lucky v. jjakji

Lucky's split army attack was finished off in convincing fashion.

Ohana -- Game one

Lucky began the action with some zergling pressure, while jjakji teched and macro'd up. The aggression of Lucky forced jjakji to play defense and focus on drops for pressure that did no damage. Lucky's creep spread, despite jjajki's better macro, gave him the map control. Eventually, jjakji's pressure on the creep and better army composition gave him the advantage over Lucky. Despite the economic advantage early, Lucky was crushed in another meaningful element of the game -- army composition. Jjakji's multi-tasking and micro finished off game one in convincing fashion.

Cloud Kingdom -- Game two

Lucky quickly macro'd out to three bases, while jjakji prepared a hellion/banshee pressure run. Lucky's economic advantage also transitioned to upgrade advantage and he pushed out with banelings and speedlings that crushed most of jjakji's tanks and marines. Lucky kept the pressure with ultralisk transition and controlled the map until the 20-minute mark. Jjakji used constant drops to counter attack, with a commitment to bio ball/tanks. Lucky's advantage in tech and supply was evaporated with one great counter attack from jjakji's bio ball onto Lucky's entire ultralisk army. Eventually, Lucky went all-in with his ultralisks, but traded equally with jjakji's better micro and GG'd out.

Supernova v. SoN

Supernova's map control contained the brood lords of SoN.

Cloud Kingdom -- Game one

Both SoN and Supernova played off of two bases with tech for early aggression. Supernova harassed first with hellions, but SoN prepared a bigger counter attack of banshees and roaches. The bunker defense at Supernova's natural held off the big commitment attack. SoN transitioned to mutalings to grab the map control again, while Supernova continued to use drops to deny SoN's fourth expansion. Supernova's map control allowed him to cage SoN in his bases, despite his tech advantage. The brood lords from SoN were ineffective without the map control and Supernova's constant drops and eventual push out ended game one.

A bunker rush.

Entombed Valley -- Game two

This game was quick. A successful bunker rush by Supernova ended SoN's tournament. A mismanaged micro play by SoN prevented his all-in defense to attack the marines of Supernova and it was over after that.

jjakji v. Finale

The game-winning push after the expansion denied was timed perfectly.

Cloud Kingdom -- Game one

With jjakji's reputation of an aggression Terran against TvP matchups, the unorthodox should be expected. Jjakji went into a quick hellion/marauder pressure to scout and potentially end, but Finale held and expanded afterward. With the scout on the expansion, jjakji went for a marauder/hellion all-in that pushed into the natural base of Finale. A colossus finally popped out to hold the attack, and jjakji expanded to his second base. With the map control and better supply, jjakji went for the expansion deny and returned for the game-winning push.

Entombed Valley -- Game two

Jjakji went for a quick barrack and marine rush with an expansion. Finale scouted it too late and was denied his expansion due to jjakji's marines. Finale used a proxy pylon and four-gate to counter attack behind jjakji's army line. The attack was repelled, but Finale kept up the pressure with more reinforcements. The defense would not break and Finale was forced to end it.

Grand final -- jjakji v. Supernova

jjakji pushed through with siege tanks and a raven to finish off Supernova.

Entombed Valley -- Game one

Who would bust out the superior Terran in this mirror match? Jjakji began with a 1-1-1 opening, Supernova began with reapers and hellions. Jjakji's army composition of early siege mode, viking, and marines with raven support contained Supernova in his base. The point attack drone and siege tank push finished off Supernova.

Supernova's defense led to the game-finishing counter attack.

Ohana -- Game two

Supernova began with quick hellion pressure for scouting purposes, while jjakji held the attack off. Jjakji transitioned to seige tanks, but Supernova went into viking production with tank support. The push out from jjakji was defended so well that Supernova's supply advantage made the counter attack the final attack. Our first third game of the night incoming.

Despite jjakji's great attack, Supernova kept enough units for the victory

Cloud Kingdom -- Game three

Supernova went for a 1-1-1 build into quick siege tanks and hellions, while jjakji went for bio and tanks. Supernova's air tech defended jjakji's push out with marines/tanks. Jjakji caged in Supernova with a timing push of vikings, raven, tanks, and marines. Supernova took advantage of a careless micro play by jjakji and held the push to take the advantage. With both players defending in a neutral state, Supernova kept up his macro with a fifth base and jjakji patrolled the map with a roaming army. Jjakji used consecutive engagements to even the supply and took a fourth base. With Supernova's bases saturated, he moved out with his entire army for a base race. Jjakji used a great two-pronged drop to cripple the army for Supernova. Supernova, however, caught jjakji off-guard with the attack on grounded barracks for the final GG.

Finally, the difficult group qualifier finished with another Terran player headed to IPL6. The stacked field for Group C, alone, had the looks of an all-star lineup. In the end, Supernova finished off the Group in climatic 40-minute fashion.

Timothy Lee is known more for his writing than his playing. He specializes in analysis, profiles, and news reporting. You can find his work on IGN.com, RotoAnalysis.com, 1UP.com, and the Daily Breeze. He is currently a free-lance video game and sports writer.


Source : ign[dot]com

PS4: How Sony is Setting its Sights on World Domination

Sitting bleary-eyed in a conference room in Manhattan last week with a thousand or so other people – many of them equally jetlagged, I presume – I can’t have been the only person to wonder why we were in New York and not in Tokyo to hear about Sony’s new console. Sony has had some hard times recently, but it is one of the great Japanese companies, and for a long time the PlayStation brand was inextricable from the country that it came from.

Not so anymore, though. The Japanese presence at the PlayStation 4 event was pretty minimal, with studios from all over the world turning up to show off their new projects – with a strong US focus. The PlayStation 3 may have just edged past the Xbox 360 in terms of global shipped consoles, but it’s still firmly in third place in the USA and the UK despite big success in Japan and the rest of Europe. Sony will want to change that, and it is displaying a more global attitude than ever before, right down to the design of the console itself. It’s a mission statement: the company is making a serious play for global dominance.

“I think we’re looking to improve our competitive position everywhere,” Sony Computer Entertainment Europe’s CEO Jim Ryan told IGN in an interview just after the conference. “Yes we have a strong position in certain European markets, but am I happy with where we are in the UK with PS3 relative to competition? No I’m not. We want to improve our competitive situation everywhere in the world, and that’s a normal business position to take. We’re going to do our best to do that.” But how?

“

We’re looking to improve our competitive position everywhere.

It’s no secret that PlayStation consoles have traditionally been complicated to develop for, largely because they have always run on lovingly-developed proprietary technology like the PlayStation 3’s CELL chip, researched and created in isolation by Sony in Japan. The PlayStation 4, meanwhile, has been designed in collaboration with developers – including Western developers like Evolution and Guerrilla, both of whom spoke out in a developer roundtable after last week’s conference.

“It’s the first time we’ve ever done this within PlayStation – get the whole group of core developers together and consistently give very deep profound feedback on everything system related,” said Guerrilla Game’s Herman Hulst, currently hard at work on Killzone. “It’s no longer built in isolation in an ivory tower somewhere in Tokyo, it’s shared with us, and together we really built the machine.”

“Because of weekly calls working on the design, receiving iterative prototypes of the model, constantly providing feedback, it really does a fantastic job,” added Evolution’s Matt Southern, he of the mild leather-car-seat obsession, talking about how the console meets the needs of a next-generation racing game like Drive Club. The engineers and designers from every Sony studio were involved in the design of the console itself – demonstrating a friendliness to developers that Sony has never demonstrated before.

“

Sony will be hoping to inspire confidence in the third-party publishers that wil make the PS4 truly global.

Sony will be hoping that the assurance of these first-party developers might inspire confidence in the third-party developers and publishers that will make the PlayStation 4 truly globally relevant. “Since we’ve worked on it so long and given feedback so long, that’s the reason we’re confident today as a group of developers,” emphasises Hulst. “We know the path that it’s taken, and we know that once it’s in the hands of people that love gaming, it’ll work well.”

This is also a large part of the reason why the conference took place in New York and not in Tokyo – says Jim Ryan. “I think there’s recognition that at an event like this, there are many audiences that are being spoken to. There’s obviously the gaming community, but equally for something like this whether you like it or not you’re talking to the investment community, shareholders, potential investors of all sorts, and increasingly the world is a more global place, and Tokyo ain’t always the best place for those sorts of conversations to take place.

“

It’s a statement about the importance of the US market to us.

“I think also it’s a statement about the importance of the US market to us. It’s just a great city to do this sort of thing in actually – it seemed to work, it seemed to sit very well with the whole vibe of the event, rather than going off to one of those big ballrooms in a hotel in downtown Tokyo where the whole thing’s a bit soulless. I think it worked well doing it here. I’m pleased we did it here.”

So what part does Japan play in this new PlayStation landscape? The original PlayStation and the PlayStation 2 were consoles defined by Japan and Japanese talent: Gran Turismo, PaRappa the Rapper, Ico and Shadow of the Colossus, Katamari Damacy, Silent Hill and Resident Evil. We saw some Japanese presence at the reveal, but the influence was certainly less prominent.

“

The Japanese development and publishing community seemed to find this current generation rather a challenge.

Jim Ryan took care to point out the success of Gran Turismo 5 on the PlayStation 3, but he acknowledged the challenges that Japan has faced with the current-generation consoles. “I think if you stand back and look generally the Japanese development and publishing community seemed to find this current generation – and I’m not just talking about our own studios when I make this comment – they seemed to find the current generation rather a challenge in terms of genuine innovation to an extent that Western developers perhaps did not,” he said. But Japan is Sony’s heartland, and Japan will always be more than a market for the company. “We were particularly keen to have good Japanese representation last night,” he said.

Sony will never leave Japan behind, but the PlayStation 4 reveal suggests to me that the company is going for America more aggressively than ever before. By getting out ahead of Microsoft’s next-generation console reveal and holding its event on the American giant’s own turf, Sony was making the statement that it wants to be number one everywhere – and it will not allow Microsoft the head-start that it enjoyed with the Xbox 360.

Given the rapid rate of change in the games industry, this might be the last-ever round of the console war, at least as we know it. The PlayStation 3 might have been ahead in Europe and Japan, but there’s more to be achieved this time around. In designing and pitching the PlayStation 4 as a truly global prospect, Sony is showing a keen awareness of the stakes.

Keza MacDonald is in charge of IGN's games coverage in the UK. You can follow her on IGN and Twitter.


Source : ign[dot]com

Eli Roth on the Horrors of The Green Inferno

While attending Glasgow FrightFest to talk all things horror with Eli Roth, we asked him about his forthcoming cannibal movie The Green Inferno. And while he kicked off the conversation by stating that it was too early to discuss the project, Eli then went into a lengthy description of the birth of the story and the horrors involved in shooting it…

“It was one of the craziest experiences of my life making that movie. I love cannibal movies – I love Cannibal Holocaust, I love Cannibal Ferox, and I wanted to do one. I feel like they are due for a comeback. But I wanted to do it for a really good reason, and I didn’t really have that story. So it was something that was percolating.

“Then I was thinking about student activism and ‘Occupy Wall Street’ and looking at students getting involved in causes over Twitter. Looking at how people are re-tweeting ‘Save Pussy Riot’ and ‘Save the Dolphins.’ Actually it was right after I wrote the script that Coney 2012 happened, and I was like ‘This is it. This is what my movie's about.’

It’s about these kids that get so caught up in a cause because it’s sexy, they don’t even really take the time to learn what it’s about. And you think of all these 100m YouTube views, and all these t-shirts sold and all those mugs. And then the guy’s jerking off in the street and Coney’s still out there, and it didn’t mean sh*t. Nothing. Absolutely nothing. It was completely useless. OK yes, it raised awareness. But so what? It didn’t catch him. It didn’t stop him. I think that people want to fix things instantly, and they can use their phones to do that now.

“So I wrote about these student activists who want to save these un-contacted tribes in the Amazon. Which is happening now. These corporations with GPS looking for natural gasses go in, kick out the tribe – kill them or move them out of there. Then just destroy the village and take out the gas which is in the ground. So I wrote about these students that want to stop that. They chain themselves to trees and protest and stream it and hash-tag, and it works. It actually shuts down the operation. Then on their way home, their plane crashes. And the very people they save are like “Ah, food – that’s great!” It’s like a free lunch, and they are brought back into the fold of absolutely barbaric, primitive man. People that have had no contact with the outside world.

“So when we shot it, I wanted to film somewhere that was really, really, really in the Amazon. Really, authentically off the grid. We scouted in the summer-time and went up the river for hours and hours and found this village where there was no electricity, no running water, grass huts. Ten people in a shack. And it looked incredible; it looked like a village from another time, so we asked if we could film there. But I was told that we have to tell them what a movie is because they have no idea. They’ve never seen one. They’ve never even seen a television. So they went back with a television and a generator and showed the village Cannibal Holocaust, which I couldn’t believe. And the villagers – thank god – thought it was a comedy. The funniest thing that they’d ever seen. And they wanted to play cannibals in the movie. So we had the entire village acting in the film. And they speak Quechua – which is like another language from another time.

“It was a really amazing experience to live there for a month. It was five hours of travel every day, and it was no joke. We could have died any number of times – there were floods, and there were rock-slides, there were tarantulas, snakes, animals walking through shots. It was crazy. Wild horses that if you got near them would kick you and bite you. And the bugs attacking you. And it was 110 degrees – it was brutal.

“Yet it was this jungle adventure – we had cameras and everyone was just so up for it. Everyone got up in the morning every day at 4.45am and got in the Land Rovers and shipped our stuff, lugged it to the boats, went up the river, lugged it to the village. And going deep into the jungle to film these sequences.

“Lorenza – our actress from Aftershock – she’s the lead, and she got devoured by bugs. You’d wake up and mosquitos and ants had bitten your face. You’ve have to sleep completely covered from head-to-toe or you’d get devoured.

“But I wanted it to look like a Werner Herzog film. They call the river Aguirre because the last film to shoot there was Aguirre The Wrath of God. And we went even further beyond where they went. So it really looks like a Terence Malick film. Or Apocalypto. We strapped cameras to remote control helicopters and ran them over the Amazon. The footage looks jaw-dropping. There have never been cameras where we were. So we start in New York City and go all the way to the ends of society. You don’t think these places exist until you get there, and you can’t believe it.

“And it was so nice to talk to these kids – every kid in the village is in the movie – and you bonded with all of them. You became friends with all the kids and all the old people. And then by the end they were all playing with iPhones and iPads. We’ve completely polluted the social system and f*cked them up.

“But we also housed every hut in the village – we gave them metal roofs. We put corrugated metal on all their roofs and that was all they wanted because they live in straw and it rains so that really changes things for them.”

The Green Inferno should hit screens before the end of the year, but before then, Eli Roth joints The Last Exorcism Part II and Aftershock will be released, the trailers for which can be viewed below.

Chris Tilly is the Entertainment Editor for IGN in the UK and is pleased to see Eli Roth back in the director's chair. Tilly's poor excuse for banter can be found on both Twitter and MyIGN.


Source : ign[dot]com

Eli Roth on the Horrors of The Green Inferno

While attending Glasgow FrightFest to talk all things horror with Eli Roth, we asked him about his forthcoming cannibal movie The Green Inferno. And while he kicked off the conversation by stating that it was too early to discuss the project, Eli then went into a lengthy description of the birth of the story and the horrors involved in shooting it…

“It was one of the craziest experiences of my life making that movie. I love cannibal movies – I love Cannibal Holocaust, I love Cannibal Ferox, and I wanted to do one. I feel like they are due for a comeback. But I wanted to do it for a really good reason, and I didn’t really have that story. So it was something that was percolating.

“Then I was thinking about student activism and ‘Occupy Wall Street’ and looking at students getting involved in causes over Twitter. Looking at how people are re-tweeting ‘Save Pussy Riot’ and ‘Save the Dolphins.’ Actually it was right after I wrote the script that Coney 2012 happened, and I was like ‘This is it. This is what my movie's about.’

It’s about these kids that get so caught up in a cause because it’s sexy, they don’t even really take the time to learn what it’s about. And you think of all these 100m YouTube views, and all these t-shirts sold and all those mugs. And then the guy’s jerking off in the street and Coney’s still out there, and it didn’t mean sh*t. Nothing. Absolutely nothing. It was completely useless. OK yes, it raised awareness. But so what? It didn’t catch him. It didn’t stop him. I think that people want to fix things instantly, and they can use their phones to do that now.

“So I wrote about these student activists who want to save these un-contacted tribes in the Amazon. Which is happening now. These corporations with GPS looking for natural gasses go in, kick out the tribe – kill them or move them out of there. Then just destroy the village and take out the gas which is in the ground. So I wrote about these students that want to stop that. They chain themselves to trees and protest and stream it and hash-tag, and it works. It actually shuts down the operation. Then on their way home, their plane crashes. And the very people they save are like “Ah, food – that’s great!” It’s like a free lunch, and they are brought back into the fold of absolutely barbaric, primitive man. People that have had no contact with the outside world.

“So when we shot it, I wanted to film somewhere that was really, really, really in the Amazon. Really, authentically off the grid. We scouted in the summer-time and went up the river for hours and hours and found this village where there was no electricity, no running water, grass huts. Ten people in a shack. And it looked incredible; it looked like a village from another time, so we asked if we could film there. But I was told that we have to tell them what a movie is because they have no idea. They’ve never seen one. They’ve never even seen a television. So they went back with a television and a generator and showed the village Cannibal Holocaust, which I couldn’t believe. And the villagers – thank god – thought it was a comedy. The funniest thing that they’d ever seen. And they wanted to play cannibals in the movie. So we had the entire village acting in the film. And they speak Quechua – which is like another language from another time.

“It was a really amazing experience to live there for a month. It was five hours of travel every day, and it was no joke. We could have died any number of times – there were floods, and there were rock-slides, there were tarantulas, snakes, animals walking through shots. It was crazy. Wild horses that if you got near them would kick you and bite you. And the bugs attacking you. And it was 110 degrees – it was brutal.

“Yet it was this jungle adventure – we had cameras and everyone was just so up for it. Everyone got up in the morning every day at 4.45am and got in the Land Rovers and shipped our stuff, lugged it to the boats, went up the river, lugged it to the village. And going deep into the jungle to film these sequences.

“Lorenza – our actress from Aftershock – she’s the lead, and she got devoured by bugs. You’d wake up and mosquitos and ants had bitten your face. You’ve have to sleep completely covered from head-to-toe or you’d get devoured.

“But I wanted it to look like a Werner Herzog film. They call the river Aguirre because the last film to shoot there was Aguirre The Wrath of God. And we went even further beyond where they went. So it really looks like a Terence Malick film. Or Apocalypto. We strapped cameras to remote control helicopters and ran them over the Amazon. The footage looks jaw-dropping. There have never been cameras where we were. So we start in New York City and go all the way to the ends of society. You don’t think these places exist until you get there, and you can’t believe it.

“And it was so nice to talk to these kids – every kid in the village is in the movie – and you bonded with all of them. You became friends with all the kids and all the old people. And then by the end they were all playing with iPhones and iPads. We’ve completely polluted the social system and f*cked them up.

“But we also housed every hut in the village – we gave them metal roofs. We put corrugated metal on all their roofs and that was all they wanted because they live in straw and it rains so that really changes things for them.”

The Green Inferno should hit screens before the end of the year, but before then, Eli Roth joints The Last Exorcism Part II and Aftershock will be released, the trailers for which can be viewed below.

Chris Tilly is the Entertainment Editor for IGN in the UK and is pleased to see Eli Roth back in the director's chair. Tilly's poor excuse for banter can be found on both Twitter and MyIGN.


Source : ign[dot]com

Metro: Last Light Release Date Announced

Metro: Last Light will be available from May 14 in America and May 17 in Europe, Deep Silver has announced.

The sequel to 2010's Metro 2033 takes place in the year 2034, where nuclear war has turned the world into a post-apocalyptic wasteland meaning the former inhabitants of Moscow must take to the tunnels of the Metro to survive. Players will take control of Artyom, as he tries to fight off the various mutants that haunt the wasteland as well as stop impending civil war.

The future of the game seemed unclear following THQ going bankrupt, but the game was saved when Koch Media purchased both it and the Saint's Row franchises at the company's auction of assets.

Metro: Last Light is currently scheduled for release on Xbox 360, PlayStation 3 and PC.

Luke Karmali is IGN's UK Editorial Assistant and won't play horror games since 'the incident'. You too can revel in mediocrity by following him on IGN and on Twitter.


Source : ign[dot]com